Although movement has long been present in my work, especially in the medium of pastels, that movement has been further exaggerated in my most recent work. I’ve become increasingly interested in the pulsating surface that gesture brings to a work of art. Marks of color bounce off of each other to create intermediate tones depending on where your eyes choose to settle. I’ve also become more interested in the moving reflections found in rivers and have taken a cue from this natural abstraction. I apply that same watery movement to dry land subjects. My process begins with a series of photographs, which are then copied and manipulated on my computer with filters to further break down the connection with reality. I take both the original photographs and the manipulated photographs into the studio, where I can pick and choose what I want to include in a pastel, print or a painting. Once a painting or pastel is begun, the materials further influence the color. I remain open to being influenced by errors or chance combinations of color that may result in more vibrancy. I am most satisfied when a piece of artwork seems to take on a life all its own and opens my eyes to new directions.