My work evolves from repeated themes based on contradiction and movement, the internal forces that materialize in collage, drawing, painting and installation.

I choose to work in mixed-media, as it provides a fluid structure for the exploration of disparate ideas and gives me a broad material vocabulary for creating unpredictable combinations.

I embrace artistic tension in my work that arises out of contrasting forces: still versus energetic, organic versus synthetic, fragility versus strength, bizarre versus logical, flat versus relief, wall versus room and order versus chaos. My work allows these opposites to co-exist and agitate within physical and psychic space.

Most recently, I have been acutely aware of the relationship between chaos and order, both as a visual experience and as a symbol for life processes.

I am fascinated with the theory that within a seeming randomness of chaotic systems, there are underlying patterns. Scientists point out that chaotic behavior exists in many systems of nature, such as climate and weather. In this body of work, I symbolically represent random and powerful forces of nature through the combination of expressive sumi or India ink drawing and manipulated collage. Interspersed among the brush markings and added materials are moments of structure and order in the form of underlying, floating or overlapping patterns; visual stops that offer a compositional accent of rhythm and controlled repetition. These moments give the viewer relief from the meanderings and at times, seemingly aimless dashing paths of brushed ink.

I recently discovered the expression,"edge of chaos," which denotes a transitional moment between order and disorder and is theorized to exist within a variety of systems. This transition period between the two regimes is an area of constrained instability that produces a constant, vibrant interplay between order and disorder. In any system or process, there are forces pushing towards organization and others introducing unpredictability. It is in this kind of moment in my studio practice that I feel alive and full of discovery, that instant when one loses a sense of time, immersed in creative flow. Attacking a surface, I create a chaotic dance of ink drawing, and when the time is right, when the "edge" is palpable, I assert a moment of order, pattern and visual stability.

My past experience with improvisational dance brings an awareness of the body that affects my two- and three-dimensional works. Mary Helen Immordino-Yang, a neuroscience professor at USC and expert on creativity states, "we use the very same neural systems to feel our bodies as to feel our relationships, our moral judgments, and our creative inspiration." Neuroscientists such as she have found that a visceral connection to the body is a huge motivator of creativity. Thus, my processes are an extension of connections to the moving body and to an intense need to perform on the edges of creative energy.