My paintings are abstract and gestural, with saturated compositions of bright color, blunt mark-making, and erasure. The layering implicit in the process of painting is reflective of an emotional excavation, in which memories, experiences, and references are built up over time, calcified, and later broken down.

Currently I am making abstract paintings that are referencing beds and flowers. The bed is a simple rectangular shape, echoing the canvas. It is the furniture itself, and a space for sleeping, dreaming, lying awake, children coming in, dogs, post coital lounging, intimacy. The flowers have less of a geometry, and are more about movement. Historically, flowers are often portrayed as being contained. I think women are taught from childhood to contain themselves - their emotions, their intellect, and their physicality. For a long time I have wanted to paint huge flowers that press against the edges of the canvas, wild and untethered. These are flowers in their natural states, not picked. They are loose, vibrant, and barely resembling flowers.

The safe, contained space of the bed and the free, vibrating movement of the flowers are both at the foundation of this current series of abstract paintings. There is a passage of time implicit in the working of these paintings, which is built up and then removed, revealing buried color and form. These paintings have a specificity as well as a universality that make them emotionally open. Through a loose, raw, and immediate painting language I am excavating my emotional and narrative experience, embedding my own intimacies and trying to convey the enormity of it all, through the darkness of night and churning colors of flowers.