As an artist, my materials and how I use them, are the essence of my art.  I am always looking for new ways to apply the paint.  Painting and drawing work in unison to form a complete and truthful painting.  The act of painting is a personal journey to find out how I can more fully express my response to my surroundings. Subconsciously, I draw from nature and the world around me to record in a personal language what I see and feel through paint.  Color is my primary form of expression, but I also rely on line, form, surface texture, pattern and collage.
The process of painting is what interests me – the steps I go through to build up the paint and break it down.  I am also concerned with how the elements of the painting play out against each other in an opposing dynamic.  For example, what happens if you put a chalky white texture next to a dark transparent field of color?  Or, how can a scratched line dashing through a painted line create a new expressive form?  When I work, I think about the quality of the painted surface such as: dark against light, smooth versus rough, transparent or opaque, and bold versus subtle.
Along with my paintings, I produce a series of works on paper which inspire and inform my paintings.  There is a unique dialogue between the two forms, which is integral to the development of my entire body of work. I deal primarily with different ways to texture and apply the paint such as pouring, dripping, rubbing, and scratching.  The tools I use to paint can be as simple and immediate as my fingers and paper rags.  I am ultimately concerned with my relationship to the painted surface.
In recent years, I’ve been exploring a form of paperwork called Joomchi. Joomchi is an ancient Korean paper-manipulating technique where the artist works layers of Hanji paper together while wet to form one sheet of paper. In my Joomchi pieces, I layer my own lithographic prints of photographs from nature and embed them in the Hanji paper. I roll the paper with my hands & arms to both bind the paper fibers together and open up the paper to create transparency. Additional fragments of paper lithographs are incorporated in to the layers using a collage technique. My focus is on the potential of the paper to reveal the printed image underneath and provide visual interest through texture, lace and line. I approach Joomchi from a painterly background and I am drawn to the concept of merging a traditional craft form with contemporary art.