It has been very liberating to me to do this
series of paintings of Great Women of the Past.
So many of them were well known artists.
It enabled me to view myself as the natural
continuation of a long line of women artists.
 Even though the sales have been spotty and I have a hard time
finding a "fit" with a gallery. I seem to have the painting disease
and it is probably terminal. Right as of this time, the images
l'm working on are inspired by the Goddesses of the neolithic.
 Since 1977, I have been sculpting a series of small female figures.
 I call myself a feminist, and I have always been identified
as such in my professional, public, and private life.
 My art work has gone through phases when
it is sharply focused on gender representations
and other times when other concerns predominate.
The "feminist" work is informed by formalist concerns,
the "formalist" work is enriched by a feminist subtext,
a critical turn of mind.
 I decided to pursue my interests in healing and the
spiritual aspects of life, as well as continue to try
to make art that was true to my spirit and my self.
 The concerns of my work have always been with the body
and our complex relationship to our embodiedness. Currently, I'm researching
and doing installations about the new assisted reproductive technologies
and the way in which they have impact on the representation and
experience of the body.
 As an artist, I always wanted to bring my personal experience
of living in a female body, my personal connection to that
marginalized reality, and my gendered understanding of art history,
into high art, in as intact a condition as possible. As a teacher,
I've wanted to liberate women art students from a variety of
impediments placed in their way, and, often, in their own minds,
by patriarchal institutions.
 I have always been aware of women in art, and as I pursue my series, "Artists' Hands",
photographing the hands of professional artists, I make a point of seeking out
those women from the feminist program still working in the arts.