LOVE (in the time of Covid-19)

As I sit at home, hoping everyone I know is healthy and safe, I’ve taken some time to revisit, via my photos, places near and far that I’ve traveled to over the years.

What amazes me, during this time of “social distancing” and “sheltering in place” is that regardless of where I travel I am drawn to markets and groups of people engaged in activities of daily life. So much has changed. Looking at these pictures is distressing but, in a way, hopeful. Maybe, when the time comes to “gather” again we will remember that we are a social species and welcome being physically present with friends and strangers.

Meanwhile, why wait until next Valentine’s Day to express your love? The time is now! In that spirit “I give you love, love, love, love, crazy love.” (Van Morrison, paraphrased)

Here are some of my pictures expressing the many dimensions of LOVE. I hope they lift your spirits, make you smile and put on your dancing shoes.

Rodeo Pals, Texas

Ranch, Argentina

Ennis, Texas

Rome, Italy

Cherry Blossom Time, Japan

Ride Sharing, India

Making Music, India

Tango, Buenos Aires

Heartfelt, Texas

Friends, Chile, Argentina

Kids, Calafate, Argentina

Kids, Siglo, Iceland

Getting Ready, Boston

Prom, Dallas

Taking A Ride, Zagreb

May I?

Have HeART

Love Locks, Copenhagen

From Dubrovnik With Love

Blow A Kiss, Vietman

Grapevine, Texas

“If somebody says something beautiful to you, you can remember it forever.” (Janet McTeer, actress)












Ghostly Impressions

I continue to explore the art of collage on suminagashi, marbled paper. In this series, called “Ghostly Impressions”, the collage incorporates a photograph and sun print in addition to areas of monotype and found paper.

The photo is one of many I’ve taken of “remainders” or “ghosts” on old buildings. They often indicate what company owned or leased the building. It’s a nice reminder of the past, which I want to capture. Faded, yes, but still hanging around although maybe, not for long.

The images on the sun print paper appear, like magic, after the paper is washed off. Kids love the process. I do, too! Like the signs on buildings, these images have a “ghostly” appearance.

There are a number of steps in constructing the layers of the collage.

First, the marbled paper is made using special inks, which float on the water in a tray. I swirl the ink into patterns. The paper is laid down on top of the water (carefully!) and lifted off (very carefully!) to reveal the pattern. This technique is old news to those of you who have been following my blog.

Here is what the marbled paper looks like, ready for collage.

Suminagashi marbled paper

Next, using my etching press, I add inked items to create a monotype on the marbled paper which I have dampened. It looks like this.

#1361 Fancy That

I have the ghost sign photo and the sun print ready. I adhere them to the monotype on marbled paper.

#1361 Fancy That

The last layer consists of shapes cut from found paper (i.e. magazines, other ephemera), my discarded prints and cut out marbled paper. Finished!

#1361 Fancy That   collage w. photo, sun print on suminagashi marbled paper, 22×30″ 2019

#1361 Fancy That – Detail

Here is another, partially completed. # 1365 “Layer Up”

#1365 Layer Up

Here it is finished!

#1365 Layer Up  collage w. photo, sun print on suminagashi marbled paper, 22×30 2019

I’ll be posting more from the series on my website soon. Stay tuned!

Meanwhile, check out the previous group of prints + sun prints under New Work at

The Emerald Isle

Ireland is, indeed, the emerald isle, as in green, lots of it. Rain will do that. We might have had a bit of Irish luck with us as hubby, Stan, was born on St. Patrick’s Day (March 17th). On our two weeks tripping around Ireland (the Republic of) with Odysseys Unlimited we had mostly sunny days. It was a gift, since we spent much of our time outdoors.


We covered a lot of territory, starting and ending in Dublin. From Dublin we went due west to Galway, explored the rugged Connemara region, then grabbed a ferry to Inishmore, the largest of the Aran Islands in the Atlantic Ocean. Back on land we rode along the coastline to Killarney through the Burren, an area of spectacular scenery. We made our way around the Ring of Kerry in the southern part of Ireland and up to Kilkenny, our last stop before heading back to Dublin.

It’s a country rich in tradition with proud people who have experienced great hardship through the centuries. We saw a lot, did a lot and spoke to a number of people to get a sense of what their lives are like today. Today’s Ireland is very different from the Ireland of our first trip many years ago. The following impressions just skim the surface of our trip.

