Art history has always provided the impetus for my work. After a failed attempt in 1995 to visit the Vermeer exhibition at the National Gallery in Washington, D.C., (nine hours on the train to find the budget debates had closed the Gallery and other government buildings), I was determined to see as many of his paintings as possible.
From 1996 through the present, many visits to the Frick and the Metropolitan Museums in N. Y., a visit to the MFA in Boston, MA, several visits to the Louvre in Paris, FR, and a return visit to the National Gallery in D.C., have enabled me to view and to study many of the Vermeers in their collections.
In 1998, when Vermeer's unerring eye in the design and execution of each painting, his control of color, his passionate manner in the use of natural light, his genius in the use of perspective, and particularly the isolation and anonymity of his women, many of whom seemed imprisoned in the dark and claustrophobic rooms, continued to challenge me, my love affair with Vermeer began. In addition, earlier explorations of artists of the 20th century, whose works had excited me, encouraged the appropriation of related fragments of their works with those of Vermeer. I have been able to create new and psychologically complex narratives that introduce issues of mystery, surrealism, gender and humor, while respectfully paying homage to the artists whose works I have quoted.