My recent work has been influenced by wind and weather and all the things flying around in the air these days, both seen and unseen. Elements of nature are used as a means of exploring the blurred boundaries between internal and external landscapes. The paintings are part garden, part science lab and part dreamscape, reflecting a world that is complex, alluring, vulnerable and sometimes quite strange. I want to evoke a sense of precarious beauty, a phrase that probably best describes how I perceive the world.

Over time, ancestral forms of crafts appreciate in value, maturing into heirlooms that function as cultural currency and which later, as artifacts, serve as a documentation of the artist and her origins. My work engages this progression in a current cultural context. I am developing a collection of contemporary heirlooms that will comprise my Dowry. The heirlooms re-imagine conventional handicrafts, rites of passage, and ceremonial adornments used to honor the fleeting apex of beauty, fertility or physical potential.

The paintings are done on location from direct observation. The deliberate attempt to put down what I see is affected by bias and experience. I work on the paintings until they seem to have a satisfying reality to them. Sometimes I paint people and urban subjects or have fun with funky art commentary reflective of our time.

In my work, I am interested in generating an impromptu reaction to an idea, thought, or experience. I have always been attracted to art that comes from discounted sources. I take basic ideas, simple plans, and rigorous daydreaming to an extreme in the work, always attempting to elevate my ideas and observations. Experimentation with materials and process is key to much of the work I make, whether it be single-line drawings, mixed-media paintings, or simplified sculpture. In my work nontraditional and traditional approaches to painting sit side by side, craft and hobby

My Submersion Paintings examine the scientific properties of painting. They are the result of a refined process that combines washes, staining, and the application of gesso. Their saturated coloration results from the use of synthetic pigments with chemical names such as Pthalocyanine and Quinacridone. Despite their gestural nature and deep coloring (qualities commonly associated with emotion and expression), the Submersion paintings are based in a removed analysis and distanced, procedural approach. Their glowing forms parallel the universal experience of life mediated