Art acts most powerfully for me, when against the odds of our “realities,” it is at it’s core- beautiful. As a transplant to the New Mexico, enchanted by the textures of the landscape, I began to search and reach for found materials such as natural dyes extracted from local plants and foods, to clay and sand from the hight desert grounds. Mixing them with traditional materials such as graphite, pastel, charcoal, and ink, I bring them together into various configurations and fleeting constellations toward a sense of completion.  

If one were to define these constellations as  “feminine,” “domestic,” or even “motherly,” one would be altogether mistaken. As artists we are looking toward a world where the construct of a “male” abstract vs. a “feminine” corporeal would have lost its divisive, binary distinctions and values. Again and again our modern rationalist culture has tried to reach beyond its very own limitations, as I too look toward Buddhist principles or, here in the U.S. Southwest, to Native American views of the world. 

While aware of the power of modern aesthetics I have become altogether alienated from the time-worn term of “abstract art.” Is it not so that our digitally produced reality has become progressively “abstract” from our emotions, feelings, and sensations as human beings? Hence I probe unfettered happenings such as sleeping on top of paper and allowing the movement of our bodies to tear or crease the material, or the staining and spilling of food juices on top of the surface which occurs during cooking and eating. Thus I invite everyday experiences and chance, to act as a catalyst to the work. Back in the studio, I make decisive marks, bringing focus into the work, creating an integration of the unconscious and conscious. Such are the artist’s desires and designs to project the world as great again.