Final Graduate Work & my following year
Graduate school was an intense and challenging time for me. I was immensely grateful for the time to commit to my studio process, engage with mentors and teachers and many very talented MFA peers at the University of Washington in Seattle. Early in my time at UW my work began to shift away from straight painting; the work took on sculptural components and voice.
I had just returned from living abroad in Japan teaching ESL and studying traditional
arts, ceramics, ikebana and paper making in Matsue, Japan. I was trying to make
sense (probably)of the experiences I'd had there. In Japan, the age old forms and
traditions of making things were finely honed and honored and it got me thinking
what I had been taught just simply by what was around me, what did I see, what had
I grown up seeing around me -
The work that followed held onto the materials and became both a broader voice of
sensory story from childhood (Fort, but I call it a Hut, and Buzz buzz Buzz) and
then into the next steps of taking this material closer to contemporary form (the
various forms created like stills from animation of legs in motion -
This series of paintings, as seen in the images of this portfolio, have been about accepting and moving towards change. This early work has been grounded in conversations about egg meeting sperm, one's biology meeting another's, and intercourse as the exchange of self, both physically and sexually.
Much of this grew out of my experiences as an artist during pregnancy and becoming a mother.
This body of work, represented in this portfolio of images, speaks to a next phase in this personal transformative conversation about: how do we become who we are? I am curious about recurrent or dominant personal traits (both physical and mental) and how they are exchanged, manipulated, passed on, and even transformed with time. This dialogue is played out in the overlapping of forms and lines much like the overlapping and shadowing of personalities in relationship, or the blending of two people into a child as s/he is conceived and raised. For me automatic drawing is a way to pull some of the more subconscious thoughts and ideas to the surface of my mind and my work.
After drawing for a month or more in this automatic fashion, I will have a substantial
pool of images to begin painting with. The process is like slowly releasing a flock
of birds and watching them move, interact, create patterns, forms and trajectories
The Shape of Breath
I have been practicing yoga for over twelve years now and teaching for yoga for 5;
I have become fascinated with the ways yoga postures (asana) and flow (sequences
of postures) moves breath through my body. This series of small and mid-
My understanding is that breath and Spirit are one; the meanings of these words are related over time and culture. The nature of breath is life giving, sustaining and healing. Breath modulation, as a practice or discipline, has the power to awaken or invigorate and raise energy or soften and calm us for meditation or listening prayer practices. Breath with intention and focus can begin to build an internal place of strength and surrender; breath can take on structure and form that allows us to go inward.
I began this process of seeking a language or physical notation for breath in 2009
on a week-
The current paintings begin with pencil drawings and several layers of under-