My fascination with the unpredictability of pigment suspended in water prompted these exuberant brushstrokes on luscious, heavy French paper. The earliest have a linguistic quality, like snatches of cursive or calligraphy. The later paintings display the magical beauty of color seeping across the water-soaked surface, resembling aerial views of fictional worlds.

In this series I employed repetitive marks to create microcosmic views from an aerial perspective. My interest in land use and the intersection of public and private space lead me to use maps and surveys as reference points for a process that utilizes aspects of history and memory.

These paintings evolved slowly, built up in layers. Employing hand movements learned in Chinese painting studies, I used a labor-intensive process, almost as a scribe copies language. The act of painting took on a meditative quality. Subsequent layers became tracings of the original, recording the passage of time. These marks altered, erased and blurred boundaries. The ephemerality of the work referenced the fragility of memory and recollections of history.

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