2007
Detroit to NY 1
flashe and acrylic on paper
2007
22 x 22
Available
Detroit to NY 2
flashe and acrylic on paper
2007
22 x 22
Available
Detroit to NY 3
flashe and acrylic on paper
2007
22 x 22
Available
Day For Night
flashe and acrylic on paper
2007
11 x 22
(from Day For Night)
SOLD
400 Blows
flashe and acrylic on paper
2007
11 x 22
(from The 400 Blows)
SOLD
400 Blows 2
flashe and acrylic on paper
2007
11 x 22
(from The 400 Blows)
SOLD
Battle
SIlkscreen on Paper
2007
12 x 18
(from Battle of Algiers)
Available
Broken Leg
flashe and acrylic on canvas
2007
20 x 24
(from a photo of Paris Hilton)
SOLD
Picnic
flashe and acrylic on canvas
2007
54 x 58 in
From a found photograph I have had for a long time. I don’t know who the people are or where they are, but the
image reminds me of picnics I had with my family when we went to New York for a few weeks in the summers as I
was growing up. In New York, where my mom grew up, my sister, my mom and I would vacation with my grandparents
and great grandparents. The multi-generational aspect was often brought to my attention, and I often
felt just like one more iteration of our existing family. My great grandmother Evelyn was English and married
my great grandfather after he divorced his fi rst wife, my grandmother’s mother. He had since passed and I never
met him, but she still socialized with my Grandmother and Grandfather, who separately moved to the United
States from France in the 1930’s and found each other in New York City.
Dinner Affair
flashe and acrylic on paper
2007
10 x 12
(from An Affair To Remember)
Available
I Already Spotted Her Last Night
flashe and acrylic on canvas
2007
12 x 14
from 8 1/2, 1963
Director: Federico Fellini
Cinematographer: Gianni Di Venanzo
In 8 ½, the main character, Guido Anselmi, a lm director, lacks inspiration to create new lms and rests at a spa
where he re ects on his life. (Guido is loosely based on 8 1/2 ‘s director, Fellini.) At the spa, the producer and
production crew he has committed to doing a science fi ction fi lm harass him. To escape, he fantasizes about
women he has known in past relationships. At the spa, his mistress Carla and his wife Luisa visit him. Guido is
shown in this painting with his wife Luisa and her best friend Rosella who watch his mistress Carla arrive at the
same café. Luisa says “Don’t fret. I’d already spotted her last night when I got in.” At this moment Guido, with
the help of Luisa and Rosella, transitions into a fantasy scene where all of the women from his life are together
as a sort of harem. It seems Fellini is working out all of his issues with women in this lm by reliving his experiences
and bringing them all together. After this re ective exercise he is even more unable to create calls o the
project entirely at a press conference. In a fantasy towards the end, he commits suicide and nally feels free of
his self-doubt. He then fantasizes about himself as a schoolboy who leads a band of clowns with a flute. All of
the people Guido has know throughout his life follow him and join hands in a circle. I love that dreams become
the reality in this film instead of just being put into words.
Now I Know Why Cleopatra Killed Herself
flashe and acrylic on canvas
2007
18 x 24
from The River, 1951
Director: Jean Renoir
Cinematographer: Claude Renoir
The visual beauty of this fi lm struck me more than most others. Jean Renoir, the son of impressionist
painter Pierre-Auguste Renoir, directed it. Each frame is its own work of art. The color is amazing
throughout the film. An English family living in India with 4 daughters and one son are visited by
veteran Captain John, cousin of a family friend Mr. John, who has lost a leg in World War II. He meets the
family while the oldest daughter Harriet and her friend Valerie are coming of age and become rivals for
the attention of Captain John. This shot is where Harriet claims “Now I know why Cleopatra killed herself”
after Valerie steals Harriet’s diary in front of Captain John, embarrassing her. In the rivalry for Captain
John, the bookish Harriet claims she will get her fi rst kiss, but the more glamorous Valerie gets the rst
kiss instead, while Harriet and Melanie, the half Indian daughter of Mr. John, watch. Valerie becomes
dazed and retrospective after the kiss claiming “it is going,” citing her innocence, inferring her and her
friends are losing their childhood innocence and she is saddened to see it disappear.
Wine Bottles
flashe and acrylic on canvas
2007
20 x 24
SOLD
Transferrence
flashe and acrylic on canvas
2007
32 x 48
Available
Assistance
flashe and acrylic on canvas
2007
50 x 50
(from Girl's Town)
SOLD
Stopmotion
SIlkscreen on Paper
2007
10 x 12
Available
Pink Blanket Picnic
flashe and acrylic on paper
2007
20 x 24
Available