In a youth crazed society, anxious about the marks of age, I am an aging white menopausal female baby boomer, WHO does not want to be EXTREMELY MADE OVER! I am a marked woman, distinguished by the topographical history of my flesh, maps of the memories of my life.

My work speaks of change, metamorphosis, and transcendence. People age. Through art, universal in its capacity to communicate, I hope to encourage dialogue about the inevitable, gradual evolution that we all must experience if we are fortunate enough to grow older. This visual conversation can elevate our awareness and acceptance of the natural process of transformation, to create an environment that will transcend the superficial, and embrace more dignified values and standards of beauty.

This work begins with photographs of myself and people familiar to me, or my face pressed directly in the photocopy machine. Multiple photocopies are then manipulated to transform the image. Hundreds of these are filed and kept. Significant to my work is the evolution of process, which intensifies the development of my vision. Through the abandonment of traditional methods of working once held so sacred, I am freed to think for myself, placing strict limitations upon my individualized methods. Self imposed restrictions of subject, tone, color, and mark-making enhance the poignancy of the content. There is a gradual breakdown of overall image, yet simultaneously the constituent parts become more specific, enhanced and real (hair, skin cracks, crevices, wrinkles, etc.). Paintings and drawings emerge concurrently, connected by process, consistency of vision, and pure obsession. It is the details that most accurately define myself and therefore, reflect in my art. It is the process that defines this work. Abstract clusters of entangled lines describe intimate glimpses of delicate mortal filigree. An obscured facial fragment emerges slowly, as I experience and choose each wrinkle, crack and crevice.

The image, intentionally conceived, analytically maneuvered, then methodically placed upon sand coated surfaces prepared with exact densities of sand to influence hue and texture, is then painted with a varied palette of sand, and finally oil. Distanced from content, after these many aspects of an extremely calculated process, the image miraculously emerges with its own voice. I can revisit these images, because the end result is always new! Despite my intensely controlled process, the image that appears eventually dictates to me, and I am happy to comply and be guided. Repeatedly, I am amazed, surprised, ecstatic, as I await the emergence of this new image with its own life and voice!