statement

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My work explores the presumed sanctity of the nuclear family, questions feminine stereotypes and investigates hidden emotions behind the human face. I use oils and wax to create figurative works on canvas and more recently, fiber to sculpt three-dimensional appendages attached to, or in conversation with, my paintings. As a reaction to working as a graphic designer for 18 years, my art is intentionally unrefined and deeply personal.

Kitty, shows a woman wearing a tutu/inverted nest around her waist with eggs falling out. The emptying of the nest is a rebellious act — liberation from motherhood and family

My process is multi-layered. I paint over images to create a past. These layers build texture and depth — if I make a mistake it adds to the painting’s history. Accidents become intentions.

I incorporate fiber when the narrative has out grown the container. In Bunny, a woman’s knitted hand extends out of a painting, grasping at the place her son used to be. Choir Boy II is of a young, seemingly innocent child with a knitted forked tongue jutting out of his mouth.

I create art that protests conformity and celebrates imperfection. My work in fiber explores the urge to rupture paintings with the unconventional and unexpected. Currently, I’m in the process of creating a body of work for my MFA project next spring that will be a coalescing of my inquiries into femininity, family and the human face.
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