My goal is to make beauty. The impetus to make paintings is motivated in part by my desire to express the inexpressible: the inescapable dualities of existence.

I use botanicals as archetypes in my work. I was aware of the suggestiveness of and psychological meaning attached to someflowers. They are ambiguous, mysterious, away to get to the paint; in large scale theyrepresent heads, beats, landscape. I use these objects as subject matter, in silhouette. I also refer to my imagery as ‘girlie’, as themotifs and even mere suggestions offlowers and hearts are usually associatedwith being female and feminine. My workaddresses issues of power, solipsism, andhierarchies by presenting imaginary orders and arrangements that would not occur in the natural world. I am working in response to and partly inspired by both external andinternal chaos. I have turned them- flowers, seed pods, skeletons of pine cones andthistles into icons. The motifs are beards; their arrangement a poetic depiction of the internal self.

The work has evolved over the last twenty years into a personal iconography, a world of glistening, minimalist surfaces with floating objects employed as signs. Thepaintings play with bridging the two worlds of the conceptual and the representative.Delicate, minimal amounts of paint ooze and float on the muscular chalk and oilsurface while the subject matter exists in deep space. I am making a beautiful image and simultaneously commenting on the nature of paint and the act of making.This is, in part, the text and the subtext of my work. Influenced by work as a surface designer, I have come to see repetition as atype of abstract structure; one which infersa less linear narrative, even as a narrativeis added by the inferred denial of it. I imply pattern as a way of giving meaning-suggesting a rhythm, and then breaking that rhythm. I am interested in the edge, dark on light, and its stark effect of push and pull and the situation of figure on ground. Color is subtle, implicitly referential. Thepaintings are formal in orientation. I think ofmy work as situational haiku: a rare, tightlyheld moment. Ultimately the works mustsucceed formally, hold the surface, have a discreet narrative, and be beautiful.