June 2016

My current body of work is an exploration of a space where external and internal realities meet. I approach this space by painting over photographic images, both my own and reproductions of historical artworks.

For me, these photographic images represent the reality of our external world, a view fixed in time and space, while the painting process represents my own contemplative and timeless internal realities. Where these two meet and interact is an entirely new dimension. I delight in how the expressive application of painted shapes, colors and motion flowing over the static image, revealing and obscuring, create an entirely new and unique image. The result is the bridging of my internal reality with the external world.

To view my work that pertains specifically to this statement, click here.


 

November 2015

Making art is my way of revealing and validating my personal truth to myself as well as to others.  I have been confronted by people who dispute or denigrate my version of my own experience, but to express the truth is the most powerful thing I can do at any moment.  Employing a sense of humor as well as playfulness, the work I create  uses raw, exposed, unrefined and loosely attached materials to reflect the unpolished personal experience in all it’s absurdity.   My work does not sugarcoat the truth to make it more palatable —  it is the antithesis of the slick advertising machinery that surrounds us.  My work leaves no shiny surface impression on the viewer that falsely suggests cooperation with the tendency of our society to silence women.

My current work using the fourth dimension (time) is, in truth, of greater importance than the end product.  Sensual and erotic grounding gives mental form to physical objects, like feeling your hand and fingers around a cup.  Tactile sensation is a vital aspect of my work, even in paintings or sketches.  My newer assemblages are made with physical elements that can be moved and rearranged.  As the artwork develops and continues to be created over a given time period, my memories, thoughts, and images also continue to develop, change, become negated or enhanced, and morph throughout the process.  The viewer engages with the work at one particular moment in time, and on his or her return may find a completely changed arrangement which provokes a new or different resonance with the work.  Future works may allow the viewer to become a participant in the co-creation of more deeply and personally significant pieces.

To view my work that pertains specifically to this statement, click here.

 

September 2013

I think of my painting as an improvisational dance. The process is immediate and spontaneous. Working from an internal place, I draw from thoughts, feelings and dreams. I respond and surrender to my intuition with color, texture and shape.

I am fascinated by the abstract expressionists and automatic painters. Inspiration comes from the freedom to create with no limitations or boundaries. I am in love with color. My work takes many forms and directions and therefore the idea of repeating something seems ridiculous. If it has already been said. . .then time to move on.

I am very emotionally attached to my work. Starting a new painting is like starting a new relationship. . . .some are easy-going and happen very quickly, some are difficult and stubborn, and some just need time to develop.