If you think there are a lot of pubs in Ireland, you’re right! I won’t say the Irish drink morning, noon and night, but they certainly like their pint(s) at noon and night. The pub is a gathering place rain or shine. Music makes for a jolly, good time.




This bride and her bridesmaids (the “hens’) were celebrating the upcoming wedding in great form.


We weren’t the only ones at lunch in Murphy’s Bar on the Ring of Kerry. These wedding guests were enjoying themselves at a pre-wedding celebration. I especially liked the woman wearing a hat.


More towns, more pubs.



This pub was ready for anyone who wanted a glass of Irish Coffee (watched over by Jack and Jackie).


Serendipitous moments come to those who walk a city (us). A shopping arcade with an installation of colorful umbrellas was the perfect sight on a sunny day.


Here are a few more “moments.”

A mural on a hotel façade.


A lone walker on a narrow side street.


An extraordinary installation across two buildings in a passageway in Dublin.


From place to place water, rocky pastures and cliffs were abundant.




Cliffs of Moher

Cliffs of Moher

Ring of Kerry

And, an occasional craftsman.

Ring of Kerry

We did not lack for castles, abbeys, and medieval ruins (Rock of Cashel) with a 6th c. monastic site (Clonmacnoise) thrown in for good measure. These are part of Ireland’s history, after all.

Blarney Castle

Kilkenny Castle

Kylemore Abbey

Rock of Cashel

Rock of Cashel

Rock of Cashel



Ireland is a small country, about as big as Indiana (U.S.) ,with only about 4.7 million people (emigration seems to have stabilized). Its friendly people, beautiful scenery, ancient sites and walkable cities make Ireland a country to put on your bucket list.

I’ll end with these lovely Irish sayings:

May your day be touched with a bit of Irish luck, brightened by a song in your heart, and warmed by smiles from the people you love.

A good laugh and a long sleep are the two best cures.

Prints, Prints, Prints

My newest group of prints is like a trifecta. In horse racing terms a trifecta is a bet placed for first, second and third place. While I’m not a betting person (generally) I thought about the word as I was assembling these prints.

Here’s how it went.

I printed the top monotype first with some additional monotype elements scattered about. Next, I printed the solar plate etching(s) at the bottom. The space in between was saved for a sun print. That was my first, second and third place print assembly. Finally, I added a few more collage elements. The paper size is 30″x22.”

The monotype is a single print from a plate (plexiglass or metal), in this case, metal. The solar plate etching is made using the sun or a light box as a light source to “etch” the image drawn or painted on a coated plate, thus eliminating the use of toxic chemicals. The sun print is also “solar.” Materials are placed on a light sensitive paper, which is exposed to the sun and rinsed off. The image looks like a cyanotype, but no chemicals are used to print the image.

Here are a few prints from this series.

First, the sun print from #1355 “Take Nothing For Granted.”

#1355 Take Nothing For Granted

Next, the entire print, monotype on top, sun print in the middle, solar plate etching on the bottom, plus some collage.

#1355 Take Nothing For Granted


Here is #1357 “Resonance.” There are two solar plate etchings combined in this print.

#1357 Resonance

And, the sun print from “Resonance.”

#1357 Resonance

This is #1358 “Life In The Fast Lane” followed by its sun print.

#1358 Life In The Fast Lane

#1358 Life In The Fast Lane

And, a detail of “Life In The Fast Lane.”

#1358 Life In The Fast Lane

There you have it! My print trifecta!

The entire series will be up on my website soon. Stay tuned!


Bauhaus at 100

A trip to Germany with the Davis Museum of Art at Wellesley College included a tour of the Bauhaus in Dessau. It was an opportunity to see, in person, this important icon of 20th century architecture and design.

A (very) brief history. In 1919, one hundred years ago, Walter Gropius founded the Bauhaus in Weimar, Germany. The design aesthetic was lean and spare. It would influence modern design for years to come, 100 for sure. The Bauhaus was a school where designers, architects, painters, sculptors and craftsmen taught and built items. Paul Klee and Wassily Kandinsky worked there.

Nazi interference in 1924 made Gropius move the school to Dessau, a city southwest of Berlin. There, he built a campus consisting of the main building, a director’s house and three masters’ houses.

I’ve tried to capture some of the Bauhaus aesthetic like the exterior glass curtain-wall of the main building.

Bauhaus – Main Building

Bauhaus-Main Building

Bauhaus – Main Building

Bauhaus – Main Building

Construction details and color are all strikingly modern.

