My one-of-a-kind prints are primarily about shape, texture, and color. I have been accused of creating monotypes so that I have an excuse to mix color. For me color is about feeling. Very subtly, color evokes emotions in me as I mix and apply the color, and also as I view the color. I believe my audience feels the color as well, almost as an aura that emanates from the print. My patterns, textures, and colors tend to come from external stimuli, while the shapes I create come more from long-internalized aesthetic influences. I grew up in an Eichler and lived amid works by Zeisel, Noguchi, Arp, and other "modernists," and these early influences have affected the stencil shapes I create. It is these shapes that especially imbue my prints with a quality that is both modern and retro. Many of my shapes are biomorphic, tactile, simple, sexy, human, funny—even vulnerable. I feel that we, as a society, reject feeling vulnerable; my imagery embraces vulnerability by creating awkward, funny shapes, and by incorporating the cast-off item. At the same time, because the imagery is nonrepresentational, it still appears modern (in the quaintness of the "modern" of yesterday). I consider my prints to be modern-retro—in other words, modern in the sense of the painting of the last two centuries. This retro quality makes the monotypes somewhat nostalgic—nostalgic for a modern era that was about the future but is now about the past.