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It is my discovery of the mandala that has had the most significant influence on me as an artist. The mandala, Sanskrit word for circle or center, is found in a majority of my pieces, either literally or symbolically. My interest in and subsequent use of the mandala began twenty years ago and continues to this day. The mandala is a primordial image found in the macrocosm of the universe, the microcosm of nature, and in the psyche of man. The circle has been used throughout the world in image and architecture as a sacred symbol since the beginning of time.

The world is full of extremes and I enjoy studying the contrasts of these extremes. I am influenced by the soft and subtle, as well as the rough and unrefined. From printing on the most delicate of papers, to constructing objects from scrap metal and reclaimed barn wood, the pieces I produce are studies in contrast. In these works, I place extremes of media next to one another in a way that makes the viewer feel that these opposites belong together. I struggle to make the improbable seem ordinary and the mundane seem amazing.

Nature never ceases to amaze me with momentary observations of fluid energy: the purposeful curvature of a blue heron's neck; the pattern of water as it sweeps across a rock sculpted by that very motion; the changing light and shadows created as wind blows through tall grasses. The spark of beauty in these moments lies in the energy that causes this constant change. To capture this energy, either potential or kinetic, and embody it through textures and flow of mass, is my essential goal as an artist.

The botanical theme in my art developed from years of photographing the native flora of Oregon with a macro-lens and studying botany and natural history. The appreciation which I developed for the evolution of flora and fauna and for the balances and complexities of the environments that sustain them is reflected in the work that I completed during my two years in the Master of Fine Arts program. The composition of the abstract paintings in acrylic medium which I completed my first year in the program were based on the cycles and seasons of nature. Repetition and variation of pictorial elements were symbolic of the recurring and changing conditions of seasons and the life cycles of plants. As I became interested in developing the textures and transparencies of these paintings, I turned to the work of several Abstract Expressionist painters. To create fluid veils of color, the acrylic medium was thinned by the addition of much water, and this change in the viscosity of the medium lent itself to a more calligraphic handling of the lines and shapes which make up the visual and symbolic structure of these paintings. After my first year in the graduate program, I was introduced to the techniques of monotype. The layering process of monotype seemed appropriate for the subject of floral forms, since in both the anatomy of the print and the morphology of flowers, forms are made up of layers and possess intricate overlapping structures. The images in these monotypes are based on generalized floral forms which serve as springboards for imagination to develop.

Pasirinkusi abstrakčią plastiką, kuri neturi vaizdavimo objekto, siekiau tapybinėmis raiškos priemonėmis pavaizduoti kitimą. Nieko nėra pastovaus, nebent nepastovumas, kuris neturi nei pradžios, nei pabaigos. Tai pagrindinė mano darbo koncepcija, todėl darbo eigoje labai dažnai radikaliai kito rezultatas. Nedariau išankstinių eskizų, rėmiausi spontaniškumu, mėgavausi atsitiktinumais, spalvų, potėpių, dėmių ir faktūrų dariniais, kurie diktavo galimus kompozicinius tolimesnio darbo etapus. Savo baigiamajame darbe „Virsmas“ siekiau savaip plastiškai interpretuoti pasirinktą temą. Mano darbų kolekcija „Virsmas“ – tai išgyvenimų, ieškojimų ir bandymų rezultatas. Begalinis virsmo procesas, būsenų pasikeitimas, idėjų mutacija ir atsispindi mano kūrybos darbų kolekcijoje. Cikle „Virsmas“ naudojau abstrakčiojo ekspresionizmo stilistiką, analizavau pasirinktų dailininkų kūrybą, jų kūrybines koncepcijas. Abstraktus ekspresionizmas pasižymi stilistikos įvairove, suteikiančia žiūrovo vaizduotei laisvę savaip interpretuoti tapybos darbus. Tapybos darbų kolekciją sudaro trys darbai: „Virsmas I“, „Virsmas II“, „Virsmas III“. Ciklą galima traktuoti kaip triptiką, nors ir nesiekiau to sąmoningai. Manau, kad pasirinktą abstraktaus vaizdo kūrimo metodą sėkmingai galima pritaikyti per dailės pamokas įvairių klasių moksleiviams, mokant monotipijos, supažindinant su meno istorija. Galimi tokie pamokų tikslai: supažindinti mokinius su šiuolaikinėmis meno srovėmis, mokyti analizuoti meno kūrinius... [toliau žr. visą tekstą] / The abstract plastic without depiction object was chosen to represent variation with painterly expression devices. Nothing is invariable unless variability which has no beginning and no ending. This is the main conception of this work that is why the results radically varied in the course of work. There were no preconceived sketches. The spontaneity was used so I was indulged in coincidence and formation of colors, dabs, spots and factures which dictate possible composite stages of further work. In my bachelor work ‘Conversion’ I tried to interpret chosen theme in my way. My collection of works ‘Conversion’ is the result of experiences, searches and tests. Endless process of conversion, change of states’, ideas’ mutation is the reflection of my creative works collection. In the cycle ‘Conversion’ the stylistic of abstract expressionism was used also the creation of chosen painters and their concept was analyzed. Abstract expressionism characterized with variety stylistics which gives to viewer imagination to interpret pictorial works in own way. The pictorial works collection consists of three works: ‘Conversion I’, ‘Conversion II’, and ‘Conversion III’. The cycle can be called triptych but I have not try to do it consciously. In my opinion, the abstract method of picture creation can be used to students of all classes teaching them monotype and art history. The lessons’ aims could be: introduction of modern trends in art, teaching to analyze works of art in every aspect... [to full text]

In my work, traditional printmaking techniques are pushed to their limits as a foundation for cut-paper installations and sculptures. The work reflects on notions of interiority and exteriority in relation to the body and nature, drawing from my experiences in meditation to create a two and three-dimensional visual play primarily using paper. Because of their illustrative looseness, the biomorphic structures convey a variety of sensations, shapes, and movements that are related to the interior of the body and exterior forces in nature. In this report, I plan to discuss topics of process, materiality, sensation, objecthood and phenomenology within the context of my work and as these topics relate to other artists such as: Lee Bontecou, Francis Bacon, Oskar Fischinger, Richard Serra, and Judy Pfaff. I also plan to indicate a contemporary and art historical context for the work, placing my pieces within a specific canon of visual culture. / text

Over the years I have created many different images and explored a variety of media along my artistic journey. Similar images continue to occur in my work - images from my life as a child and as an adult in rural settings. I lived on a poultry farm and was involved in working with my parents there. When I married, my husband was a cattle farmer so I continued to live on a farm and use rural images in my work. Living in the country makes me constantly aware of the relationship between God, nature and man. I believe that we can find beauty in the most ordinary objects or places. My artwork is intended to help others find this beauty.

My works evolve from a concrete vision but tend to lack recognizable imagery. Color and texture are central to my process. By isolating the element of color, I strive for purely formal qualities in my color field paintings. Working on textured suraces, such as burlap, allows me to capture textural elements, which further adds to the aesthetic components of my art. The lack of realistic imagery provides an opportunity for the viewer to personally interpret the visual elements. It is my objective that during the aesthetic experience, the viewer becomes captivated by the unique ways that colors play within tiny sections of the composition.

I create to emphasize the aesthetic or beauty of an object. When I begin a work, I feel the influence of the many photos I am constantly looking at and analyzing. I look at how light affects color, how light defines form, and how patterns are created by repeated shapes. I try to reproduce the things I see, but with dramatic impact by enlarging shapes and emphasizing colors. While my paintings are about pure aesthetics, my books are social commentary.