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The scattering mechanisms responsible for Giant Magneto-Resistance (OMR) in magnetic multilayers are believed to be related to many aspects of the multilayer structure. X-ray scattering techniques provide a powerful method with which to study the bulk and interface morphology in these systems, and are therefore crucial in developing an understanding of the dominant factors influencing the magnitude of the OMR. Reflectivity measurements performed on a series of Co/Cu multilayers, sputter deposited onto etched silicon, reveal no variation in the interface roughness with etching voltage, the thickness of the individual layers also remaining constant. The observed decrease in the OMR cannot, therefore, be attributed to variations in spacer thickness or interfacial spin-independent scattering. Electron and X-ray Diffraction measurements suggest the reduction in GMR is due to a loss of antiferromagnetic coupling associated with a transformation of the texture from a randomly oriented to well oriented (111) polycrystalline texture, and subsequent reduction in the volume fraction of (100) oriented grains. Interfaces within Co/Cu are found to propagate with a high degree of conformality with increasing bilayer number, with an out-of-plane correlation length well in excess of 300Å. In contrast, the Co/Pt system exhibits a limiting out-of-plane correlation length of the order of 350Å arising from a columnar growth mode. X-ray Reflectivity and Diffraction measurements provide no structural interpretation for the 3-fold enhancement in the rate of increase of the saturation conductivity, as a function of spacer thickness, in Fe/Au (100) compared to Fe/Au (111), or why large oscillations in the GMR occur for the (100) orientation only. Such observations are, however, consistent with the existence of a channelling mechanism in Fe/Au (100). Grazing Incidence Fluorescence data indicates that Nb acts as a surfactant in Fe/Au (111) growth on sapphire. The influence of different defect types within multilayers has also been observed.

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Memories are experiences that are removed from our present time and space. The images I create are also removed; they are of a specific time and place, an instant or series of instances captured. The work I have produced in this program is an amalgamation of two artistic media, photography and paint. I choose to layer images to emphasize the complexity of experiences and to illustrate a sense of time. The combination of a mechanical and a handmade object emphasizes the intricacy of our experiences. What is revealed is a combination of color and image that creates multiple compositions within the whole. Layering paint with photography and sculpture allows me to continue to experiment and explore the variety of media that I find most interesting. I draw inspiration from many artists including Jackson Pollack, Willem DeKooning, Richard Diebenkorn, the Starn Twins, David Hockney and Frida Kahlo.These influences and my own interpretations are what makes my work my own.

Deserted and disintegrating barns, houses, and silos have always perplexed me when driving through the country. I am fascinated by how this leisurely decay reveals their structural integrity in a slow, reverse process of construction. It is as if humanity and nature consciously collaborated to create these gigantic memento mori for a steady stream of highway viewers. These monumental tributes to inevitable decline, along with my own adventures in gardening, childrearing, eldercare, and travels, have led me to explore the universal cycles of life. The dilapidated buildings in my work are rendered in a tight, sharp, close-up viewpoint so that the viewer is forced to engage them. I will often layer images of seeds, leaves, and rocks on top of images of houses to symbolize the different stages of the life cycle. I see seeds and buildings as containers and incubators of potential. Any foliage represents a fulfillment of that potential, while rocks stand for the fossilized remains, or the achievements of one’s life accomplishments.