Born in Seattle, 1943, and mostly grew up on Bainbridge Island. Studied at Currier and Ives "floor" school with an area of concentration in tall ships and horses. Around the age of 10, saw a real horse, and decided maybe Currier and Ives weren't so hot after all. Spent much of 6th and 7th grade (Mr. Guttebo's class) painting murals in the back of the room in lieu of school work. Sold first oil painting in 1964 to an encyclopedia salesman without having to buy his encyclopedias. Graduated California Polytechnic University in 1984 with a B.S. in Applied Art and Design. Moved to my current home on Lopez Island in 1990 to a little cabin in the woods, with two dogs, a cat, and a very large garden.

I've been drawing since I could hold a pencil. The major interest of my life have been art, literature, and the human condition.

Working in various mediums from oils to oil pastels to colored pencils, my intention is to convey, using humor and irony, my view of human interactions with themselves, each other, and the earth.

If people can relate, or see themselves in my work, or look at something with a different eye than before, then I am happy. My preference is for people to look at my work and chuckle - and then think.

Artist Interview:
My work may appear to be a bit off the wall because of the subject matter I like to explore. Sometimes while reading, or listening to music, or the news, or just observing people, pictures just leap into my mind and I have to put them down on paper or canvas.

Describe some of the process including your materials and tool selections, and why.

Depends on the medium really; colored pencils and pen and inks want to be tightly rendered, while mediums like oils and oil pastels want to be looser. An oil pastel I might just rub some colors on the paper, and then see what it wants to be. I use the colored pencils when a picture comes into my mind, I sketch it out in my work book, labeling colors, what I was thinking etc. and then work it up on large sheets of tissue. After reworking and even cutting and pasting things around until I get it just the way I see it, I overlay another tissue and do a tight rendering of the piece, and then redraw it onto heavy water color paper using transfer paper for the final rendering. While it's extremely time consuming, it is incredibly satisfying to me.

Are there any special processes you employ that are uniquely yours by discovery?

I like to use many colors on top of each other, burnishing them to a high sheen in between each layer, so that ultimately, it ends up the same as an encaustic work, since colored pencils consist of wax and pigments melted together from the friction of being rubbed on the paper. The intense colors are extremely long lasting and do not fade with time as do other mediums.

How is your art form different now from when you began or from your last shift that brought you into the present with the work you currently do?

When I began painting seriously in the early '60's, I did not have the techniques or knowledge necessary to translate what i saw in my mind to the canvas. It was frustrating, even though the work was acceptable to others. It was years of experimenting and studying before I was able to paint my mind. Working in different mediums all the time keeps them fresh for me, and I'm never at a loss for things to say. The challenge is exploring different ways to express those ideas in the work.

Perhaps you have a prefrence about where or how you work that you'd like to share?

I have to work alone, and in long uninterrupted stretches of time, which I seem to only be able to find at night. I love the special kind of quiet that happens with the darkness outside...not as quiet as a blanket of snow, but still.....still. Besides, I can't stand to be indoors during daylight hours!

What are you working on now and what are those influences or inspirations? Do you see your work moving into a new form of what you have been doing, and what stage are you in with that processs now?
I've been moving in a more graphic direction this last year, working on a series of large format "favorite small things" - things that have functional form and design that please both my eye and mind. Marbles, buttons. paperclips...giving the audience a break from my normal political raving and ranting.

Mentoring and Teaching
I have had the pleasure of mentoring a number of young artists, and am always open to it. These young artists' enthusiasm and idealism is inspiring, and it's a joy to watch them blossom and come into their own. So many have mentored me over the years that I feel thankful to be able to pass the encouragement on.

Although I do not offer classes on a regular basis, I've taught several "visiting artist" classes at the Lopez High School, and from time to time have taught individual students.

Gallery Showing and Representation
My work has been shown in California, and since moving home to the Northwest, at one woman shows in Bellingham, San Juan Island, and Lopez Island. The work has been shown in over twenty shows, and has been published in several publications and books. I am a member of the Annual Lopez Island Studio Tour, and am currently represented by Gallery 10 on Lopez Island. My work is also on display at the Lambiel Museum on Orcas Island.

Gallery 10: Lopez Island
Phone: 360.468.4910

Holiday Greeting Cards
Currently for the 2005 holiday season there are four card selections available. The cards are 4 1/4" x 5 1/2" and envelopes are included, $3. each & 5 for $12.50. Place your order by phoning Kate or by email and she will mail out your order in time for the holiday card season.

Card ordering
Phone: 360.468.3837