I moved during the pandemic to a high-urban shelter between high rise buildings and rooftops. Stacked boxes juxtapose color and the light of water and sky over San Francisco Bay. Boxed:shift references our collective feeling of locked-in and looking out. During the 2020 pandemic the world shifted to living inside, gazing at walls and out windows. We have adapted as we wait, watch, and shelter. Juxtaposing color is what I do; changing my palette is a shift. Painting clean-edged lines free-hand has been a pivot in process that echoes my experience of the past year: control outside of the lines, freedom within them.
Edge draws on my fascination with the point at which the edges of natural features meet another plane — sea, sky, horizon. Edge explores this intersection where one becomes another, with its veils of color, mysterious light sources, and indeterminate boundaries. Often described as abstracted landscapes, Edge is a response to the processes inherent in the formation of landscape.
Still Here
Still Here honors trees in their fundamental beauty: limbs bare, trunks exposed. Each is an exploration and an homage, incorporating text and symbols to embody the history and meaning of a life. Working from photographs, memory and an attachment to each subject, these are portraits of individuals in later stages of life and after death. Still Here refers to their stillness, and to their lasting presence as impression or memory.
The Trace series records and reminds us of the unintentional and often unconscious marks we leave behind. Inspired by urban marks left by cars, bicycles and skateboards, Trace captures those smears, scars, streaks dragged, scraped, sometimes arcing across a surface — inadvertently marking the urban landscape. In this series gesture, evidence of the artist’s hand, takes its place on and beneath complex surfaces. Built up and sanded away, the resulting surface is itself a history of what is left behind, a gritty, gorgeous narrative of urban life.
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