I studied fine art at several schools over the course of my career.
1994 - 2011 Various print facilities around the San Francisco Bay Area.
1990-92 San Jose State University - sculpture student
1988-90 San Francisco Art Institute - painting student
1990 Marchutz School, Aix en Provence, France
1990 Independent study with Sam Tchakalian, San Francisco, California
1989 Cleveland of Arts, Florence, Italy
1988 Pilchuck Glass School, Seattle, Washington
1987 School of Visual Arts, Urbino, Italy
1976 Thunderbird Global School of Management, Glendale, Arizona
1971-75 UCLA and Lund University, Sweden
Since I was three years old, I have wanted to be an artist. During college, when I wanted to study art, my mother said: ‘No, learn typing and you will always have a job’. She did not turn out to be right about that.
I finally went to art school in my mid 30s after launching a successful company in Hong Kong. I studied painting and printmaking at San Francisco Art Institute, bronze casting at San Jose State in San Jose, CA, and painting at the New York School of Visual Arts at their summer program in Urbino, Italy, as well as painting and drawing at the Marchutz School in Aix En Provence, France.
Through my SFAI coursework, I was able to get college credit for an internship at the Bank of America, cataloguing some of their extensive collection. I met Bonnie Earls Solari, then the curator of the collection with more than 10,000 works of art. That was a turning point in my career because Bonnie taught me how to look at great art with a fresh perspective. We remain friends even after two decades. Bonnie has helped shape my career. She once asked me to make a choice: Would I prefer to have a career that excelled at exhibitions or collections? That was not a hard decision for me: I am a collector to the core. I believe in conservation, ensuring cultural artifacts are well preserved for future generations. I started building a list of museums where I would like my work to be collected.
It was natural to begin incorporating antique documents in my work – photos, legal documents, letters, etc. None use digital copies of originals.
In 1991 I was given some six inch silicon wafers that were rejects from the Micromodule Systems Company (MMS) in Santa Clara, CA. They were made from composite materials (mixed metals and plastics). I was able to draw on them with traditional copper etching tools. When I realized that the wafers could be used as printing plates, i.e., they held ink, I started to layer them. That is how I started working with these images.
In 1992, I found a great printshop in Oakland, CA, and proceeded to make arte povera, prints using rejected wafers from the silicon chip manufacturing process. Over the following years, I printed over 400 works, all in small editions of 25 or fewer, and most as monoprints (unique prints with collaged photographs on them or painting over them)
My portfolio of prints is divided into three distinct bodies of work.
One is the collaged photos and documents, representing our transition from collecting ‘real’ things to digital versions of them. The ‘real’ are indeed antique photos and documents, and the ‘digital’ realm, or cyberspace, is represented by the silicon wafer etchings.
The second group is color play. The prints are made in four layers using four copper plates. Four plates on each paper or three plates on Japanese rice paper. I have found endless possibilities to mix and match the plates with different inks. The MMS Mono series includes parts of at least two different original prints.
A third group is those unique prints where I drew on top of the print emerging from the etched silicon wafers, such as in the Out Of Control series.
I continue to experiment with the plates and antique photographs. I hope you like them too.