Bauhaus – Main Building

Bauhaus – Main Building

Bauhaus – Main Building

Bauhaus – Main Building

Bauhaus – Main Building


Furniture was constructed with tubular arms and legs. Door pulls were simple and unadorned.

Bauhaus – Main Building Auditorium Seats

Bauhaus – Main Building Door Detail


Rain-washed cement sidewalks seemed compatible with the tiny balconies.

Bauhaus – Main Building Balconies


The director’s house is a freestanding building. There are also three identical semi-detached houses for the masters. They are white stucco cubic structures designed by Gropius. They are modular with mirrored and rotated floor plans for variety. In the unadorned rooms light from windows, high and low, plays along the walls giving them an almost abstract quality as they intersect one another.


Master’s House

Master’s House

Master’s House

Master’s House

Master’s House


We take for granted much of what Gropius and his followers did to change the nature of design and architecture. What will the next hundred years look like?



The Haiku Project Continues

Seven seemed like a good number for the Haiku Collage series. At least for the time being. Before moving on to something else I thought I would publish a blog with the collages completed since the first few described in “The Haiku Project” – December 2018.

If you remember, the project grew out of a desire to combine, as collage, my cut up prints and found paper with stenciled and cut paper words from haiku poems sent to me by friends. The collage was assembled on marbled paper that I made using the suminagashi technique (Japanese). To refresh your memory about the process of layering in making the collage go to December 2018 in the Archives at the side of the blog.

Here are the new haikus, each followed by the completed collage.

# 1349 Alice’s Haiku

In the library

For fifteen minutes or less

No charge for parking

Alice’s Haiku

Alice’s Haiku – detail

# 1350 Faye’s Haiku

Butterflies in flight

Light as air like free spirits

Spreading joy to all

Faye’s Haiku

Faye’s Haiku – detail

# 1351 Todd’s Haiku

The open dog park

Never the same love again

Without your loved ones

Todd’s Haiku

Todd’s Haiku – detail

# 1352 Kathleen’s Haiku


Comfort comes in many forms

Sit back let it in

Kathleen’s Haiku

If Walls Could Talk

On an art-focused trip to Germany with the Davis Museum at Wellesley College we visited the Boros Collection (known as Sammlung Boros) in Berlin. From 1990 to the present Christian Boros and his wife have amassed a large collection of contemporary art, including site-specific works. The art is housed in a converted bunker, which was originally built as an air raid shelter for civilians in 1942. It had many uses until purchased by Boros in 2003. It opened to the public in 2008 and is available for small group tours, which must be booked in advance.

As I went from room to room looking at the art on display my eyes wandered over the spaces themselves. I was drawn to the marks and writing on the walls, floors and ceilings. Here and there were remnants of color on mostly drab beige or gray walls. Large swaths of peeling color remained on some walls. There were arrows pointing in different directions and cautionary words. Doors, scraped and scratched, seemed foreboding, revealing spaces beyond. Some walls had things attached purpose unknown.

How many people stayed in these “rooms?” For how long? What would we hear if “walls could talk?”

Here is a selection of photos, in no particular order, from my wandering eyes.




The Haiku Project

In a previous blog, “S” Is For Suminagashi, I described suminagashi as follows:

“Suminagashi is a Japanese marbling technique using special pigment inks. These inks are gently tapped on the surface of water in a tray with fine brushes. The movement of the water and my intervention moves the inks around creating swirls and ripples. The inks are intense but they appear pale and indistinct floating on the water. The magic occurs when the paper is laid on the water and lifted off. The marbled pattern appears!”

Suminagashi literally means “ink-floating.”

I wrote about how I used the marbled paper I made as the basis for collage, recycling pieces of prints (mine) and found paper to create a design where line, shape, color and texture work in tandem with the ebb and flow of the marbling, moving with it and against it across the paper.

I  wanted to do a project using haiku poetry in my work. Haiku is a form of Japanese poetry traditionally comprised of seventeen syllables in un-rhymed lines of five, seven and five syllables. Contemporary poets change that up a little using different numbers of syllables.. Haiku poems typically evoke an impression or feeling having to do with nature. Again, contemporary versions may stray from this strict definition and turn inward to express something more personal.

I took me a while to realize that combining a haiku with collage on suminagashi marbled paper was what I was looking for. And so, the Haiku Project was born. I reached out to you, my readers, requesting original haikus. You write the poem, I’ll use it in my art and credit you by using your first name in the title i.e. “Brad’s Haiku.” You responded, generously, sending me beautiful poems.

The collage is built in layers beginning with the marbled paper.

