Until very recently I juggled two professions: magazine editor and art director by day and painter nights and weekends. The two parts of my life did not run on parallel courses, but intersect and feed one another in illustration commissions, most especially those relating to the poet Emily Dickinson. A decade ago I illustrated articles about Hebrew influences in the poet’s work and about her relationship to the famous Master. These paintings led to a commission for a film series, “Angles of a Landscape,” produced by Ernest Urvater in collaboration with the Emily Dickinson Museum. Using the 1846 daguerreotype as a jumping off place, I painted Dickinson in varied situations and stages of life. In turn these works have led full circle to new, conceptual narratives like the three-dimensional and lit piece, Zero at the Bonea response to the well-known Dickinson poem that begins “A narrow Fellow in the Grass.”