My artwork is taken from life, preferably in it’s more pleasant forms. The sufferings and anguish of humanity I leave to my more political and socially conscious friends. I prefer absorbing myself in the humorous and comforting aspects of our existence.

For instance, don’t we all think that city buildings should serve the purposes of us, the people? I like to show them doing this: the tenements being a warm center of many different human concerns, the Flat Iron Building with a muddle of people rushing around it’s ankles, the ConEd Building with a stack of other buildings not so elegant and also buses and cars swarming all around. Buildings have their own personalities, too. Some rise in dignity above their neighbors, others huddle close to earth . . .

I like mother-child themes. I think there is humor in seeing two generations so totally removed from each other in outlook and time, yet so closely allied by blood and family and custom. All the familiar push-pulls come into play and I try to show these sometimes difficult situations of a mother with her child in a sympathetic light.

For a while I sculpted groups of three -- three equal peers, three gossiping pots, three drug dealers. Here there is an equality of standing yet each individual is so different. I try to create a spirit of intensity of purpose in a group, each member bouncing his personality off the other two.

Now I am painting again -- flower paintings. I find these same human characteristics and relationships in flowers. Some flowers go together very well, some do not. Often they give me the impression they want to get clean out of the arrangement they find themselves in. I try to show in flowers the same personality differences that I see in humans and buildings, that I see in life all around me.

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