My drawings are sometimes hyperreal and surreal – highly-detailed figures described in pencil with a precision that is sometimes beyond photographic. My works take as subject dreams, memories, and their metaphors, and consider the complexities of identity and subliminal emotions. In composition, my drawings are influenced by images that evoke a momentary recognition in the viewer and a sense of familiarity, but with a confusion of pushed reality, and a combination and exchange of the real and unreal.

My work marks a period of my life and I attempt to show the line of my march and stick to it. My work reflects what is happening to me at the time. I have always approached my art in that I don’t owe anything to anyone in this one part of my life. I do what I want, how I want to do it. If others view it favorably – outstanding.

I prefer using the collage format to integrate associated images into a cohesive unit that is even more compelling because of the embedded story. Having been a playwright and technical writer, I am accustomed to delivering content with a message. So now, as a visual communicator, I continue to provide meaning via the structure of the collage format, wherein the four photos confirm, augment, or even contradict each other if warranted. I enjoy offering the richness that the multiplicity of images provides, along with the impact gained through thoughtful positioning of them. Ultimately, I intend to have my work act as a doorway to the viewer’s own mental and emotional framework regarding the collection of images, perhaps finding their own very personal meaning in them.

My research is fueled by anxiety about our current environmental crisis, and it reflects an attempt to understand these events through the lens of geologic time while simultaneously criticizing our present-day response to them.

While society is understandably dismayed at the prospects of rising oceans, shrinking agricultural production, increased natural disasters, and mass extinction, it is also true that the processes of life and evolution will continue with or without us. New ecosystems will emerge and new species will thrive. I find this process inspiring and beautiful, as well as a bit comforting in the face of potential disaster. There is hope in the realization that the natural world is bigger than us.

The intention is for the paintings to convey those experiences in tension: dread, splendor, joy, terror, wonder, and the absurdity of human inaction. Their iconography samples and recombines elements from art history, illustration, and satire, with a goal of existing somewhere between a requiem, a science fiction fever dream, and a call to arms.

Building upon the collective skill sets of my suburban upbringing, interior design background, and fine art training, I am investigating the duality of my relationship to the conventionally accepted hierarchy of art and craft which positions women’s work as the lowbrow province of hobby, and I intend my work to reframe a contemporary idea of the inferior homemade as the elevated handmade while simultaneously addressing social issues relevant to my experience as a 21st-century female entity.

Themis, We Are reimagines the Greek Titan, who is the mythological basis for our Lady Justice, as a feminist agitator standing before a protest flag that reads, Support Your Sisters (front) Not Just Your Cisters (back), while peeking out from her blindfold and holding onto breast-weighted scales.

Abstract art is the best way I’ve found to get the thoughts, ideas, worries, anxieties, stupid jokes, and whatever happens to be rolling around my skull out of my head and onto something I can see and touch. Think of it as a kind of visual journaling. I struggle with a major depressive disorder and substance use disorder. My paintings are very often animated by the difficult and often unpleasant moods, or mindscapes, that are part and parcel of my mental health issues. Even when the work is not so inwardly focused, when I am inspired by a piece of music or poetry or ruminations on history, what ends up on the canvas (or wood, or whatever) is always filtered through the peculiar workings of my brain and its moods.

I’ve built a portfolio of 150 or so works—some dark, some whimsical, and some, well, I’m still figuring out what they are. They all carry some sort of emotional significance to me. I do not expect them to be meaningful to anyone else but am gratified if any of them stir a bit of wonder, curiosity, or something else entirely in anyone who sees them.

This series explores metallic leaf as the primary medium, moving beyond its conventional use as mere embellishment. Direct application emphasizes its inherent reflectivity, texture, and malleability, creating dynamic surfaces that shift and evolve with light and perspective. Embracing the element of chance, each piece becomes a record of the dialogue between intention and accident, revealing the inherent tensions between control and surrender. This is an exploration of materiality and perception within contemporary painting.

The image references a modern-day David and Goliath. The young girl is not directly identifiable allowing the viewer to project themselves into her/her space. Since its creation, the United States Supreme Court has overturned Roe vs. Wade, its 1973 ruling which recognized that the right to liberty in the Constitution, which protects personal privacy, includes the right to decide whether to continue a pregnancy. This overturning disproportionately impacts women of color in the U.S., as they are more likely to face underlying social and economic inequities.

The image, a 29in x 22in digital print on glass, references a modern-day David and Goliath as told through a young woman and the government/U.S. Supreme Court. The young girl is not directly identifiable allowing the viewer to project themselves into her/her space. The viewer indirectly comes to the image with preconceived bias about who she is and what she is doing.

The image has been captured using digital video and photography and then edited using computer software to enhance the narrative. The Supreme Court Building of the United States, often referred to as “The Marble Palace”, serves as the official workplace of the chief justice of the United States and the eight associate justices of the Supreme Court and is both a site for political protest and tourist destination in America. All evidence of life, outside of the young female subject, has been digitally removed or erased from the frame. Tourists, police officers, signage, and the subject’s hand have been removed from the original image to allow the viewer to concentrate on the relationship between the young women and what was happening inside this building. Her hands are removed to indicate helplessness, her shadow is elongated and enhanced to represent time, age, strength, and staying power. The building itself is skewed dramatically to the right of the frame, whereas the subject occupies the center and left- to mimic political leanings. The temperature of the image was adjusted and enhanced and any indication of softness was removed in the sky through the removal of clouds, leaving only radial striations.

I’ve always been an artist in some form or another. When I was young I would draw horses to show to my parents and doodle in the margins of my school textbooks. As an adult, I now paint in the lyrical abstraction style, with my work delving deep into the psyche and expressing how my thoughts and feelings impact my experience in the world.

My work focuses mainly on expressing the complexity of human emotion through color, shape, and texture as though each piece were a page from a diary. While each painting is unique, there is a cohesive visual thread that ties them all together through the use of common shapes and techniques.

My work centers on spaces from my imagination that reflect reality but don’t represent it, much like a dream. While the scale of my watercolors, and therefore interaction with them, is small and personal, my approach to painting both small and large works is similar. Surface tension, brushstroke, and layers of color are equally important no matter the size of the work. I want you to participate when you look at my art – enter my work and place yourself in the space. While my early paintings were primarily figurative, for the most part, figures have disappeared from my watercolors. However, a sense of the figure’s presence remains – you are that presence.