This site has recently been updated.  Organizing the work of many years is challenging, especially when it's based on a many-layered autobiographical story and a complex artistic process.  I hope new visitors will find it easy to navigate and interesting to learn more about my process.  For returning visitors, I hope you’ll enjoy the new format, but please feel free to contact me if you’re looking for information, images, or links from previously existing pages.  Everything is retrievable and I’ll be happy to help you find what you need.


Picture credits - Photographs: 

Process: Floating colors: images #1 and 2 by Amy Tamayo; #13, Emon Hassan (still from film “How to Draw a Human Heart”); all other photos, Peter Barton (stills from film “Visualizing Inner Space”)

Process: Drawing Anatomy: #1-3, Peter Barton (from film); #9, Laura Ferguson 

Process: Nerve Pathways: #5 and 7, Michael Cammer; #8, Emon Hassan (from film)

An Artist in the World of Medicine: #1, 2, and 5 by Alan Barnett and #4, 7, and 8 by Andrew Neary, both for the NYU School of Medicine; #3, 6, 9, and 10 by Emon Hassan (from film); gallery photograph, Silvia Curado

Artist bio: Emon Hassan (from film)


‘Neural network with floating colors #1’ (Nerve Pathways gallery) is based on a micrograph from Paul De Koninck Laboratory in Québec, Canada, used with the kind permission of Paul de Koninck 

‘Bone scaffolding (trabeculae)’ (Inner Space gallery) is based on micrographs by Dr. Alan Boyde of University College London, and used with his kind permission

Other images in the Inner Space gallery use micrographs of neurons from NYU's Virtual Microscope



I digitally scan my drawings and floating colors papers on a flatbed scanner; no photography is required.  


Anatomical sources:

I had two 3D spiral CT scans at NYULMC, thanks to radiologist Dr. Andrew Litt and with the generous assistance of Emilio Vega, now Director of the 3D Imaging Lab, and Philip Berman (for the 2000 scan) and Michael Bloom (2008 scan), Imaging Specialists. I have found their openness to and appreciation for the possibilities of artistic creativity in the medical setting to be remarkable, and I can’t thank them enough.  

The same is true for the many others who have shared their knowledge and helped me along the way. At the NYU School of Medicine I especially appreciate Dr. Felice Aull, Professor of Medical Humanities (now retired) and founding editor of the Literature, Arts & Medicine Database; and Katie Grogan and Dr. Allen Keller of the Master Scholars Program in Humanistic Medicine.  

I’ve learned so much from the professors in the Anatomy Lab – and from my students.  Special thanks go to George Lew for his help every week with Art & Anatomy class.  For their special dissections of spinal nerves, my student Mimi Liu and her Spine Lab colleague Dr. Vincent Challier; for great, detailed photographs of the dissections, Michael Cammer.  

For my 7-Tesla brain MRI in 2010, my thanks to Dr. Caitlin Hardy, then at NYU’s Center for Biomedical Imaging, for her patience and encouragement and especially for her recognition of the visual beauty of these MRI images. More about the exhibit she organized, 'Seeing Ourselves,' is in News & Exhibitions

At Weill Cornell Medical College, where I first got to draw in their Anatomy Lab from 2001 to 2005, my great thanks to Dr. Estomih Mtui and Charles Garrison.


And most especially:

For sharing, with total generosity, her deep and profound knowledge and insight, as well as her beautiful human skeleton and collection of bones, I thank my teacher, mentor, drawing partner and friend Irene Dowd ... a true artist of anatomy and the moving body. 

For his help and advice in turning my words and pictures into a website – and for so infinitely much more – ultimate thanks to Leo Ferguson.  

This list is very far from inclusive, and mostly acknowledges those whose help has been directly connected to this website and the visual images on it.  But I feel so thankful to so many more … and have struggled to find the right words to let them know how much their help and support and appreciation for my work has meant to me over the years.  Ultimately, making art is a labor of love and a gift from the artist to the world, and I’m grateful to each person who accepts the gift by responding to my work.  I can only hope that the work itself expresses all this better than my words.…