In the year I applied to graduate school, the objects in my life acquired a distinct preciousness after my grandparents passed away within three months of each other. I realized that the things we collect, and those that surround us, reveal our narratives and silently map our personalities. I discovered that material items triggered memories for me specific to their function and relationship to me. My grandmothers set of ten figurines reminded me of the many times we would sit and drink tea together. I became acutely aware of material items that were results of human actions. A used teabag can suggest the event of drinking a cup of tea or it can suggest moments of time spent thinking. Scent integrated with visual information heightens the suggestion of specific memories. I disclose my history by using objects that are specifically related to personal experiences and association with daily ritual. The collections of objects I create speak of memories that reside within all of our minds.

These Things Add Up explores thoughts about time, accumulation and evidence. As time passes, there is a constant accumulation of tangible and non-tangible information which must be processed. Moments, conversations, thoughts, observations and sensations all contribute to this saturation of information and the creation of a layered space and time. Information which is consciously or unconsciously selected for notice becomes evidence of identity and personal history. In this same process, memory and the anticipation of the future are incorporated into the present.

Chronophobia is the fear of timecharacterized by panic, anxiety, and claustrophobia. Also known as prison neurosis, it may be the most common anxiety disorder in prison inmates. Sooner or later, almost all prisoners suffer chronophobia to some degree and become terrified by the duration and immensity of time. This is often called going stir crazy. The work in this installation subjectively explores interpretations of the passage of time through various multimedia experiences. Interactivity is a key feature of several installation components. There is also limited use of traditional print media graphics. References to time in music, literature and film are incorporated typographically as well as audibly and visually, while non-interactive motion graphics are represented through digital video. All of the work utilizes appropriated images and sound as well as original material. The prison and being-a-prisoner scenarios certainly present powerful literal images for interpretation. However, chronophobia is used here as a metaphor for other skewed perceptions of time present in the lives of ordinary, non-prisoner individuals. Influences for the work come from various twentieth-century video artists, filmmakers, and graphic designers, with an emphasis on surrealism.

As an artist I want to make my human experience sharable. I am interested in the connection between the act of consumption, the desire that leads to that act and the repercussions of fulfilling that desire on the body both social and intimate.I have chosen the hand made pot to express my thoughts of filling the vessel. It is in the arena of eating that I begin to understand larger philosophical issues about sentience. Using dishes I made, I have chosen to illustrate the experience of consumption by leaving remnants of a dinner on display during gallery hours. How much each person ate, what they did not finish eating, and how they chose to maneuver through the dinnerware was all visible in what was left behind. I am allowing the viewer to be voyeur to an event that they were not invited to.

When I had journeyed half our life's way, I found myself in a shadowed forest. For I had Lost the path that does not stray Ah, it is hard to speak of what it was, That savage forest, dense and difficult, Which even in recall renews my fear: So bitter-death is hardly so severe! Dante Alegheri Inferno Canto 1 Dante's passage refers to the losing of a spiritual path, but for me it refers to the destruction of the past, memory and self. My work deals with the loss of the past and the burdens of memory. It deals with the destruction of the mind and the body by time. The path in the woods in continuously being destroyed and remade as we make our way through the forest. Landmarks recede into the distance and the unfamiliar looms ahead. It is possible to become unhinged in time and memory, but in the end it is the past that beckons, as if it were a long lost Eden we visited once. After those who came before us are gone, we are cast upon the road with a bundle of collective memory. It is the carrying of this inanimate mass that changes us. A bundle of accumulated string. Laundry. Memory. Items to be carried wherever we go. There is no escape from the things we carry with us. They simply are. We regard them as actualities of living. As we are lost we become transformed. It is time that both destroys and transforms the body and the mind. The nature of time is destruction and yet we continue even as we are destroyed, leaving only the memory of the past untouched, as we are able to remake it each day. This work reveals the incomplete and half remembered. The pieces represent states of being that are metaphorical and real. They depict the metamorphosis of transformation by the ravages of time, as they are whole and unmade simultaneously. The work communicates the temporary nature of the present, as well as the various incarnations we take on throughout our lives.

My thesis exhibition, entitled "Mixed Feelings," consisted of mostly figurative paintings and drawings. In this body of work I attempted to use fragments of the figure, separately and in combination with various objects and creatures, to create visual equivalents for a range of emotional states.

I Died I Lived: Shaping an Ecological Balance is a body of work about our tenuous ecological situation and the power humanity has to preserve or destroy it. Through a broad range of two- and three-dimensional media, my installation transforms the gallery into an environment that demonstrates the enrichment nature delivers and the compensatory responsibility we have to conserve that experience.

Temporal Cycles explores how systems and changes in the human body parallel those in nature. The investigation takes the form of a print installation, which captures the essence of bodily processes. The serial nature of printmaking and the organic world plays an important role as biomorphic forms and hourglass shapes are repeated in numerous renditions that breathe, pulse, expand, wither, ovulate, and transform. Labyrinths of pattern, texture, and color connect the symbolic forms as the installation tracks the evolution of processes in the body, and the forms reveal themselves through their pictorial associations.

Your Loss is an exhibition of drawings, photographs, intaglio prints, found objects and prose. Drawn from personal and anonymous archives, the works in the exhibition acknowledge various forms of breakdown, exploring individual reactions and attempts to rebuild from the fragments of loss. Inherent in the work are discussions of remembering and forgetting, finding and losing, building and destroying, growth and decay. This work is both recognition of the desire to hold on too tightly and an effort to learn to let go.

My paintings are about the concept of home and how this notion constantly evolves with each successive experience, changing how I perceive and experience interior spaces. The imagery in my work is limited to common forms such as cardboard boxes and shelving, as these are elements that are easily related to, and that speak to everyday experiences. Color, space and form are manipulated to work within and at times subvert the implied narrative of each painting. Although memory remains an active part of my process, imagination and the exploration of paints physical and expressive possibilities have risen to the fore. In each painting one is never completely certain what has or will happen, and this ambiguity allows the viewer to imagine multiple isolated moments within a single piece.