I work intuitively, putting practice before theory. My physical process begins with gestures of color. Color creates form, which I instinctively react to. I work to define and clarify these forms by scraping away and adding on.

Currently I am working on fabric embedded with deep personal history. By cutting and hand sewing the fabric, I begin to feel my way through the process of transformation. A transformation of both the materials, and the personal stories attached to them. The layering and erasing of color and line, especially on material that doesn't completely erase, is a good metaphor for working through, and creating psychic space for myself.
Every fabric has a different weave and texture. I let the folds and creases dictate what to do, and what feels good in my body. I have a very visceral reaction to color, texture, and line. I want shapes that hug, caress, lean on, or distance themselves. The relationship between these animated forms, and the spaces in between, creates meaning. 
Tactile surfaces appear dragged through a comb, or clumped with pigment. Soft or hard, tender or rough, dry or juicy, quick or slow, agitated or quiet; these describe both external states of physicality and internal states of mind. 

Consistently present in my work, a close eye on nature and the body, and as a former dancer, movement and musicality. 
Inspired by everyday observations; piles of laundry or garbage, hand motions, bodily gestures. These spark an internal dialogue, and become visually compelling metaphors for cultural waste, domestic relationships, and roles of gender and sex.

The finished work marks a moment in time, but keeps moving, keeps questioning, creating a context for experience rather than a quick reading. Nothing is fixed, the more the viewer looks, the more they see.