My practice investigates the natural world and the ways it mirrors the human experience. Through material exploration, I examine presence, transformation, and impermanence, asking how these qualities shape both our inner lives and our relationship to the environment. These investigations have led me to consider the subtle pressures of everyday life to conform in pursuit of belonging and survival, and how those pressures can distance us from our values. I am interested in how this compromised sense of self relates to our collective failure to care for the environments that sustain us. Rather than offering answers, my work creates spaces where these tensions can be contemplated through material, process, and image.

This way of thinking has been profoundly influenced by the mindfulness teachings of Buddhism, which have deepened my awareness of both personal responsibility and environmental stewardship. Teachings that encourage leaving no trace, cultivating a gentle presence on the earth, and embracing the truth of impermanence are especially meaningful to this work. They prompt questions about stewardship, consumption, and the ways contemporary culture distances us from both ourselves and the living world.

Through layered printmaking and painting, I explore how fleeting moments of beauty, vulnerability, and decay reveal the interconnectedness of life and the inevitability of change. I gather natural forms at different stages of their life cycle that speak to impermanence, memory, and loss. The incorporation of lace and handmade doilies introduces a feminine language of care, delicacy, and beauty. Collected from friends and secondhand markets, these materials carry the embedded knowledge of generations, inviting consideration of the feminine as a source of perseverance, intimacy, and transformation.

Circular forms recur throughout the work, evoking natural structures, celestial bodies, and mandalas. Their shifting associations invite contemplation of both the microscopic and the cosmic, suggesting a perspective that moves between the personal and the universal. Rather than conveying fixed meanings, these forms create space for reflection on time, consciousness, and our place within larger cycles of existence.

My process begins with photography, documenting reflected light and botanical forms discovered through quiet observation. These images are transformed into layered monoprints using image transfers on a Gelli plate, often incorporating the direct impressions of living botanicals. Seeking to expand this investigation, I have increasingly moved into painting, where the luminosity of color and the viscosity of paint allow me to embed impressions of plants, lace, and flowers directly into the surface. Through the accumulation of layers and mark-making, each work develops as both image and object, inviting sustained looking and a thoughtful encounter with presence, vulnerability, and our shared responsibility to the living world.