While I never formally studied art, I have been drawing with ink for years. During my many years of study and teaching, I often composed visual responses to the works I was reading; in my journals, I made ink drawings that were, looking back, re-iterations or re-imaginings of texts I was reading, abstracted from the originals but inspired by them.
It would be difficult to define the reasons for my moving from years of literary studies to the making of art, specifically drawing, but the movement was, and continues to be, fluid, with intimate association. I am fascinated by the many ways we can inscribe a page, whatever the lines that claims that field may be. My work seems, in part, to be an exploration of the possibilities of inscriptions, of the thinking-drawing-gesturing that composes works on paper. The more I draw, the more I recognize that the process of pushing into the possibilities of drawing (and being able to access the openings where those possibilities might take root) is always accompanied by a challenge to understand the impulse itself, what is at the root of the desire to draw. In many ways, my career is an investigation of what brings me to make art and why my intellectual interests seem so integral and essential to it.
My drawings have been exhibited over the past decade in many venues, including The Drawing Center in New York City, The Weatherspoon Art Museum in North Carolina, The de Cordova Sculpture Park and Museum in Massachusetts, The Hood Museum at Dartmouth in New Hampshire, The McMullen Museum at Boston College, The Santa Barbara Museum of Art in California and The Jewish Museum in New York. The drawings are included in the collections of the Whitney Museum of American Art in New York and The Jewish Museum in New York City. I am fortunate to be in numerous private collections, and I have been in several group exhibitions, including those at the galleries of Adam Baumgold, Pavel Zoubok, and Julie Saul. I am represented by Foley Gallery in New York City.