My practice begins with a lifelong curiosity about what materials can express. As a child in Brooklyn, I drew on the sidewalk with chalk, discovering the pleasure of turning an ordinary surface into a place for imagination. That sense of possibility continues to guide my work.

I work across sculpture, painting, drawing, and printmaking. Moving between mediums allows me to follow an idea wherever it leads, whether I am shaping a form or building an image. My approach is intuitive and organic, informed by nature, emotion, memory, and lived experience. I pay attention to what emerges through the process and allow the work to develop beyond my first intentions.

Through art, I seek to give form to feelings and experiences that can be difficult to put into words. I hope each piece invites viewers to pause, look closely, and discover a connection of their own. For me, creating remains an act of exploration: a way to keep learning from the materials, from the world around me, and from the unexpected directions imagination can take.

My work celebrates our experiences and moments of connection, each painting an expression of a place where there is no judgment; only color, energy, power, and community. I love to experiment with techniques and textures, using many layers of paint and other materials to create depth and complexity. Some of these layers are peeled back and exposed, while others are buried and hidden. These paintings also convey the vitality of movement and dance, which is an essential part of our communal human experience. It can inspire us to connect with ourselves, with others, and with the world around us. The work evokes a sense of connection between individuals, and between groups of people, as well as between us and our external and internal landscapes.

I explore various mediums in my art, with a particular fondness for paint, pencil, pastel, and camera. The color palettes and techniques of artists like the timeless works of Lautrec, Matisse, and Manet resonate deeply with me. Their influence is evident as my unique voice is brought to life on canvas by reflecting the emotions and stories that drive my practice.

Frequent visits to museums are not only a favorite pastime but also a source of continual inspiration. Classes through the Barnes Foundation and Delaware Art Museum instruct and broaden my horizons. The vibrancy and richness found in spaces like The Met and the Philadelphia Museum of Art serve as a reminder of the power of art to connect and engage. Through my creations, I aim to invite viewers into a dialogue that encourages appreciation of the nuances of color and form.

I continue to evolve as an artist and am committed to making my work accessible. It reinforces my dedication to quality and integrity. Confident in the knowledge that every piece embodies my passion and commitment to the creation of aesthetic objects, I invite you to explore my art.

Finding joy in the challenges of life is what drives my creative energy. Escaping from the reality of my own life while seeking peace was where it started. My painting is about color and feelings. My intent is to provide a positive emotional source for people who view my work. I embrace the live-in-the-moment and dive right in.

Some say one should write, create, by how one speaks or lives, or something like that, but I’m not so sure I can contour my work for any group or any individual to write is to attend to the accidents as the present themselves, the accidents of line and mark. because art, like language, is a stutter.

I live homogenously but think and behave erratically. I am not an especially emotional artist and strive to relegate emotion to the sideline. To me life is a long stutter with occasional beneficial accidents. There are moments of clarity and then there’s interference.

I design intimate scenes that raise a range of social issues including equality, climate change, immigration, and victims’ rights. I highlight issues rather than urge a particular response, often using gentle humor to make my point.

The intimate nature and appealing design of my scenes encourage viewers to approach my art. Once they do, they enter the scene, any barrier eliminated by museum glass set in a custom frame that curves outward. A private conversation between a viewer and the art thus begins once the viewer approaches.

I select mixed media because it permits me to use an eccentric mix of elements in unconventional ways, creating balance simply by juxtaposing color, form, and texture. Using semiprecious stones, freshwater pearls, and Murano glass, I once designed opulent, multistrand necklaces influenced by the Venetian torsades. I now imbue the necklaces with meaning by using segments in scenes, either as decoration or to serve a conceptual function such as a border between fantasy and reality.

I incorporate fine dollhouse miniatures and richly textured fabrics that complement the quality of the elements in the necklace segment. I complete the scene with a wide range of components including mirrors, realistic animal models, photos, ribbons, and found objects. Creating these assemblages involves multiple techniques, including sewing, woodworking, digital photo manipulation, and painting.

In the past few years, I have been using my background in dance to broaden my focus on photography. I am exploring the body in motion and as a subject of still life. I have been examining the institutional and social stereotypes that have defined female and male physiques as opposites. I believe that strength is not tied to gender. Physical strength is an extension of energy and power. Athletes who undertake training must also overcome stereotypes that female strength lies in endurance and that women should look attractive even when testing the physical limits of their bodies. Often as women develop physical prowess, their untraditional looks are labeled unnatural, and their femininity is questioned.

Throughout history, there have always been women who pushed back against stifling cultural constraints. This photo is my attempt to portray strong and powerful woman as secure in her body and mind.

I have lived in San Francisco for my entire life, and my paintings are deeply influenced by their natural beauty. This engagement with beauty carries over into my travels to other areas throughout the American West, and natural beauty is my inspiration in all of my work.

My art celebrates nature through hand carving on wood panels because wood is an organic material that transports us directly into nature. In these panels, I explore three elements: pattern, texture, and color. I begin with a careful drawing of a plant or flower and create an original pattern that relates to it. I place these in different sections in my panels that play off one another to balance positive and negative shapes. I then carve, using hand tools, which gives my pieces a strong texture. The poet Pablo Neruda helped me understand the importance of texture: “Blossom and water and wheat kernel share one precious consistency: the sumptuous appeal of the tactile.”

Color plays an equally important role. With it, I reference the hues of the flowers, the seasons, and the patterns ever-present in nature. I employ a minimalist, Japanese-influenced aesthetic, engaging the eye with monochromatic color. I also use graphite, because I enjoy its metallic richness and optical qualities. Carving, design, painting, and graphite combine into a meditation that guides viewers in a journey that calms and inspires, which is particularly important in a time when our modern scene is so hectic.

My concern with the environment is also central to my work. The importance of preserving and enhancing our natural environment is among the most pressing issues today. The world we live in needs protecting, and by emphasizing its beauty, I hope to call attention not only to what we have but what we might lose.

Much of my work is autobiographical, incorporating family history and memories. I often find content in my immediate surroundings. The act of watching human activity blends into my art-making as I try to capture relationships between the humans in my life. I strive to capture the essence of my subjects by showing their character and emotions.

My goal is to create a scene that includes the emotion and the mood of the location. I want my image of a locale to engage the viewer and give insight into the current environment being expressed. It is my hope that the art will suggest stories to the viewer about the scene depicted.

I am influenced by a number of artists including Richard Diebenkorn who said, “Reality has to be digested, it has to be transmuted by paint. It has to be given a twist of some kind.”