Contemporary Art has made clear that the enduring significance of the human figure no longer serves exclusively as an object of desire or anatomical reference. It has now used as a valuable element in expressing the greatest senses of concealed thought, instinctive tendency, inner struggle, memory, foreshadow, etc. 

Although my pre-instinct places value on sheer technicality, I have always honored the worth of expression, be it articulated or abrasively delivered. I have come to glorify both the honesty and the falsity of it, and condemn the chastity of it within a work of art. What seems to deprive us of self-awareness and resolve is the captivity of expression. Even in attempt to conceal it, the human body can release evidence of emotional response through just its nuances, and they shift constantly, with each fleeting moment!

In my own way, I have begun to respond by creating work depicting exaggerated emotions. Such responses might be read as depictions of rebellion or cynicism, sexual deliverance, internal struggle with conscience, schizophrenic self-reasoning, submission to the liberation of change, etc.

In executing these, I have selected the challenge of producing larger than life heads, hands, and figures.  I feel the blatancy of dynamic expression is all the more insidious at this scale and envelops the viewer within the idea of emotional supremacy. I have been questioned about "over-describing" the expressions of my subjects. The fact is, true expression is essentially uncontainable and becomes most deliriously spectacular at its long-awaited release.  The existence of such emotional authenticity resides in a complex dominion somewhere beyond the realm of a behavioral society.

Whether subtle or direct, most of my work can be determined as pictoral translations of inner struggle, expressions revealing the volcanic pressure of intolerance, emerging just below the surface, others dank with the heaviness of time and tolerance itself. I've allowed my work mainly to reflect the natural tendency of a woman's reasoning with her past and present, by considering my own. My most recent painting evokes stagnant memories of childhood - weathered hands shelter a history of something hidden, or a treasure on the verge of being revealed. It is as common for a child to withhold a secret discovery as it is for a woman to cradle her memories, and conceal the shame of even her earliest desires.

The drawing entitled, "War Against Change" depicts a metaphorical face-off involving a woman's war with her conscience over the nature of her transformation -  submitting to her limits, as opposed to embracing her desires. The dual between her tendency to resist and consecrating her own liberation meet plainly at the center, where the energy is most stark and hopeful.

Another painting delivers the beautiful form of a woman, as she seemingly celebrates the prime of her body. She appears to hold herself sexually at first, but only to be better understood with an embrace of self-nurturing. For years women have proven their ability to nurse others without requiring the need themselves. Although considered evenly deserved, somehow a regard for self dismisses the care of another, at least for a time. The connection between a woman and her history with her conscience, seems to bear similarity to that of a mother and her child. After years of guarding, she might be capable to release control, but with the pain of inner conflict - after which she discovers herself all over again.