I aim for the elemental, the ambiguous, the wild.
My drawing practice begins with play. I get immense pleasure from the physicality and the lovely dusty mess of black charcoal in my hands moving across large paper. I begin each work with no conscious themes or titles. During the drawing process, I systematically make marks then rotate the paper. I am looking for relationships and tensions and gorgeous shapes in the interplay of forms.
The ghost lines record my search for meaning. My hope in this wilderness practice is to experience not knowing and the element of surprise; authenticity and beauty. Any conclusive form or theme that arrives early is abandoned. This ruthless self-imposed rule is central to the satisfaction and enjoyment I receive from these drawings. The title often comes to me after the major forms are in place. This title may help to tighten and finalize the work. Delight and darkness, and my experience as a woman, are often prevailing themes.
My acute sensibility for touch, my pleasure for the percussive rhythms of hand tools, and my affinity for natural forms have led me to this life as a sculptor. In the late 90s, I enrolled in studies at the Frink School of Figurative Sculpture, in Stoke-on-Trent, England. There, I was introduced to the discipline of training my observational skills by working directly from the human figure and then making personal work from my imagination that resonates with the presence of the figure.This approach continues to be central to my studio life. Since this formal training, I have also continued to fuel and enlarge my sculptural vocabulary looking at figurative works from a wide swath of sources: ancient civilizations, Africa and Oceania, and sculpture from my heroes of the early 20th century who broke away from representational work but remained with the figure: Brancusi, Arp, Henri Laurens, Barbara Hepworth, Henry Moore, Noguchi. My preference for using traditional materials of charcoal, stone, wood, and plaster and making work using chisels, mallets, and rasps have been inspired from my sources. Their influence has also given me a golden rule for studio practice: aim for the elemental, the ambiguous, the wild.