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I chose particular aspects of printmaking for the technical imprint it leaves. I think of each imprint as a copy of an event, a memory. I create forms, of which some are two dimensional and others become hybrids, integrating two-dimensional and nontraditional prints into three-dimensional forms that interact in time and space with the viewer. My rehabilitation worksheets are an important element of my art; the hand written marks over the grid like structures helped me to reclaim my personal and professional life. The struggles, are suggested when the work is formally recorded, each step of the way in editions, in contrast to the freedom of the impulsive, intuitive and spontaneous approach I also enjoy in my hybrid one of a kind forms.
My work is about the mysterious, symbolic language and the intricate connections within the brain that shape memory. I develop and embrace my symbols for their personal and spiritual meanings. I respond to them as my word finding index. Their symbolic meaning guard my symbolic code of what I remember, as well as what escapes my memory. I contrast the delicate cellular and neural images along with my organic autobiographic marks and words. This is then contrasted against a more universal, graphic and iconic visual language.
Some people believe that if an area of the brain has damage, the brain will rewire around the damaged area. Others believe that compensatory strategies become so strong that they help to balance some impairments. Memory holds such power; visual, cellular, muscle, or even the power not to record or recall the event or memory.
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