Socio-political concerns have always been the inspiration for my studio activity. Once my research produces a foundation of compatibility between subject matter and conceptual framework, my motivation then shifts to process and design. I am continuously engaged
by the process of combining the unique properties of latex house paint - a plasticity that
allows me to pour, drip, swirl, pool, dot, and build raised surfaces - with the traditions of descriptive modeling and glazing of oils.

My work navigates a variety of contexts in which the merging of plant, animals, cellular in-teriors, isolated body parts, or contrived figurative posturing with universal symbols, liter-
ary and historic references, institutional iconography and occasional pop-culture imagery, might imply diverse social, political, psychological, or physical concerns.

For example, I negotiate perspectives on the nature of scientific progress in the Rogue Growths, Chemical Warfare, and Tool Worship series; of socio-political power hierarchies in the Gargantua: Bigger, Better, Faster, Stronger . . . and Take A Picture (It Lasts Longer) series, and offer an affirmative feminist critique in the Reconstructing The Subject (and Vessel) series. Other issues such as gender politics, party politics, consumer culture, art theory, and waste management are traversed in the Synecdoche and Portrait Of the Artist As . . . series.

In our image-glutted environment, I’m interested in the selection process by which images are noted or ignored, and how meaning is deciphered then interpreted. My work explores the way in which implicit and sometimes covert messages encapsulated in imagery impact thoughts and behavior. The overt figure posturing and gesturing, and more familiar iconography and imagery serve as an invitation to the viewer to decode or unravel the meaning or intent, and to provide a bridge from simple and obvious suggestions to more subtle and complex inquiries.