Being raised in a family of lawyers, art was considered a trivial pastime as something that is lovely to look at, but of no real value in the world. Even though I played the rebel role as the middle child of six, it was not until after my 40th year that I finally submitted to art's custody of me. As a result of my upbringing, resistance was strong. I had to set aside allotments of times to delve into art and hold myself to them. After a number of months, the power that had worked so effectively to keep me away from art for so long, now embraced me and in doing so, took me over.

In some ways I followed the role of my mother, living outside the box, she being the first woman judge in Vermont, though my path took me in a much different direction. In my younger years I ran a number of businesses, built my own log cabin, worked with autistic and otherly challenged children while raising my own three as a single parent. Upon getting my degree in psychology at a later age, I realized that art was the draw that I needed to listen to, it was then that I began to sculpt in earnest.

Beginning as a figurative sculptor, my work evolved into the organic forms that they are now. In the process, the media I used also moved from bronze, to glass, ending with the sensuous cement I work with now. By introducing aerated cement, a building material, into the art world as a serious medium and through creating original patina formulas, my art has morphed into a more elemental form. For me, it holds more clearly the essence of things.

In creating abstractly, I continue to find more freedom in my work as it does not require directive knowledge. With it, sometimes I begin a piece only knowing that a certain shape or movement stirs me deeply. Many times I am not aware of the totality of the piece, nor where I am traveling to, until I arrive. Acting as a conduit it enables me to travel into uncharted territory. I am within the process of the sculpture rather than the process of the sculpture being within me. Full enclosure and unadulterated expression is granted so there is no need for figuring out why. In sculpting I have found a perfectly imperfect form of total expression. The art as it exists, is reason enough for it to be.

Sculpting is my voice, the naked breath with which I place my inner realm on display for all to hear. Bringing me to a place that I would not otherwise travel, I find tranquility amongst the questions and the choices. Articulating in form solves the questions raised and I need only to look at the piece to find the answers. Each time I view it, the sculpture expounds upon the fundamental essence of the inquiry.

Sculpting gives me voice, aligns me with my path and brings me home.