I approach my work from multiple angles. My multidisciplinary approach serves my eclectic, experiential aesthetic well. I often combine mediums; drawing, painting, sculpture, film, installation and performance. 

In my work, a point of departure may be a poem, an experience, an emotional or perhaps a physical place. I build from this using a personalized apparatus of circumvention. Personal experiences and memories are an important source. I wander and perceptually collect places on a sensory level, to accumulate them as ‘elements’ in my creative work. I choose certain elements (people, creatures, objects, places, etc) for their raw qualities; diversity is essential. I consider the texture of an element historically, intellectually, physically, and emotionally. 

My method:  Inclusive, accumulative, cyclical, and sparse. Layering the occasional accident with the intended, drawn to the small and the stumbled upon, looking for a chance moment. Texture, height, width, the floor, whispers, scent, an odd noise. A run-on unpunctuated, non-sense-i-cal eye. No scenario, no plot.

My themes:  Layered content, juggled context shifted and, tilted surfaces.

My subjects: Psychological landscapes, beauty, memory, the damaged, the authentic, little objects, little lies, cruelty, and neurosis, the missing, what we hold on to, the unnoticed, the fragile, the found. 

My process:  Intuitive, visceral, physical, the same process as living. Pick it up, run your hands over it, throw it in a corner, let it gather dust, go away, look for something in sleep.

Matter is shaped by time, space and chemistry, creating a poetic dwelling, something different: a psychological space imagined but not fully understood, a place both personal and unique yet connected to the common and universal. I am interested in creatively exploring this place, this object, this moment. I am curious about the boundaries between the actual and the projected, the experienced and the recorded, what is remembered and what is perceived now. Tenaciousness and a dedication to nonlinear ways of working have helped me to develop a respect for the encounter and how important, powerful and fragile an experience can be. These ideas establish the tenor of my creative voice.  

Future artistic direction:   Currently I am interested in developing a series of painting/installation with the working title ‘TWISTED’ I envision a band of paintings edge to edge following the circumference of a large space made up of four or more walls.  Paintings of obsolete, odd and cherished objects would appear to circle as if caught in the wind and defining a cyclical horizon. Their painted grounds changing in light, night to day, day to night.  A mass of world globes (which I have collected and continue to collect from thrift stores) will be gathered and attached one to the next by rope as if a string of pearls was dropped on the floor. An extremely slow motor will kinetically twist and move the string of globes. The line of worlds will shift and form what they will, by chance over time.  A black and white film loop projected (perhaps on the ceiling) of the space, of images of winter foliage will slowly rotate as if caught in a fog or distant memory. My focus is the shifting of boarders of psychological territories and of the randomness and significance of a line.