When someone looks at my paintings, I want them to register three simultaneous and immediate reactions: to instantaneously connect with the painting, to know that they are in the presence of great art, and to experience the WOW factor. In order to accomplish that, I strive: to show life through the eyes and sensibility of a woman; to lift up the observer, and enhance their visual experience by creating something beautiful; to be universally readable by all, and not done in a code that only a few can appreciate; to introduce new or to reinterpret familiar themes into contemporary images that stimulates contemplation and conversation; and lastly, to make "museum quality" art, in its reason for being and implementation of expression, because in the end, my paintings are works that I want to be viewed and enjoyed by generations to come.
The essence of my work is derived from the intimacy, reality, and reflections of being a woman. Because I believe women perceive life differently than men, we express concepts with an understanding and truth, that a male can not, which in itself is new and intriguing. These nurturing female qualities humanize the large size of my paintings, by welcoming the viewer to linger and luxuriate in the depictions. And even though, the paintings can be appreciated for the generally familiar images presented, it soon becomes evident that another level of understanding exists and that the evolution of a new contemporary narrative is communicating abstract and contemplative thoughts, in an equally personal manner, as clear and comfortable as, a mother reading a story to a child, to be beyond that of figures, flowers or landscapes.
I paint to attract and engage the viewer's attention, by giving remarkable images to interest and explore. The medium of oils on canvas, presents the flexibility that enables me to scrutinize the tonal relationships of color, sensational expressions, and the feelings of movement. My colors have substance and strength and are able to create the internal activity that guides the observer's external participation. By confronting the treatment of backgrounds, to have either separate existences from the foreground statement and yet be still supportive of the central portrayals; or to challenge their relational boundaries, by transposing them multiple times to create patterns of repetition, I am able to make the observer feel the simulation of motion in a static format. The final interesting aspect of my paintings is the importance of music to my work. The combination and translation of musical compositions affects the choice, intensity and balancing of the visual chords of color, creating a technique of painting that allows me to integrate and combine colors, (while still maintaining their intrinsic qualities and properties) without loosing their visual sensations to become a new unwanted color. By expanding my pallet in this manner, I am enabled to mix colors in the eyes of the beholder as well as on the painting surface, bringing another dimension to the viewer's involvement, and our conversation, which says I enjoy painting and making great works of art.