The “paperdolls” series unfolded quite by accident, or perhaps it was by luck? I discovered a dissonant joy and longing in the repeating nameless-faceless forms of the vaguely female shapes I cut while playing with my daughter. While my initial intent was to entertain my little girl with these fun and innocent cutouts, I found myself imagining a story and character for each strand of figures. The repetitive patterns that unfolded reminded me of the ways in which our society so often ascribes stereotypes for each woman; ones that we impose upon ourselves, and ones that are imposed upon us.

As the ambiguity of each doll shape faded away when paper, paint, canvas, and pen combined, the narratives of each painting emerged, so too did their titles. One-worded but with double meaning, each painting is named in a manner reflective of the way in which each work investigates the female experience, sometimes playfully, sometimes flippantly, sometime defiantly. Some works from this series include: paper dolls in a snowflake pattern titled “flake”, a piece crafted from a cut-up old artist statement titled “makingastatement”, a painting with a gold paper doll in the center titled “goldigger”, and a piece titled “hotmess”.

The short, unpunctuated titles are reflective of our modern, interconnected, high-speed culture, yet the imagery seeks to pay homage to traditional women’s handicrafts, with folk art inspired quilt-like patterns. The various colors, iconography, symmetry, and interplay between negative and positive space on canvas combine to create a body of work that investigates the contradictions and complexity of the modern female experience.




I have always been drawn to abstraction. Even as a young child playing with my first camera, I would walk around the neighborhood and photograph cracks and bumps in the road, which I found to be very intriguing. I didn’t realize it at the time, but I was making abstract art.

I draw my inspiration from organic forms present in nature, as well as idols and icons present in modern culture and ancient civilizations. Using a spontaneous-intuitive approach, I deconstruct these forms sometimes to the edge of being unrecognizable, crocheting together a dynamic surface gorged with tones of flesh, blood, earth, and atmosphere.

I see painting as a way to transform the ethereal into tangible reality. Just as an entomologist pins the wings of a butterfly to preserve its beauty, I work to capture and preserve the delicacy of a passing thought or solitary moment and eternalize it onto canvas.

I view my paintings as offerings, not to be forced on the viewer. In my works, I have chosen simplicity over busyness or heaviness. I see my works as not a call for riot, but as a simple invitation for tea.