Having graduated from art school in 1977, I moved to New York and found employment as an archivist and printer at Tatyana Grosman’s legendary atelier, Universal Limited Art Editions (ULAE). The general milieu, and working with such notable artists as Jasper Johns, Robert Rauschenberg, and James Rosenquist, gave me a heightened perception of my surroundings, seemingly putting art at the center of the world.
Seven years later, I left to devote myself to my own work. My exploring of abstract art at first seemed to promise a language of gesture that offered infinite possibilities, but that soon turned out not to be true. Gradually, looking for some further connection that I wasn’t finding in the art I was familiar with, I became involved in human rights issues centering on the Muslim world, initially kindled by spending several months in East Africa, and later from visits to Tunisia, Palestine, Morocco, Turkey and Iran.
Eventually I found that combining my art with these concerns became the key. My recent work, using as source material images of the aftermath of bombings, tunnels used to smuggle into Gaza, and other scenes outside of American visual experiences, has been immensely satisfying to create.