Artist Statement

My lifetime interest in landscape painting and social/political issues behind the natural world have influenced my research, subject matter, materials, and worldview. With the idea that culture comes from the landscape, I create ecosystems mirroring current landscape issues that explore psychological connections between humans and non-humans. However, I have not been interested in the human figure. I am not interested in the traditional use of animals in paintings as props lacking in information. I do embrace animal knowledge in the midst of our severe anthropocentrism and human destruction itself. Scientists did not record climate change until the late 19th century which could mean that the act of landscape destruction might only be recorded in art history, particularly landscape painting. These covid months have transformed my memory of delicate raindrops in the Amazon rainforest to recall the deadly “droplets” of coronavirus.

Artist Statement (on the use of alizarin crimson):

For the last several years, I've used alizarin crimson in paintings to symbolize methane (CH4) in the environment. Methane itself is colorless but entering the atmosphere it becomes red with blue undertones like alizarin oil paint. When covid entered our lives, choices for everything became limited. It was the first time the whole world had been united by something. I limited my palette to one color in solidarity with the planet. The color originates from the ancient Madder Root plant (Rubia Tinctorium) and is the color of passion, sunsets, methane in the water of the Gulf of Mexico, roses, blood and lipstick. The root of the Madder plant was originally used by Egyptians dating back to 3000 B.C.to make dye for textiles and paint. It spread to the Romans and Greeks, then Asia and Europe. The red color has a blue undertone giving it unusual light and depth.