The magic and power of altars, walls, and artifacts have been one of my key influences in the making of art. Although very secular, my work has always delved into the mystery of the invisible energy and potency created by these objects in our lives.

 My first solo show in San Francisco consisted of large multilayers of transparent materials incorporating paint and plastic. They were “7-foot banners of Magic”.

After my travels to Egypt and Lamu, I was inspired by the power and beauty of ancient walls.  I created a series of plaster on large canvases, “The Wall Series,” after traveling in China in 1980. When in China, I felt the influence of the worship of old money and of fading politicians who led millions of people and held a mysterious power over people’s lives. My Mao pieces represent this.

I collected Chinese medicine papers and old money for their beauty and the influence they had.  These were incorporated into my collages.

After working with the fragility of paper for a number of years, I wanted to change into denser materials. I produced an extensive series of lightweight concrete pieces that could be placed outside or inside. They were like ancient artifacts with symbols of my creation.

In the 70s, when black holes were discovered,  I became obsessed with them because they represented the ultimate mystery and power of our known universe. The circle became dominant.  I was not interested in figurative art and of humans who only exist for a flicker of time. The unknown of the cosmos and its infinity propelled my interest in painting it. The “Dark Cosmos series” dealt with the wonder of that mystery, and my fascination with various concepts: gravitational forces of a black hole, the possibilities of multiple universes, string theory, Super Novas, and the death of stars–all became a source of wonder to me.

I  had a number of solo shows and was purchased by many collectors, museums, and institutions, and received a number of laudatory reviews. However, after years of intense work, I needed to leave the solitude of working alone in my studio. I pursued other interests that had not been explored. Rescuing animals gave me a powerful emotional payoff.  I needed to be free of the commercial pressures in the art world, but kept my creative life and continued to paint.

At age 80, I viewed the amazing photographs produced by the powerful new telescopes, which presented the vision of exquisite nurseries where stars were born. This propelled me to focus on my art again. The “Birth of Stars” series began and is still being produced. Stars are born and die.

Now in my mid-80s, I’m experiencing my own supernova time of intense activity. I am painting many new pieces, with an awareness of my imminent extinction and entry into my own black hole, but with no universe on the other side. I’m producing many new works and ready to show them to the world again.