I use two bedrooms as studios, and I pack-rat all the good stuff from discarded pictures in bins and boxes to use as needed in new collages. There are also two distinct currents in my works, the figurative pieces in which there are recognizable objects and creatures, and the non-representational pieces, in which there are, at least ostensibly, none. In the first, a story is often implied amid vivid colors and rhythms; in the second, colors and rhythms are the story. Standing to one side of a crowd of faces and figures, “Woman in a Corner" casts a powerful spell over her companions. In contrast, the kaleidoscopic shapes in "But Can You Dance To It?" is all about the molten rock’n’roll of colors and shapes that we witness, almost without seeing them, as they flit past us every day.