Artist Statement

I’ve been exploring invisibility using large colorful canvases to create worlds where the invisible is seen. In hiding, the women in my paintings are unseen but still there. Existing in boundary-less interiors and exteriors, the patterned landscapes nurture their camouflaged existence. Pairing women with their hiding materials creates a narrative giving a glimpse of perspective on their presence. Reducing negative space into slanted planes, pointed like knives, cuts the condensed space and creates tension in the warmth of their hiding spots.

The conglomeration of layers highlights the women existing separate yet together in a non-linear plane. Appearing as if it exists in spite of time and space, exaggerating the things we feel versus the things we know. It is impossible to feel linear in a moment, you can only grasp onto the throbbing glow. We exist by the whims of glowing circles, their shifting presence of being seen and un-seen mimicking something in our bones. I wish to discard the linear paths of narrative and exaggerate the colorful, nonsensical present. The series, Still Here, explores both the stillness of the present and the continued existence despite being unseen.

In 2015, I began exploring this invisibility curating and self-publishing an eight part print series called Hey Lady. For each issue, I sought out artists to make a portrait of a woman of my choosing creating a showcase of art with a focus on WoC and LGBTQ women. The result was a pocket sized, full color book with a button attached to the front cover. Over the course of two years, it has included hundreds of artists internationally, highlighted eight crucial women in various fields, held exhibits around the country and is sold in over 40 international locations. I built a community of artists coming together to celebrate unseen women while gaining a network of visibility and support for themselves. With Hey Lady, as with all my work, I lift the cloak of invisibility and say we are here and we’re here for each other.

Currently in my full time practice, I’ve been researching invisible spaces by moving to a quiet town made up of retirement communities. I have been painting through my isolation and embracing the hiding and invisible aspect thriving in my new physical and emotional landscapes.