Currently, my creative research rests on an essential acknowledgement of interconnection as a spiritual reality. With this groundwork I consider my personal familial relationships, human relationships with the rest of the natural world, and historical examples, typically culled from 20th century American literature. Often taking the form of delicate watercolors, as well as multi-media installations, my work presents windows through which to glimpse the preciousness of a gesture, the significance of the commonplace, the warmth of the familiar. I enjoy watercolor for its imbued qualities of fragility, sensitivity, ephemerality and femininity. My work embraces its historically under-recognized status in the realm of high art. The sketch, the botanical and wildlife illustration, the women’s domestic hobby – all these impressions inform my work. Moreover, I am also concerned with staying true to the sincerity that defined these various uses of the medium. The imperfections of the hand-made are of great importance to my work. Imperfections are what make us human. I am interested in the discipline and formality of age-old techniques, and in this human history of the lineage of craft. “To craft is to care,” to depict is to pay homage, and I feel that these notions begin to define a compelling way to practice.