This work came about from a desire to examine relationships in a wordless way. Rummaging around in a space beyond language I found pictures of people, birds and animals that appeared to speak to one another.  As I assembled my subjects together I noticed that each had a picture of a man or a boy in the foreground. The connections I discovered were curious, and sometimes surprising.  Making stained glass is technically challenging. The process is absorbing and tends to shut down mental chatter. The sensual and tactile qualities of glass and paint provide a perfect counterpoint to thinking.  I started cutting and painting glass without completing the drawings. Somehow, my compositions resolved themselves along the way. Menfolk grew into a series of observations about ‘maleness’.  My stained glass subjects are now fixed into long-term relationships.  Together forever.
  All Utopias Fell : a collaboration with Michael Oatman at MASS MoCA  This 102 x 50cm leaded stained glass panel is the translation of a collage by New York artist Michael Oatman into a window for an Airstream trailer.  Installed into the front window of the caravan, the stained glass was made as a gift to a fictitious 1970’s amateur astronaut who transformed the 30 foot long camper into a homemade satellite.  The Airstream, with it’s 39ft wing span and six photovoltaic panels, is part of Oatman’s permanent art installation  All Utopias Fell  that opened October 2010 at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts.  Read  Art New England interview  with artist Michael Oatman about this project.  Photo: Art Evans
  Jesus Stills the Storm  2002  Stained glass window in situ. Stained glass window, 25ft x 5ft (upper scene),  Marble Collegiate Church, corner 5th Ave & 29th Street, Manhattan. To visit, call for hours (212) 686-2770
  The Sorrowful Mysteries of the Rosary  St Henry, Nashville: 42x60 inches Photo: Kats Barry