My work as an artist is akin to that of a social scientist engaged in the research and observation of patterns, which are the dominant influence of my artwork and my career. I am a hunter and gatherer of experiences- collecting and interpreting the stories of people's inter- and intrapersonal struggles with one another and their environment serve as the framework for my art. I am a printmaker who uses a combination of traditional printmaking techniques, such as lithography, intaglio, and screenprint, combined with hand-stitching, drawing, painting, and collage. This diversity of media allows for experimentation both on and off of the printing press. I am drawn to printmaking because it allows me to build, manipulate, and deconstruct patterns providing a context for the stories that I tell using paper, ink, and thread.

My imagery serves as a visual lexicon to dialogue our urge to simultaneously adhere to and diverge from paths and systems, reality and fiction. My most recent work demonstrates a shift towards more graphic and sparse compositions- the dialogue between the animals, little boys and girls, and stylized patterns of flora are more prominent. Much like in fairy tales, the animals and natural elements in my work are anthropomorphic- but unlike the fairy tale schema, the characters are not as easily defined as good or bad. In reality it is difficult to codify information and events into neat patterns of understanding. Good people can do bad things and the hero in one story quickly becomes the villain in another. My work is about the choice we make to either stay on the path (i.e., to say the right thing, make the right choices, be the good partner) or to break away (i.e., to wander in the woods, be tempted by strangers, and indulge the wildness within ourselves). Somewhere in this "in-between," in the liminal space, my work explores the need to perpetually redefine ourselves and question the fruitfulness of the patterns and systems to which we cling.