After I completed the series of 8 political posters, I simply stopped creating. I didn't think about having an exhibition or creating any further until my faculty show at the University of Tennessee at Martin.

I spent the summer of 2008 working on Postcards from Paradise. My goal was to create all mixed-media pieces in this series at a 5 x 7 inch size: The majority of them represent conversations I have had with my Rabbi in regard to my Holocaust Nightmares. This series made its debut at the fall UTM faculty exhibiton that year.

Since all of my degrees are in Design, my architectural structure shines through on some of these pieces. I like exploring typography and how it looks on plastic or iridescent-type papers. When I use splatter paint in this series, it represents the blood that was shed during the Holocaust genocide. Not all of my pieces in this collection are represented here. I didn't stay confined to the 5 x 7 size, and it also leaves somewhat of a mystery. If you attend the exhibition: You will see new works & not all the same pieces viewed here (in the digital gallery).

Typography is a very important element to me within my design palette. There are certain fonts which create that epic feel for World War II, and were used on propoaganda posters. The Third Reich had a fancy for Fraktur Calligraphy--which is also known as Black Letter. As a practicing calligrapher myself, it is hard to break away from the Fraktur alphabet. It is the first one learned, where all other rules are then applied to create hybrids. Fraktur was of course, considered in its day as the pre-curser to typing. A good calligrapher was able to transcribe and dictate beautiful books. The calligraphic skills could also be put to good use when creating propaganda posters during the war effort.