“My art education was as a printmaker and included the traditional steps through woodcut, serigraph, lithography, and etching. In 1973, I participated in NYC’s Ten Downtown as a printmaker. I had the use of a Charles Brand Etching Press—first in my building and, later, in my own Gansevoort Street loft. But as a printmaker who loved color, I found myself making multiple Artist Proofs instead of printing editions. At a certain point my love of color overshadowed my love of the printmaking process. I decided in the mid-1970s to concentrate solely on painting—a much more direct medium.”