Ethnobotany is a prominent focus in my artwork, not just with regards to economical uses and sustenance, but emotive responses: how humans may associate memories and internal feelings with specific botanicals, due to their past experiences, projections, and desires. Additionally, I consider the traditional cross-cultural acts of using flora for celebratory occasions, and leaving botanical offerings for the deceased, the divine, the spirit world, at sacred sites, shrines, burial grounds, and death locations.
I create studies from direct observation of non human-made materials; I use these records of visual information to guide my artworks, along with observational painting and drawing straight onto the supports. I also use actual botanical specimens for the paint application method in my "Fossilized Memorabilia” body, conjuring trace, temporality, fossils, impressions, remains, ecology, and somber environmental crises. In this particular body of work, each plant structure is individually hand-painted before being strategically pressed into the paper, with sensitivity to the subtleties as they occur.
My paintings offer viewers a portal into otherworldly and ethereal environments. Sometimes the work is meant to be melancholic and redolent of tension, while other instances allude to sentiments of euphoria, passion, and exaltation. All pieces aim to evoke a contemplative mood. My paintings often resemble abstracted landscapes, and tend to indicate a sense of motion (paused). The sense of movement references sensuality, dance, air flow, aquatic currents, energetic frequencies of matter, and/or petrological events/shifts.
I perceive the natural, non human-made world as one continual, immersive, dynamic art installation that forever intrigues me, offering meaningful insight for interpreting life’s complexities and progressions. I take notice daily of the plant kingdom’s generosity. Humans are entirely reliant on the plants for survival, on many levels. This is often overlooked by us, particularly those living in non-agrarian societies. In my nonverbal approach, I am advocating for the plants to be "seen". I want to teach people, through my imagery, to consider the profound importance of plants on this planet, and what their presence brings. I want my artwork to serve as demonstrative of the plants’ relationships with temporality, cyclicality, continuity, and anciently-rooted magnanimity.