Artist Statements

  Memento Vivere | dimittetur illi (forgiveness)    Memento Vivere(Remember to live)  continues my exploration into the connections between memory, transition/transformation, the passage of time, and loss. Using both photographed clouds and painted composites, I am creating layers upon layers paradoxically adding information while simultaneously taking it away. The process occurs over time and is a metaphor for the deterioration and fading of memory and material things over time as well.    Integrating my interest in art history and color theory, I am combining photographic processes and today’s technology to emphasize or diminish certain elements of the image. Mark-making is also used as a visual veil to withhold and obscure realistic details. Historical influences include JMW Turners romantic skies empathetically reflecting the sublime power of nature and its ability to make one feel fragile in comparison, as well as Leonardo da Vinci’s “Deluge drawings” exploring both the destructive and creative forces of nature.     The series Memento Vivere is inspired by a short story by Argentinean writer Jorge Luis Borges. “Funes the Memorious” is about a young boy who is thrown from a horse, hitting his head, and in an instant, can remember everything that ever happened in his life including every cloud in the sky that he ever saw.

Memento Vivere | dimittetur illi (forgiveness)

Memento Vivere(Remember to live) continues my exploration into the connections between memory, transition/transformation, the passage of time, and loss. Using both photographed clouds and painted composites, I am creating layers upon layers paradoxically adding information while simultaneously taking it away. The process occurs over time and is a metaphor for the deterioration and fading of memory and material things over time as well.

Integrating my interest in art history and color theory, I am combining photographic processes and today’s technology to emphasize or diminish certain elements of the image. Mark-making is also used as a visual veil to withhold and obscure realistic details. Historical influences include JMW Turners romantic skies empathetically reflecting the sublime power of nature and its ability to make one feel fragile in comparison, as well as Leonardo da Vinci’s “Deluge drawings” exploring both the destructive and creative forces of nature.

The series Memento Vivere is inspired by a short story by Argentinean writer Jorge Luis Borges. “Funes the Memorious” is about a young boy who is thrown from a horse, hitting his head, and in an instant, can remember everything that ever happened in his life including every cloud in the sky that he ever saw.


  Nothing comes from Nothing | Horizon    My interest in memory lies in the exploration of the relationships between the passage of time, repetition, and loss, including reappearance and forgetting. I work with both found photography and discarded Super 8mm film to reimagine personal as well as collective memories that challenge the photographic notion of truth and teeter on the possibility of fiction. The imagery is a diverse collection of composites, recreating layers and fragments of the past similar to the way memory is created, stored and recalled. I am searching for the balance between truth and fiction and seeking to reconcile that uncertainty.  The title of this series, “Nothing comes from nothing”, is referred to in many literary sources- The Bible, Shakespeare, Classic philosophy, theatre, film, and music. These varied references include the idea that existence is an infinite succession of moments, and even with no change, there is temporal change. I am keenly interested in the altering of memory over time, and the subsequent narrative that speaks hauntingly to the present.

Nothing comes from Nothing | Horizon

My interest in memory lies in the exploration of the relationships between the passage of time, repetition, and loss, including reappearance and forgetting. I work with both found photography and discarded Super 8mm film to reimagine personal as well as collective memories that challenge the photographic notion of truth and teeter on the possibility of fiction. The imagery is a diverse collection of composites, recreating layers and fragments of the past similar to the way memory is created, stored and recalled. I am searching for the balance between truth and fiction and seeking to reconcile that uncertainty.

The title of this series, “Nothing comes from nothing”, is referred to in many literary sources- The Bible, Shakespeare, Classic philosophy, theatre, film, and music. These varied references include the idea that existence is an infinite succession of moments, and even with no change, there is temporal change. I am keenly interested in the altering of memory over time, and the subsequent narrative that speaks hauntingly to the present.


  Home Movies | True North   After collecting vintage snapshots for decades, I began to notice discarded home movies in flea markets and antique shops that grabbed my attention. The simple cinematic narratives in the found movies intrigued me as I wondered what made these occasions so important that they would be immortalized on film? The recordings of benign family trips, scenic skylines, and everyday life were so iconic and yet mysterious; the unfamiliar places and unnamed people seemed lost in their anonymity. I came to discover that each filmed story was a testimony to the past, loss, love, and memory — a memory that could be revisited over and over again and reanimated on demand.  In the series  Home Movies , I am creating segmented imagery to explore connections between the passage of time, transition/transformation, loss, and memory. The seemingly spontaneous found images are reframed to reveal gestures of unfinished stories and convey memory in a narrative form. The series integrates my interest in art history, color theory, and found imagery, using photographic processes and today’s technology. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of memory and material things over time. Each print is toned with various solutions, and details are painted out or painted in, using oil and acrylic paints, transforming the vintage image through time as it is re-created in its new state, and in a new context.

Home Movies | True North

After collecting vintage snapshots for decades, I began to notice discarded home movies in flea markets and antique shops that grabbed my attention. The simple cinematic narratives in the found movies intrigued me as I wondered what made these occasions so important that they would be immortalized on film? The recordings of benign family trips, scenic skylines, and everyday life were so iconic and yet mysterious; the unfamiliar places and unnamed people seemed lost in their anonymity. I came to discover that each filmed story was a testimony to the past, loss, love, and memory — a memory that could be revisited over and over again and reanimated on demand.

