Art elevates us. Art is essential to the human soul. Art is relevant, important, and transcendent in nature. Art sustains and nourishes our spirit and essence. With art we are inspired, without art we merely exist.”



Formerly a NY lawyer and law librarian professor, with an MFA from the NY Academy of Art, I am now an award-winning Miami artist, who exhibits locally and internationally in different venues, including art fairs, galleries, government institutions and museums. I am a former board member of ArtsUnited and a member in good standing with ArtsUnited, the Broward Art Guild, and the National League of American Pen Women – National and Fort Lauderdale Chapters. I also support various charitable organizations, most recently Stonewall Museum, OurFund, SFGN, Children’s Diagnostic Center, Island City Theater and Wilton Art.



Art is my passion, my calling, my purpose. I perceive the artist role as that of messenger, philosopher, outlier, and empath. This role includes, to challenge our known perception and preconceived notions, and to dare to be raw, emotional, psychological, sensual, spiritual, and provocative.



My unique and noticeable style involves fragmentation of forms, raw emotive lines, and vibrant use of colors. The bare essence of the fragment -- abstracted, shredded, eroded, yet substituting for the whole. The line, in turn, allows for the abstract yet relatable emergence of the figures, portraits and objects, providing their movement, energy and vitality, as well. Thematically, by pushing the limits visually and metaphorically with my style, I explore the internal and external workings of the female form, androgyny, the inner psyche, objects of desire and beauty, and the essence that makes us energy in Motion.

Art elevates us. Art is essential to the human soul. Art is relevant, important, and transcendent in nature. Art sustains and nourishes our spirit and essence. With art we are inspired, without art we merely exist.”



Formerly a NY lawyer and law librarian professor, with an MFA from the NY Academy of Art, I am now an award-winning Miami artist, who exhibits locally and internationally in different venues, including art fairs, galleries, government institutions and museums. I am a former board member of ArtsUnited and a member in good standing with ArtsUnited, the Broward Art Guild, and the National League of American Pen Women – National and Fort Lauderdale Chapters. I also support various charitable organizations, most recently Stonewall Museum, OurFund, SFGN, Children’s Diagnostic Center, Island City Theater and Wilton Art.



Art is my passion, my calling, my purpose. I perceive the artist role as that of messenger, philosopher, outlier, and empath. This role includes, to challenge our known perception and preconceived notions, and to dare to be raw, emotional, psychological, sensual, spiritual, and provocative.



My unique and noticeable style involves fragmentation of forms, raw emotive lines, and vibrant use of colors. The bare essence of the fragment -- abstracted, shredded, eroded, yet substituting for the whole. The line, in turn, allows for the abstract yet relatable emergence of the figures, portraits and objects, providing their movement, energy and vitality, as well. Thematically, by pushing the limits visually and metaphorically with my style, I explore the internal and external workings of the female form, androgyny, the inner psyche, objects of desire and beauty, and the essence that makes us energy in Motion.

I purchased my first plane ticket to France at twenty-years-old, leaving behind all that was familiar to me.

Little did I know the years growing up in the quiet plains of West Africa would make such an impression on my life- or that sharing it with the rest of the world, would become my destiny.

From the Northern part of Burkina Faso, Sabce, Africa, my family and I, of the Fulani Tribe, were nomadic herders. We led sheep, goat, and chickens to greener pastures. I was the youngest of seven brothers and two sisters, and one of three kids in my entire village that had that opportunity to attend school.

However like most other kids, four months of the year, after school, and on weekends, I, too, was a herder. But it was on those two-mile hikes to and from school each day, I recall questioning our way of life.

We ate to survive. Being vegetarian, our main staples were millet and vegetable. And dry seasons in the region were the most difficult as many animals would starve to death. To me, that was very painful as the animals became an extension of me. I was reminded that each generation before me and after me was destined to remain a herder.

Though I loved the lifestyle for what it gave me: a deep connection to the animal kingdom (sheep would sleep beside and on me), the unforgettable beauty of rainy seasons, and an appreciation for nature that would stay with me forever- I became restless and desired change.

My family thought I was crazy to want more from life. My "sky is wide open" philosophy had them concerned that I was denying what our ancestors gave and did for us. But I couldn't help it, something nagged at me. I wanted it to live on, so I began drawing my feelings and nature around me at twelve-years-old.

I purchased my first plane ticket to France at twenty-years-old, leaving behind all that was familiar to me.

Little did I know the years growing up in the quiet plains of West Africa would make such an impression on my life- or that sharing it with the rest of the world, would become my destiny.

From the Northern part of Burkina Faso, Sabce, Africa, my family and I, of the Fulani Tribe, were nomadic herders. We led sheep, goat, and chickens to greener pastures. I was the youngest of seven brothers and two sisters, and one of three kids in my entire village that had that opportunity to attend school.

However like most other kids, four months of the year, after school, and on weekends, I, too, was a herder. But it was on those two-mile hikes to and from school each day, I recall questioning our way of life.

We ate to survive. Being vegetarian, our main staples were millet and vegetable. And dry seasons in the region were the most difficult as many animals would starve to death. To me, that was very painful as the animals became an extension of me. I was reminded that each generation before me and after me was destined to remain a herder.

Though I loved the lifestyle for what it gave me: a deep connection to the animal kingdom (sheep would sleep beside and on me), the unforgettable beauty of rainy seasons, and an appreciation for nature that would stay with me forever- I became restless and desired change.

My family thought I was crazy to want more from life. My "sky is wide open" philosophy had them concerned that I was denying what our ancestors gave and did for us. But I couldn't help it, something nagged at me. I wanted it to live on, so I began drawing my feelings and nature around me at twelve-years-old.

Charles Sherman (born 1947) is an American artist best known for his continuum sculptures based on a three-dimensional form of the Möbius strip.[1] Sherman’s work is included in museum and public collections, such as the San Diego Museum of Art,[2] the Mobile Museum of Art,[3] and the Golda Meir Center for Political Leadership at Metropolitan State University of Denver.[4] His work has been shown in solo and group exhibitions in the United States and Asia.[5] His sculpture and jewelry designs have appeared in contemporary design and architectural publications.[6]Serenity (2006), part of his monumental ceramic Infinity Ringbody of work, is installed lakeside at the Fountain Park Sculpture Garden in Fountain Hills, Arizona,[7]and also in the front of the John Entenza House in Santa Monica, California, a precursor to the Case Study Houses.

Charles Sherman (born 1947) is an American artist best known for his continuum sculptures based on a three-dimensional form of the Möbius strip.[1] Sherman’s work is included in museum and public collections, such as the San Diego Museum of Art,[2] the Mobile Museum of Art,[3] and the Golda Meir Center for Political Leadership at Metropolitan State University of Denver.[4] His work has been shown in solo and group exhibitions in the United States and Asia.[5] His sculpture and jewelry designs have appeared in contemporary design and architectural publications.[6]Serenity (2006), part of his monumental ceramic Infinity Ringbody of work, is installed lakeside at the Fountain Park Sculpture Garden in Fountain Hills, Arizona,[7]and also in the front of the John Entenza House in Santa Monica, California, a precursor to the Case Study Houses.