For the past three years my work has been in response to Gaston Bachelard’s words, “everything in the life of a poet is germinal”. Currently I am sourcing my bed and the constant changing of location, form, and color. Personal themes of relationships and the idea of hope, death, and dreams are also intended. I often use multiple viewpoints resulting from my movements as I paint. I want the paintings to deal with restlessness and to convey things as unfixed and instable. The repeated use of a vertical division of the canvas is in one sense funny and references the relationship and contrast of character between my husband and I (a morning person versus a night person), in another sense it is about the difficulty and precariousness of coexisting parallel worlds and their point of contact. Visual collisions result when forms or events battle for location in a painting and become charged occurrences. It is important to me that the work reveals struggle, obstinance, and a structure that may collapse if parts were removed.

Working from observation presents an interesting challenge to me; how to paint images in a way that deals with contemporary issues in painting, where do invention and observation intersect in a meaningful way, how to create new forms in paint? For myself, renewal and understanding of the world found through painting must point towards the possibility of bringing something new to painting while satisfying a need for intuition, namelessness, and speaking through color.