I have always loved drawing and was encouraged to develop my skill from an early age, moving though various media and inspirations. I studied art, illustration and caricature at Rhode Island School of design where I was increasingly drawn to the idea of stylistic impressionism in motion.

In my day-to-day life and work I make notes and drawings on small papers from which I create a collage that is the basis of my oil pastel drawings. The collage underlies and sometimes shows through the drawings. I usually work from dark to light, applying an acrylic wash over the collage with the idea that I am pulling the image out, keeping what was of value, working over older things conserving what was there before, adding depth and texture. Frequently, I re-work older works, using them as the basis of new work, allowing the old work to show through allowing transformation but keeping what came before.

Before beginning a piece there is generally an idea of approach; am I creating something new or is the intention to go over an older piece and re-work it partially or even entirely? When working on a portrait I find the likeness should be captured quickly and then I can begin to relax and enjoy the layering process. In drawing a portrait there is in addition to capturing the likeness,  added complexity of capturing something essential to that person; a feeling, look, their or particular beauty, while still striving to make it uniquely my own. 

Some of my work has originated in feelings of being restrained, bound; seeking to free myself from resistance into liberation. There is an inherent tension in those contrasts and my art has typically been preoccupied with the idea of capturing contrast in motion. 

The process begins as mechanical; images, eroticism, beauty, figures in movement, contrasting light/dark against soft/bold, juxtapositions, textures, layering colors. Motion feels like thoughts, moving from what was there into abstraction. 

Motion evolves into a feeling of space, airiness, and in my current work there is a sense of things floating, softening and cloudscapes. I capture sky feelings of floating, images seen in a dream, some are specific and some blur into obscurity. Much of my work is based in the figurative intended on creating impressions of portraits, capturing the essence, look and beauty of the subject. Bodies, faces, music, figures in motion fascinate and challenge me to capture the push-pull tension of stillness and movement, and the moment when stillness becomes motion.

Making art is for me, about a sense of connection when I am enjoying the moment. The gesture, the movement of the crayon is what is most important, rather than what is appearing on the page; it's the way it's drawn, the movement of creating the pieces. This tends to happen most when I am working on an abstract piece.