I find working with saturated color to be a natural anti-depressant and recent turbulence in my life has pushed me to 'up the dosage'. Stretching the palette to 'louder' brights and playful metallics –that I previously thought were too gimmicky, I discovered there are no bad colors, only bad contexts.

Taming intense color is a limited proposition. You must put aside what you think you know and allow yourself to become a conduit for this ancient primal force. Unease led to awe as I relinquished control and tapped into color's pulse, speed and vibrating musicality –the frustrated musician within me playing notes of pigment with my brush. Multi-layered compositions such as these require interplay of background and foreground, weaving the dancers in and out until the wall between the panels, and even the willing viewer, become part of the stage.

About The Diptychs: "LONG DIVISION"

The space left between the diptychs is a metaphor for the constant interruptions of modern life. Technology has made us reachable at all times and our familial responsibilities remove the option of leaving the grid. Like electronic taps on the shoulder, calls, texts and emails carve any task into a series of plodding stops and restarts. These divided, yet unified works, are meant to illustrate our ability to overcome the discord—to change the perspective and eventually see the gaps as part of the whole.