My work is about exploring the beauty of pattern and repetition to create one-of-a-kind, unique and abstract works on paper. I often think of my compositions as printed textiles.

My graphic design training and background directly informs my prints; with a strong use of geometric form, color palettes, tonal contrast and modern compositional elements. Having lived in Japan, I have been influenced and inspired by the Japanese aesthetic of balanced compositions, and the contemplative qualities that can be found in the harmonious rhythms of pattern. The collecting of textiles from my world travels has also been hugely inspirational.

I place a strong emphasis on experimenting with process, and pushing the boundaries of what is possible with different printmaking mediums. I experiment with new mark-making techniques; discovering ways of making impressions with unexpected materials, and ways of transferring, layering, and removing imagery.

Painter:  conceptual figurative...abstract humanist...humanesque...an inclusive and expansive psychological pictorialist.

 Tronies traveling the uncanny valley into istoria....

 To the Situations  comes the spectator.  The spectator, like the artist,

must make choices.  The painter’s challenges are now the spectator’s.

I believe one of the first places we learn to define our selves and our worlds is in stories, those from books and those we are told by our families and our society. In my paintings I create characters in symbolic environments to explore our relationship with those narrative worlds. In my print series, Primer, I deal with narrative more literally, layering text from nursery rhymes and contemporary news articles to reveal common themes and questions running through these two very disparate forms of storytelling. And in my conceptual and public art project, Fear Not, I explore the impact stories have on our perception of risk.

Sara is mesmerized by visual delights; the color of light going through a prism or the way colors run together when one puts them on the paper; a beautiful brocade pattern; a marvelous dream. She paints in an attempt to take visual notes of what she finds intriguing.

Rob Cox paints the urban landscape as well as figures and everyday objects. He talks about painting being about paint. "It's about the application of colors and pigment to the surface. I want the viewer to see the process of painting. The scrumbled brush strokes and lumps of paint are as integral to the work as the illusion of a roadway in the distance." Rob

My works on paper reflect the shapes and patterns I take from my environment around me.  Color and texture also play a large role in my compositions, particularly those from fabrics and tapestries.  Although I have been working many years primarily in water based paint, I have recently added printmaking to my art practice and find that printed images are a wonderful basis for mixed media works on paper. 

The surprise and discovery of how art materials join together in either wet or dry application on paper keeps me going from one series to the next.  I don't repeat compositions; every one is new.

I'm interested in combining different materials and elements to create or change an image, to elevate it or diminish its glow and power. In this work, I am exploring the myth of celebrity and beauty, of what is classic or sacred, I use photographs by Annie Leibovitz, classic paintings by Da Vinci or Lautrec, cut out pages of W or Vanity Fair magazines, old record covers, or poetry books as my essential elements of expression. I see their beauty and power, and I want to reinterpret, to enhance, or metamorphosize these powerful images.