Brad’s Haiku

Next, I write the haiku using stencils with pencil and pastels in a pattern of movement that complements the flow of the marbling.

Dave’s Haiku


The cut paper collage elements are next. Here is a detail at that stage.

Dave’s Haiku-detail

Last, the cut out letters (from print scraps) are overlaid on the previously stenciled letters. Still with me? A completed collage looks like this.

Dave’s Haiku

Here are the words for “Brad’s Haiku”, cut from print scraps, which will be the final layer in the collage. Yes, it takes good eyes and steady hands to cut and glue them.

Brad’s Haiku


Here is “Brad’s Haiku” with stenciled letters and collage.

Brad’s Haiku

Here is the completed “Brad’s Haiku.”

Brad’s Haiku

And a detail.

Brad’s Haiku-detail

Here is the completed “Marla’s Haiku.”

Marla’s Haiku

My work table!

Work Table

Work Table

Here are the haiku poems in the collages.

“Dave’s Haiku”

winter vacancy

unnoticed till filled by a

red-winged blackbird trill


“Brad’s Haiku”

cold dark hotel room

in the middle of Charlotte

wishing I were home


“Marla’s Haiku”

darkness in daytime fire

spews round the blackened orb

shining sun returns

For me, it’s poetry in motion. Let me know what you think or feel and do send a haiku if you haven’t already.

To be continued.



Close Encounters

The difference between an “encounter” and a “close encounter” may be subtle. For me, a close encounter usually means either feeling like I’m part of the scene or being closer to the person, place or thing, maybe getting ready to chat with someone.

Pushkar Fair, India

Sometimes close, but just observing.

Pushkar Fair, India


Prom Night, Dallas

Sometimes really close, but no chatting!


Being close to or part of the action can be scary, like crossing a street in Hanoi.

Hanoi, Vietnam

Or it can take me by surprise and make me chuckle.

Hanoi, Vietnam


When the light is just right and I am close to something inside or outside there is a moment in time when something special happens.

Frederiksborg Castle, Denmark

E. Grieg’s House, Norway

Daisnibba Mountain, Norway

Getting close makes me more aware of shapes, textures and colors.

Sedona, AZ

Breckenridge, CO


Marfa, TX

Gate, Eldorado Springs, CO

Frederiksborg Castle, Denmark

Dallas, TX

Art, especially sculpture, can alter one’s perception the closer one gets. Size and scale change. Color perception changes.

Ivan Navarro

Buddha-Lin Yonggang

Juan Fontanive

Roni Horn

Infinity Mirror Room, Yayoi Kusama

I can be inside, close to a window, and get a sense of what’s outside.

Bergen, Norway

Or, I can move close to something outside that is striking in its own right.

Loen, Norway


Sometimes there’s a barrier, so almost close is close enough.


Here are the Close Encounters photos you sent me.

Bruce Schlein

Daniel Feld-Banff

Diane deMoye

Marla Shainman – Martinique

Thank you for sharing. I hope you continue to look “closely.”

Heart to Heart


“S Is For Suminagashi


I have been working on a series on paper combining Suminagashi marbling and collage. Suminagashi is a Japanese marbling technique using special pigment inks. These inks are gently tapped on the surface of water in a tray with fine brushes. The movement of the water and my intervention moves the inks around creating swirls and ripples. The inks are intense but they appear pale and indistinct floating on the water. The magic occurs when the paper is laid on the water and lifted off. The marbled pattern appears!

I’ve often said I love the unpredictability of printmaking. Suminagashi marbling takes unpredictability to a whole new level.

The collage elements are applied to the dried marbled paper. Like all of my collages there is a combination of my recycled prints and found paper. The colors, shapes and design of the collage work in tandem with the marbling.

To give you an idea of the process from start to finish here is what the marbled paper looks like.

Suminagashi Suite 2 marbled paper

Little by little, collage elements are applied.

Suminagashi Suite 2 in progress

The finished piece!

Suminagashi Suite 2, marbled paper with collage 22×30″ 2017-18

Here is another sequence.

Suminagashi Suite 4 marbled paper

Suminagashi Suite 4 in progress

Suminagashi Suite 4, marbled paper with collage 22×30″ 2017-18

Here are several other finished collages.

Suminagashi Suite 3, marbled paper with collage 22×30″ 2017-18

Suminagashi Suite 5, marbled paper with collage 30×22″ 2017-18

Suminagashi Suite 7, marbled paper with collage 30×22″ 2017-18

To be continued!