Abstraction is a mirror for the mind. 

The work has no source material, no initial sketches or photographs. They are built without preconception of their ultimate state. These works then involve questions of perception: finished versus raw, elegant versus awkward, soft verses hard. My paintings and sculpture always engage the question of what is knowable and/or recognized. This is one of my main points- I believe that if an artist isn’t questioning the rules, she isn’t doing her job. For me, this approach is conceptual and well as formal as it relates to the stages a painting or sculpture goes through, as well as the stages the mind goes through when considering the object itself.

Through experimentation in the studio, I have developed a style that spins off the history of modernist formalism and interweaves that with the hyper-visual leanings of Op Art. Playing with materials becomes a physical questioning of the paper, linen, wire, or paint I work with. Any material may be subject to questioning and manipulation.

Floating between painting and sculpture, I forage for a moment of meditative space for the viewer. The work engages the audience using abstraction in order to draw attention to the enterprise of applying ones mind to something; I playfully invite viewers to contemplate not only the work, but also the very function of their own consciousness. I foreground the experience of looking in order to facilitate metacognition in the viewer.