Growing up with both parents being active artists, my unconventional art training began at home. An interest in dream interpretation then drew me to psychology and later to working as a family crisis mediator. I found painting offered insight and expression for the complex and turbulent emotions I encountered in that work. Art became a crucible for the visual representations of dynamic themes in conscious and subconscious material. Images would emerge from lines and shapes, finding their own form. Just as dreams lend themselves to many interpretations, art elicits various responses reveled in self-dialogue.

Moving away from purely figurative, the work with squares is an exploration of narrative within the abstract. The squares together become symbolic of an inner remote dialogue excess-able through the imagination. Dialogue rises from their contrast, from ambiguity, incongruity.

The Cityscapes are a study of duplicity: anonymous, cold, manufactured, but also the homes, cemeteries, the dwelling places of humanity. Using planes of color rather than strict line to form composition. These pieces offer narrative with subtle imagery.

In pursuit of an articulation of representation and abstraction which then inspired my use of crosshatching as a vehicle to composition. Desiring the reintroduction of representation, cranes fulfilled the narrative. As purely
utilitarian tools of creation these kinetic not static cranes are here forced into a new role, incongruent as the subject of creation. The crane is understood in context: movement and impermanence, always suggesting what is coming after. The crane then becomes paintbrush for the city. My crane work explores-- with the narrative of folk, the incongruous harmonies of jazz-- along with the subtleties of our human condition. A marriage of representation and abstraction retaining the narrative both personal and universal.