Printmaking was my primary medium in college. Studying at the University at Albany with Robert Cartmell in intaglio and Thom O’Connor in lithography, I made many prints that combined drawing from found photographs—especially group portraits—with texture and pattern. In some, I cut the etching plate so that embossed white rings would appear within the image, singling out individuals within the group. After I got my MFA in printmaking, it would be several years before I returned to the medium.
I was bitten by the stained-glass bug in Ed Cowley’s class, a welcome opportunity to make pretty, crafty, three-dimensional things. The quilt was a playful celebration of the end of my formal education, created in partnership with my mother, Roselyn Lohner.
Beginning with crayons and moving into encaustic, I experimented with pigmented wax to create images on rough surfaces. I embellished these portraits of friends with thick frames made of mixed materials that began to resemble sculptures.
Leaving images behind, I used secondhand and discarded furniture to make sculptures. Some were playful, some enigmatic.