Artist Statements


This series examines the relationship between young carousel riders, the inanimate animals they cling to and the adult witness (occasionally present in the painting and also as the painting's live viewers). Ariface in environment, the implied danger of the Wild, and the ambivilance of parents witnessing the fledgling child are themes of the Carousel series. 


In Tandem, I explore points of psycho-physical intersection between mothers and their children, and movement & the possibility of movement, particularly as it relates to the maternal touch. These paintings refer to the visual history of the Madonna & Child and the legend of Romulus & Remus. I am also interested in the unexpected meeting of conflicting archetypal female roles (mother & whore), and the celebration of a particularly feminine experience of intimacy. I also draw from the experience of nursing my two sons.

In creating a new interpretation of breastfeeding imagery, in socializing it, individualizing it and de-sterilizing it, I hope to avoid the too-sweet and sentimental imagery which has been a hallmark of this subject matter as portrayed in fine art, while also paying homage to the tradition of the subject matter itself. The mothers in Tandem are sexualized, exhausted, loving, otherworldly and/or annoyed, while the children are all at once anonymous, needy, tender, elevated, ignored and/or engrossing. I am additionally inspired to create this series by witnessing recent political contention created by articles, photographs and acts of public breastfeeding. 


In the painting series, Animalia, I create portraits of animals with an emphasis on the individuality inherent within each creature. It is my intent to show the viewer a mirror — an image of the earthy, biological and creative origins we share with these animals.

My creative process is somewhat unconventional. I don't sketch before beginning a painting. When entering the studio, I don't know what my subject or palette will be that particular day. I make choices according to my mood and by what images draw my interest immediately before beginning a painting. This approach keeps my work honest and raw both technically and energetically. I work with acrylic, charcoal, pastel and occasionally dried clay or ribbon on canvas. The accidental nature of paint dripping down and soaking into the canvas is an important aspect of my work. This quality helps to give the paintings a life of their own, rather than one I could choose for them in a more direct, controlled way. The loose, impasto brushwork and strong color palette I use reinforce the wild, earthy content of the paintings.