Represented Artists

I am a visual artist based in France, trained in Serbia/Spain, represented from 2000 to 2016 by Prom Gallery (Germany) and from 2016 to 2020 under Carmen Würth’s Art Support (Germany).

Drawing is my closest media, which I develop also into handmade animations, paintings, objects and theatre.

My area of research delves into human psychology and the self-identification of the spectator. Uncomfortable as this may be, it is always sensitive to the other.

I live and work in the countryside of New York state in an old barn that is home to a quite a few wild creatures besides its human occupants. I also have a small apiary and harvest honey. The success of that endeavor depends upon human beekeepers adapting to what bee colonies need, giving rise to my understanding that human and natural realms are entangled in fascinating, marvelous, multiple and necessary ways. The fact that we are dependent on creatures often seen as insignificant or totally ‘other,’ combines with my large-scale environmental concerns, themes that I explore in drawing and mixed media work. 

‘Spider Weather’ refers to the perfect combination of early morning light and fog that reveals a profusion of orb spider webs in the tangle and chaos of weedy plants in the fields near my home. My photographs of webs shining in morning light became raw material for these mixed media works. Drawings, cyanotypes and sewn stitches make connections to the spiders’ radial patterns. As we pay attention, the tangle and chaos of the natural world coalesce into marvelous systems of organization. 

I am an artist and educator who utilizes drawn and printed material, sculptural objects and installation to investigate the radical intricacies of queerness through a conceptual investigation of the social, cultural and psychological discourses that have affected its development.

I received my BFA from the University of New Mexico, an MA in Art Education from San Francisco State University and an MFA from the University of Iowa.

My primary media includes graphite and colored pencils, chosen because of their unique ability to capture detailed subtleties that I seek to emphasize in my subject matter.

I often select ubiquitous subjects and, with meticulous drawing techniques, show the mundane to be filled with wonder and complexity.

The intense focus and time required to produce these detailed drawings creates a meditative quality in the act of drawing itself, which in turn invites viewers to be subconsciously pulled into the drawings.

I live and work in Amsterdam, I was artist in residence at DRAWinternational in 2019.

In my drawing and performance I investigate the relationship between drawing, body and environment.

I create a moment for connection, in which I focus on personal contact, attentive presence and physical, sensitive involvement of myself and the audience. With a subtle pencil line, a gesture or look, I invite the audience to react. 

I was born in Brooklyn in 1963, where I still live and work. I graduated from Pace University with a B.S. in Art, but rather than follow a typical trajectory of graduate school, I enlisted in the U.S. navy. I served as a navy photographer aboard the aircraft carrier USS Theodore Roosevelt.

In the decades that followed, I worked as a photojournalist in various capacities at organizations that included The Virginian-Pilot, The Associated Press and NBC News. 

In 2018 I left the world of journalism to dedicate myself entirely to creating art. I began by working in a drawing book, exploring expressive lines, mostly without color. The fact that I never intended to show anyone the work in the book afforded me a complete freedom. 

The drawings in that book became the foundation to what I would do over the next few years. My artistic practice has always been closely linked to gestural line, so that’s where my interest began. 

How to go about making expressive marks that are removed from my own intention, but at the same time connect with something authentic within? 

I look into the faults and marks that human interaction leaves in nature, drawing microscopic universes that grow as highly detailed plants, into something akin to a small universe of cells, DNA or even possibly an infection.

With the Chernobyl nuclear disaster as a starting point, I analyze how humanity has intervened in biological processes and how they evolve or get destroyed.

For this, I look into the mutation of plant tissues and how it modifies the way we percieve the landscape.