SPECTRA (2020-present)

“SPECTRA,” serves as a meditation on experiential landscapes. This work takes a micro and macro view of the forces that drive the current systems of which we are all part. These pieces that contain chemical structure diagrams are influenced by physical science and are chosen based upon the importance of the substances to my own personal biography. The large-scale paintings resemble a community of mandalas, a galaxy, or color-wheels. 

 As a mother, my entire art practice is informed by my desperation to understand and model existence to my children; I want and need to show them the world that they live in while feeling compelled to shelter them from it all. I am learning to understand and accept that despite my best efforts, I will ultimately fail.

Story Time (2021)

This series of artwork continues my fascination with perspective that is zoomed-out. The imagery (that is sourced from my helicopter flights) is infused with illustration to create a narrative within each piece that is not easily deciphered.  Each piece draws a connection with children's literature. The color stories for this series feature vibrant jewel-tones, neons and holographic elements to feed the idea of an ultra-landscape; a world of the future as if a child designed it who didn't understand the ramifications of their actions. 

Cycles

2019-present

Statement: Time is as relational as color; it is energy traveling at different velocities and identifiable only by its connection and dependence upon the energy surrounding it. Inspired by the equations of physicists James Clerk Maxwell and Nobel laureate Frank Wilczek, each cycle painting references the artist's "theory of everything." Energy is conserved within the Universe and is held by the laws of symmetry: change without change.  Themes of arbitrariness, continuity, relational connections, zen, and summation  are emblematic of this series. 


Aerial

2017-present

2018 Light Shine Down. Franklin Burroughs/Simeon B. Chapin Art Museum

It is impossible to identify something while embedded within it. I choose an aerial view or God trick to portray mundane landscapes of steel factories, paper mills, housing developments, and shipping ports.  Traveling North America extensively by helicopter, I  capture the source material for these paintings.