For a while I did a lot of abstract expressionism with a lot of action, a lot of gestural drawings and lines. I liked it because all those lines came from unconscious physical movement, and I tried to express emotion through all of the variations of energy, speed, thickness and thinness. But I finally hit an artist’s block, because unverbalized emotion is limiting for me. It was frustrating; I wanted to go in a new direction.

 So one day, very humbly, I started to make these round things. I felt like “I’m a terrible painter. At least I know how to make circles.” So one by one, with a wholehearted sincerity, I started to make these circles. One of my friend’s nieces made a scribbled painting with a lot of round shapes. When asked about them, the niece said, “Oh, this one is my mom, and this is my aunt.” All these circles represented humans to her. And it really hit me. It really fit my purpose and meaning in a way I had felt only vaguely before, but now felt much more tangibly.

After that, it was like learning to drive. At first, you feel like it’s difficult and you don’t have control, but soon you’re picking up speed and feeling comfortable in your actions. I realized that without human beings and relationships, nothing in life means anything. Humans are the base, the foundation of my life and my work. Each circle is a person, connected with those around it. These connections form like a net. Every hole may have flaws or shortcomings or pain, but they’re all linked to each other, like we are, and through these links we heal each other and give meaning to life. If one hole breaks, it’s like a tear in the fishing net; it affects us all.

The creation process felt very healing. All of these circles had lots of potential meanings: they could be eternity; they could be like the two rings of marriage, or life and death, or day and night. I wanted these circles to create something visually beautiful. I want to experiment with size and layers, layers that can represent all of the people we meet in our life. Some come and go; some disappear beneath the layers, like strata.

 Right now, my direction is circles: some are somber, the way we go through difficult periods in life, but sometimes we are happy, so I want to reflect that. Some of my circles are serene; at that time I was sick and low on energy, and I wanted to create a more mature response. And some circles are playful and childlike and reflect that emotional space.

The Landscapes Series has become, in many ways, a journey back to my origins. It's a return to representational work, informed by years of working abstractly. The subjects that I began with are based on imagery from regular trips between San Francisco, my home, and Santa Barbara, my birthplace.

Making an image of something is a deeply satisfying way to know and appreciate it. Re-presenting the forms, textures and colors of the scenes I pass through repeatedly has led to a renewed perception of them. And vice-versa: seeing the world from a new perspective has challenged me to recreate that image as a sucessful painting. For me, that means one that is true to the subject, unique in its making, and meaningful to both the artist and the viewer.

Basing the imagery on an actual time and place keeps it objective, while abstracting color and form allows for subjective viewpoints. A personal experience becomes universal and everyone sees the world in a new way.

• I love painting nature, especially trees and flowers. These paintings are works painted from the places I walk my dog.

My work and process varies depending on my intent and need. At times it is whimsical, a form of meditation and pure enjoyment of the materials. At other times I use it to explore/investigate specific issues, both societal and personal. Among these are questions of identity, consumerism, conquest/colonization, and, of course, love and the human power of transformation and dream. 

 I make metaphoric and utilitarian vessels in clay to explore beauty as a human nutrient. The vessels arrayed in delicate scaffolding, secured to a wall, nested on industrial felt or held in someone’s hand, bridge theoretical notions of art, craft and design. I offer these vessels in precarious arrangements, intimate settings and community spaces to create sensate and spatial fields for embodied viewing. Ultimately hoping to intonate a range of psychic relations.

My work investigates verbal and non-verbal differences I observe as resonant or dissonant interactions between individuals or in community. I aim to initiate a kinesthetic retuning of mind and body alignment through activation of space and the viewer’s body.

As a crafts person, my hands guide an intuitive awareness of interactions into the material realm. The utilitarian or metaphoric vessels lend these observations physical form. For example, Geo Political Array, arrangement of porcelain catchments teetering on masonry line structurally suggests, by turns, safety or peril.  Orogenic Spires, ceramic edifices that at once suggest beauty and fragility metaphorically activate a sense of land formation and wind currents to heighten awareness of invisible forces. Objects and spatial installations made to invite intimacy.

I choose clay for its properties of flexibility, forgiveness and my inability to control outcomes. I use porcelain, primal clay that is mined where it was formed and sedimentary clay that has been transported to new places by water. 

What better place to paint than San Francisco? It presents limitless images: from the crazy layers of urban, industrial edifices to the flamboyant Victorians.

I am an onlooker into other people’s worlds; an observer wondering: what is going on in there, who is in there and what are they doing? At the same time my paintings are a reflection of the sometimes frenzied, sometimes alienating separateness that is at times my inner state, thus I aim to convey moments in time both atmospheric and emotional. Primarily it is the ambiguity and mysteriousness of our urban landscape that draws me aesthetically to the scenes I paint. I want to peer and inquire.  Moreover I want to capture the contrast, the light, and the color.

When I begin to paint I am full of hope, inspiration and excitement with the prospect of creating my vision in a form that others can appreciate. But the process has many stages including despair as well as pleasure. It is often a struggle and always a challenge. But those moments offer the greatest potential for growth and problem solving. Until finally I feel a sense of ‘doneness’ or satisfaction with what I see.