My personal challenge is to express intriguing interpretations of the natural organisms that populate our planet, by combining diverse materials and multiple creative processes. I greatly enjoy working in that space place between reality and fantasy and allow myself the freedom to roam within it’s fluid parameters. Sometimes this results in a hyper realistic application, other times, I choose to work in a more expressionist version of my chosen subject. Each piece seems to speak it’s own needs as I work, so my prime vocation is to listen carefully and learn it’s particular language.
Polymer Clay Global Perspectives: Emerging Ideas and Techniques from 125 International Artists, by Cynthia Tinapple.
Contributing writer for The Polymer Arts magazine, Sage Bray- Editor in Chief
Featured Cover story artist- IMPACT! 2013 Winter
Contributing writer forFrom Polymer to Art Magazine, Marjon Donker, Saskia Veltenaar- Co-Editors
Contributing writer for Metal Clay Artist Magazine. Editor in Chief Jeannette Froese LeBlanc
Article-' Fashionably Late' Vol.5 Issue 3. 2014
Featured Cover story artist Vol. 5 issue 3. 2014 ' Donna Greenberg and Kathleen Nowak Tucci collaborate to make metal and polymer vessels'
POLYMER JOURNEYS -A Retrospective 2015 Editor Sage Bray
Polymer Art Projects- ORGANIC- Featured artist tutorial. Editor Sage Bray.
The Polymer Studio magazine- Contributing writer, Editor Sage Bray.
Upcoming 2019- Polymer Journeys 2-Featured artist in group retrospective
I discovered polymer in 2010 and have found it an ideal material suited to my aesthetics and tactile sensibilities. My background in painting, and ceramics has given me a great jumping off point into working with this very modern material as I continually discover new avenues when working with it. This collection is a result of a 10 year journey with the polymer medium and a 40 year practice as an artist and designer in multiple mediums.
When I am not in my studio convincing various materials to do my bidding, you can most often find me in the woods, the local marshlands or conversely, haunting the streets of nearby New York City. Standing in the reeds and saw grass on the nearby Hudson river, watching a heron while viewing the Statue of Liberty is a perfect example of the kind of contrast that I look for to translate into my art.