The geometric works—concentric rectangles of transparent acrylic on linen—are painted freehand but maintain formal alignment that creates perceptual calm. When lines hold "true" to the canvas edge, the eye settles, and the center activates as an opening—a presence created through absence. Working with subtle, often muted color on raw linen, these paintings embrace emptiness as content—the void at the center becomes the subject, activated by the chromatic and structural relationships surrounding it, reminiscent of Joseph Albers' chromatic investigations. The paintings on primed white linen shift toward more graphic territory—vibrant, pop-inflected compositions that riff on Mary Heilmann's playful geometry and conceptual irreverence.

I approach painting as a receptive practice, working in states of intuition and flow—allowing form and color to emerge rather than imposing predetermined ideas. I understand the project of artists such as Hilma af Klint, who worked with divine inspiration, and Kenneth Noland, who championed the idea of color field painting as experiential site. I'm interested in how this formal inquiry—working with reduced vocabularies of geometry, gesture, and color—allows for an opening and experiential knowing.

I make many different kinds of photographs: paintings projected onto my body, performing atop my paintings, nature images projected onto me. These performative or staged photographs investigate the similarities between painted surface and skin, the implied narratives of nature (flowers, trees, plants) and the body as container, vessel, or conduit of meaning.

This practice started with my In Amerika series (1996) where I projected industrial landscapes onto my body, capturing expressions of discontentment. My Velocity series (1998) continued by projecting images of my mother's paintings from when I was born and she was in art school—performing my troubled relationship with her through each image. Raised by my father and believing that my mother gave me up as a child to make art, and then subsequently gave up making art to raise a new family, set a high bar in relation to painting throughout my life. Through redefining painting as spiritual practice, I've been able to transform my inheritance of creativity into a generative site of expansion.