I'm intrigued by complex worlds existing within each other. My oil, gouache, metal leaf, beeswax and India ink works depict otherworldly environments, often inhabited by a lone figure lost in a chaotic world.
Nature-based patterns and shapes float in vast skies/landscapes, or are deeply immersed in foliage, viewed in close-up, in a kind of macro/micro cosmos. By combining disparate "puzzle piece" images from sketchbooks, travel photos and found sources, I hope to reaffirm ideas from Western physics and Eastern philosophy that all phenomena are interconnected and interdependent.
Fritjof Capra's writings on chaos theory are especially fascinating to me. He explains that due to advanced computer technology, movement in nature previously thought to be random or "chaotic," such as clouds and fire, are actually measurable, with almost identical mathematical patterns. The idea of order in nature is comforting, in our overwhelming digital age. Yet it's pretty clear that the natural world is also an infinitely unsolvable mystery.
My orange tree series was triggered by a trip to Rome in 2006, where I became ill and then quickly healed, while painting under a 900-year-old orange tree still bearing fruit. I include it in most of my work, as a symbol of rejuvenation and hope.
More recently, in 2018-2019, I was able to travel to the South Pacific, where my husband and I gave talks on art and music. The incredible natural beauty there, combined with the history of genocide of indigenous people, and disappearing animal habitats, affected me deeply. My next project is an installation with paintings, puppets, shadows and sound, in a magical tropical forest that includes a sense of indigenous spirit ancestors.