My figurative work evolved from my work in animation. Having broken down the action of movement into its parts to create movement in subsequent single frames, I tended to see the figure as dynamics that I could express through a relationship of lines.
After work on stop frame animation in clay with James Robbins “Bob” Gardiner, I decided I would try to express motion simply with color and line. I found that the curve of a line and the juxtaposing of curves was a simple language to communicate actions, sequence, bodies in motion. So I pursued the compositions and color that became the basis of my work for around ten years, from 1975-1985.
When I would participate in a figure drawing class, I would position straight and curved lines to summarize the relationships and dynamics of the figure rather that the contours and volumes of flesh. I enjoyed this rather mechanical method and later found fellowship as I discovered that the Russian Avant Garde of the early twentieth century excelled at similar forms of drawing. (see Liubov Popova)