2024
This year I am painting landscape as geometry and abstract shards, building an image that is always changing. Wind, and the hum, the vibration from each tree, rock, germ, person, desk, pest, etc. They bounce off of each other. They resonate. Vibrate. Mingle. Effect change. If we had different ears maybe we could hear them.
One series focuses on transparency. Imagery comes into focus and bleeds out, dreams float, animals and people appear and intertwine like memory and free association.
Another series has bolder colors, more weight and a sense of gravity. More observation of the immediate environment, but still the feeling of objects becoming and dissolving.
2020-2021
Thinking about ribbons of energy. Looking at matter without gravity, without location, in transition. Things becoming and dissolve at the same time. I continued to make multi paneled pieces.
2017-2019
Drawing and painting were blending. I was interested in the fact that all matter has its own vibration. And that matter is not really solid, the atoms are changing and renewing, always. Some paintings numbered 3 to 6 panels, where I randomly mixed up the order of the panels to create unexpected compositional situations.
2015-2016
Architecture and landscape in condensed and abstracted space. The colors of outdoors.
2012-2014
For the first time I began to paint straight on to the canvas. I enjoyed the freedom, the materiality and sensual experience of direct mark making.
2009-2011
Working with colorful polymer clay and construction paper as my subject, I created environments and little beings that inhabited them. I then photographed the set ups and made paintings. For some paintings I used the clay as mark making, building abstract compositions that I then painted on canvas.
2006-2008
I began my series of clay creatures. I wanted to make paintings of things that were not historically and socially charged, that did not have a name but that evoked nonspecific memories and bodily sensations.
2001-2004
I continued my search into socioeconomic, gender, and religious givens. I used dolls, toys, religious iconography, colors, and symbols. Juxtaposing them in unexpected ways.
1997-2000
My young children’s toys were a continual source of wonder and surprise for me. So much of our culture is embedded in them. I was puzzling through on my own identity concerns at the time and so used dolls, toys, western wallpaper designs, and religious iconography as my source material.