My work explores the transformative power of struggle and adversity. Like many, I was raised hearing that ‘What doesn’t kill you makes you stronger.’ Yet, it was only when life presented me with formidable challenges that I truly grasped this concept. We often separate adversity from the wisdom it imparts, but after years of introspection, I’ve realized that struggle and the enlightenment it brings are inseparable. Our struggles and adversities are not just obstacles but essential for awakening consciousness.

I believe that deep within, we are all seeking a higher or awakened consciousness, and art, in all its iterations, speaks to this enlightened nature. Through exploring adversity, I have learned to lean into life’s challenges, creative and otherwise. I’ve realized that this internal resistance-kicking, screaming, and fighting is a way of rejecting what is already present and this is suffering, not adversity. For me, the painting process mirrors this concept of leaning into struggle because to push oneself creatively means to step into the uncomfortable unknown.

In my work, I often use the image of a flower to symbolize conscious awakening. When looking at flowers, I’m also mindful of the harsh winter and damp spring that a seed must endure. For me, this serves as a powerful reminder of the beauty that can emerge from struggle. Another recurring symbol in my art is silk ribbons gently suspending clusters of flowers, symbolizing the delicate balance between holding on and letting go. These flowers, suspended by ribbons, represent the resilient aspect of an inner journey. The relationship between the flower and the ribbon reflects the grace and compassion required to navigate the complexities of spiritual evolution. Fire also recurs in my work, symbolizing purification or the removal of what no longer serves us.

I am drawn to vibrant, saturated colors offset by warm grays and neutral browns. I work with oils on birch wood panels that I build and prime myself. I apply multiple layers of a value 5 gray ground to prime and seal my panels, and prefer a smooth surface for painting. Typically, I do my underdrawing with white chalk pencils on gray panels. Working on a medium-value ground allows me to build color in layers, making light more vivid and allowing the shadows to subtly recede, enhancing the visual depth of my work.