As a child I was very interested in science. I quickly began devouring National Geographic magazines each month, studying them from cover to cover. I had a microscope and a telescope which I used very frequently. My telescope at the time was small and the stars and moon looked pretty much the same size as with the naked eye. During warm nights I would be out looking at the sky hoping to see a shooting star or an alien ship making its way to earth. As I reached middle school I began to draw pictures of what ever area of science I was interested in. Most of these images came from National Geographic magazines. One day I would sketch whales and dolphins; another I would be drawing distant planets and dinosaurs. At some point in high school I began focusing more on art and moving away from science.
Upon entering the MFA program at the University of Massachusetts, Dartmouth, I began thinking about what really interested me about science so much when I was younger? Why was I so fascinated with celestial spaces? I began creating work focusing on the human body and on celestial spaces. More importantly, I am very interested in the spaces around us and within us.
Recently, I have become more interested in the atmosphere within the human body. Although I am fascinated about the science of the body, I do not literally replicate scientific concepts. Currently, I am more interested in the feeling, space, and fluidity within our bodies.
My work has both a biological and celestial feel. Photographs of worlds that were once invisible to us are what spark that creative section of my brain. We now see images of galaxies and micro worlds that never existed before. I am fascinated by the inner-workings of the body and the micro-universes that inhabit it. Also the spaces around us fascinate me, especially the microscopic and vast universes. In order to create my subtle and shallow spaces, I have carefully worked out a color palette. For the palette, I tend to use subtle ochre s, browns and grays mixed with a hint of warm colors in order to portray the idea of living matter. These natural hues blend perfectly when mixed with lights or darks. The layering and wiping away of color creates the impression of depth. Most of my pieces are warm and fleshy colored giving the sense that they are healthy living organisms. When the viewer looks closely at my work, they will see a variety of colors hidden beneath the top layers. Each of these layers is very subtle, causing each piece to have a very fluid feeling. The surface of my pieces usually holds a great deal of texture. I start off by using ink because I like to begin working with a printed smooth surface. Once the surface is dry I add layers of transparent acrylic paint. The brush strokes from the layers of paint and matte medium create an interesting surface and movement throughout each piece. In between the layers of paint and ink, I collage paper which increases the depth to the piece. The texture from the bits of collage paper also adds more substance. I have been using paper with pieces of bark and other materials embedded in it. In my visual work, my intent is to create a harmonious system of color arrangements that portray subtle atmospheres. The pieces are translucent and portray a vast space. This space is reminiscent of the atmospheres within our bodies and the beauty within each of us. Overall I want my pieces to appear effortlessly made. Unlike Terry Winters artwork, I do not develop a structural analysis of the sphere, but I depict irregular circular shapes. My work is all about the development of interrelationships between these shapes that are varied in scale. Many of my works are quiet and meditative and I want the viewer to pick up on these feelings. I also want them to feel as if the work is reminiscent of†microscopic living matter that has been enlarged.