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I approach painting with anticipation, a joy and urgency to capture images I see in my mind and bring them into being. I love the transformation to an altered state that I enter during this process. When I paint it often feels as though I tap into a collective imagination. This sense grows stronger and makes itself clearer the more I share my work. Each of my paintings contains thousands of colors. The way colors awaken us and make us feel — how they combine to surprise and resonate, soothe and excite —drives me.

Color I know deeply. I use watercolor and earthy materials, many of which have storied and charged pasts. I incorporate raw pigments into my work, first Murex, indigo, and Majorelle bluefrom a spice market in Morocco. My personal, developing earth map of pigments also includes cochineal from Mexico, mica from New Hampshire and raw pigment lipstick from Africa. Travel and working at artist residencies from Wyoming to the Loire Valley has not only helped expand my color palette, but also augmented my sense of the possibilities of space. Sophie Sennelier, the great granddaughter of Gustave Sennelier, who mixed paints for Van Gough and Picasso, supplies me with substances that allow me to stabilize my raw pigments. Golden provides me with an additional UV protective layer and glazing that eliminates the need to add glass in the framing process. These pieces will endure for hundreds and hundreds of years retaining the same dynamism as today.



I rely on my background in dance when painting large-scale works: face-to- face with a particular moment in time and space requires physicality, mindfulness, and lyrical movement. It is my hope that you will find yourself in this same space, imagining and open.