I paint to communicate ideas for which there are no words. I have studied English, French, Swedish, and Japanese. Through these studies I have learned that the verbal language is quite tricky and some things 'just don't translate'. As such, some emotions, some articulations 'just don't translate' into words and instead rush out in images. Technique, composition, form, and color create a sort of idiolect by which communication finally becomes possible, the revelation intertwined with the passion of creation. Words are bound by contrived connotation whereas images are unfettered.

I pursue the clarity of communication through the specific use of the artist's materials. I use large spaces. I am not merely speaking; I am shouting, leaving behind my timid self, and freely speaking my mind with the image. I use the kinetics of flowing water juxtaposed with the viscosity of the acrylic paint for a sensual texture over the canvas. I use complimentary colors to engage and provoke the viewer. I use the uninhibited rapture of my movements as I lay down paint to infuse the image with vitality. The language I employ in my work is a continual striving for the universal idiom.

Painting is total focus. I focus on the image I wish to convey. I focus on the emotional deluge held back by the dam of my conscious mind. I focus on the technique, proportion, structural integrity, and anatomy. I focus on the smell of the paint and the feeling of it drying beneath my fingernails. It is in this focus that I find the blissful oblivion of emotional completion.

Second Kiss : michiganNow!, Detroit, MI, November 2002

Girl, Haunted by Echoes, Manhattan Ravissement, this is not for you : Henrietta Fahrenheit, Ypsilanti, MI, December 2002 - Janaury 2003

Bargain Basement Art Sale : Ann Arbor, MI, March 2003

ripping tendons, exulted : Henrietta Fahrenheit, Ypsilanti, MI, April 2003