In the series Home Movies, I am creating segmented imagery to explore connections between the passage of time, transition/transformation, loss, and memory. The seemingly spontaneous found images are reframed to reveal gestures of unfinished stories and convey memory in a narrative form. The series integrates my interest in art history, color theory, and found imagery, using photographic processes and today’s technology. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of memory and material things over time. Each print is toned with various solutions, and details are painted out or painted in, using oil and acrylic paints, transforming the vintage image through time as it is re-created in its new state, and in a new context.


  In the In-Between | From a Distance   The idea of exploring the use of paintings as photography came out of the question “What is a photograph?” I began by using early European masters’ paintings in a photographic context to create a dialogue between the two mediums and investigate the sense of time and the historical gap between them. In the series  In the In-Between , I am combining early European masters’ paintings with modern technology, photographic techniques, and surface to juxtapose the past and the present. The original painted images are printed in reverse photographically, and then painted abstractly, compressing and expanding the connections between the passage of time, transition, transformation, and memory. The series integrates my interest in art history, color theory, and found imagery. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of physical and material things over time.  This series is an exploration of the past and the transition to the present. As I artistically engage with these painted images, I am building my own visual language through color theory, scale, and texture to elicit an emotional response and to activate a new context.  My creative process is about searching, looking, and finding. It includes resurrection and reimagination, and it is slow, requiring time, waiting, and craft. I find images in junk shops, flea markets, books, and on the Internet, and then recapture them on film and print the new image in the darkroom. I love using film with all of its fragility and flaws. In Japanese, the beautiful word  natsukashii  (懐かしい) identifies the feeling of evocative longing for something past — a yearning nostalgia that’s also very sad, as it reminds you that what you remember will never happen again. Film physically manifests this emotion in a metaphorical way, capturing a moment that comes and goes, then vanishes, leaving only the visual record behind as proof of its existence.

In the In-Between | From a Distance

The idea of exploring the use of paintings as photography came out of the question “What is a photograph?” I began by using early European masters’ paintings in a photographic context to create a dialogue between the two mediums and investigate the sense of time and the historical gap between them. In the series In the In-Between, I am combining early European masters’ paintings with modern technology, photographic techniques, and surface to juxtapose the past and the present. The original painted images are printed in reverse photographically, and then painted abstractly, compressing and expanding the connections between the passage of time, transition, transformation, and memory. The series integrates my interest in art history, color theory, and found imagery. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of physical and material things over time.

This series is an exploration of the past and the transition to the present. As I artistically engage with these painted images, I am building my own visual language through color theory, scale, and texture to elicit an emotional response and to activate a new context.

My creative process is about searching, looking, and finding. It includes resurrection and reimagination, and it is slow, requiring time, waiting, and craft. I find images in junk shops, flea markets, books, and on the Internet, and then recapture them on film and print the new image in the darkroom. I love using film with all of its fragility and flaws. In Japanese, the beautiful word natsukashii (懐かしい) identifies the feeling of evocative longing for something past — a yearning nostalgia that’s also very sad, as it reminds you that what you remember will never happen again. Film physically manifests this emotion in a metaphorical way, capturing a moment that comes and goes, then vanishes, leaving only the visual record behind as proof of its existence.


  One Moment | Canoe   I have been collecting vintage snapshots for decades and am intrigued by the mysterious stories that each one holds. The found images are similar to my own family photos, yet the unfamiliar places and unnamed people seemed lost in their anonymity. As I discover each image, I am impacted viscerally by their testimony to the past, loss, love, and memory — a time and a place indelibly frozen in a unique circumstance, in an impermanent moment.  In the series  One Moment , I am exploring connections between the passage of time, transition/transformation, loss, and memory. The series integrates my interest in art history, color theory, and found imagery, using photographic processes and today’s technology. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of physical and material things over time. Each print is toned with various solutions, teas, or coffees, and details are painted out or painted in, using oil and acrylic paints, transforming the vintage image through time as it is re-created in its new state, and in a new context.

One Moment | Canoe

I have been collecting vintage snapshots for decades and am intrigued by the mysterious stories that each one holds. The found images are similar to my own family photos, yet the unfamiliar places and unnamed people seemed lost in their anonymity. As I discover each image, I am impacted viscerally by their testimony to the past, loss, love, and memory — a time and a place indelibly frozen in a unique circumstance, in an impermanent moment.

In the series One Moment, I am exploring connections between the passage of time, transition/transformation, loss, and memory. The series integrates my interest in art history, color theory, and found imagery, using photographic processes and today’s technology. Color and mark-making are also used to emphasize or diminish certain elements of the photographic image, similar to the deterioration and fading of physical and material things over time. Each print is toned with various solutions, teas, or coffees, and details are painted out or painted in, using oil and acrylic paints, transforming the vintage image through time as it is re-created in its new state, and in a new context.