UV: Your work often has the appearance of an involved process.Describe the evolution of one of your works.
MG: I usually start with a series of thumbnail sketches in pencil or pen.This way I can quickly play with various design elements. Then I choose some shapes and colors and work in the same manner on a canvas or a printing plate.Salomé Whirls In is a Chine Collé Monotype.Pieces of paper were collaged onto the print along with a pass of ink.Printmaking by nature can require intense planning and precision.Because I want the finished piece to be composed of layers of spontaneous gesture, I treat prints like sketches or paintings.I just hope for something interesting, build layers of ink and finish with a final layer of Chine Collé.Sometimes I collage many small prints into one large one.I paint and draw on them or apply metallic leaf.

UV: Who is this woman?Do you see yourself in her?
MG: This is Salomé from the Strauss opera of the same name. I don 't really identify with Salomé, but I do like those veils and have been known to do a comedic interpretation of her dance. I 'd like to be more of a Carmen, but am probably closer to being a Mimi (she embroiders flowers and falls for a romantic poet).

UV: Name your top five operas.
MG: Carmen, Madama Butterfly, La Bohëme, Aida, and La Traviata.

UV: How has living in the Bay Area affected you in the pursuit of your work?
MG: I have wonderful family and friends who are artists. We've collaborated on shows and artwork.There is always something to interpret.The light dazzles, I get to swim outside year-round, and am doing some work about that too. Using more blues and greens (used to be more of a purple, red, black, and white type).