Thirty years ago I started my exploration of techniques and use of color both in printmaking and in painting. While first at the University of North Carolina at Greensboro and then at Washington University in St. Louis I learned printmaking techniques including lithography, block printing and etching and was later introduced to collagraphy. Coupled with an intensive curiosity about the printmaking techniques came a great interest in exploring spatial relationships and volume with my oil painting work.
My subject matter has tended toward still lives. My early work was predominately about pottery and reflections and their inter-relationships. These provided a good avenue to explore color and play with spatial relationships. Color is all important.
Over the past 15 years I have exhibited my work in numerous major cities and am included in many corporate collections. A sampling of the corporations that have purchased my work include: Allied Signal Corp., Cigna, Citicorp, Marriott Corp. and PepsiCo, Inc.
A monotype is produced by painting a picture or design on a flat surface of glass, plexiglass or metal, and transferring it onto a sheet of paper by means of pressure. More intimately connected to the original sketch than woodcut, etching or lithograph, it combines the spontaneous quality of a drawing, gouache or oil sketch with the magical impress of a fine print.
I became interested in the monotype based on my love of painting. It is the best of both worlds for me. I am able to combine printmaking and painting into one endeavor. Many of my monotypes are based on rural landscape photos taken by my sister, Kathryn Murray.