bio

My art encompasses an ongoing interest in reviewing accepted norms of visual representation and its effects while exploring ideas that could change through a more in-depth look at my art practice's digital processes' color and graphics. My work embraces a combined passion for painting and digital photography documentation art practice applied with graphic methods and materials to capture a visual diary of natural environments and humanity.

Creating art on a computer and direct paint to canvas renders the identical satisfaction for me. As practical as the computer has become, while nearly every commerce and market experience has some digitalization, I have used the computer as an art tool for thirty years. The core objective of my work aims, through different mediums, to capture a reflective nature of memories and experiences.

My past works included Illustrated History of Women, which comprised billboard-sized digitally printed canvases of alternate history. I morphed images of myself onto artifacts and imagery to create the "President of the United States," a picture of a business-suited professional woman behind the Oval Office desk. Another canvas portrayed a Woman on the Moon or Hypatia in the Library of Alexandria. The art simulated painting techniques to generate the fictitious narratives that should be, or potentially could be. The large-scale art printed on canvas fabric by a billboard manufacturer presented an experience of propaganda art banners.

After working my way through production to creative director in Nashville, Tennessee, I relocated to California to attend Art Center College of Design in Pasadena. At the Art Center, I had the excellent fortune and guidance of world-class mentors Stephen Prina, Jeremy Gilbert-Roth, Mike Kelly, and Uta Barth. During this time, I embraced art history and a women's voice in the visual arts, as I do today.

My current work applies combinations of mediums while exploring my fascination with random beauty in daily objects.