New Works

The Target series refers to maps documenting the destruction of historic sites in Syrian cities that were in the New York Times last year. Clusters of color coded dots depicted the levels of destruction of historic and archeological sites in Aleppo, Homs, Kobani and other cities caused by the endless and relentless bombing. These maps were a stunning documentation of a targeted campaign to erase history, culture and place and left me thinking of a landscape without reference, cities without markers. What will be left for the next generations of Syrians to connect with regarding their history? What will be left of the landscape that their parents know of as home?

Ocean is a collaboration that emerged out of a conversation with poet Afrose Ahmed. The ocean is a refuge for me - healing, enthralling and mesmerizing. For many, the ocean represents hope, escape and a passage to safety as they flee from war and genocide. And for some the ocean is their grave. I had been thinking about these dualities, and trying to imagine a way to represent them, when I encountered Afrose’s poetry. Her work Body of Water inspired this piece. More about Afrose and her work here.


My latest work is about movement and density, growth and decay, symbiosis and co-existence.

Walking in the forests here in the Northwest, I am struck by the sheer mass of things growing. Entangled, on top of each other, inside tree trunks, under the spongy carpet of leaves. Moss on fallen trees, fungi in crevices, shoots sprouting out of nurse logs, skeletal remains of burnt trees. And water everywhere. Beaded droplets on leaves, rivulets on ferns, cascades from the sky, vortexes on the coastline.

These paintings are about nature and about life. The dark mystery of things as they grow and decay. The upheavals, natural and political, that impact our day to day existence. The vortexes that we find ourselves in.


Natural disasters across the world have had a global impact on multiple levels; environmental, economic, sociological. An Icelandic eruption that dispersed ash and smoke, affected the ability of people and commodities to move across continents and seas for weeks and transformed the geography and economy of south Iceland. The uncontainable gush of oil spreading through the deep waters of the Gulf, the result of negligence and greed, is impacting the lives of people, wildlife and the coastal environment in ways that we still do not fully comprehend. Flash floods, tornados, hurricanes and earthquakes, all part of natural cycles caused by the movement of air, water, land and pressure, are wreaking havoc wherever they occur, displacing entire communities and cultures. These paintings are about the idea of Dispersion (an act, state or instance of dispersing or of being dispersed ), a study of the movement of particles, ash, smoke, clouds, oil, water, wind, sand.

Lichen Series

While traveling in Iceland, I was fascinated by the complex networks of lichens growing close to the ground. Lichens are made up of multiple organisms that exist in a symbiotic relationship known as mutualism. Surviving in the most inhospitable environments, these organisms are dependent on each other for their survival.

Pod Series

I am intrigued by the evolution of plants and insects as they adapt to changes in the environment, and their ability to reproduce in multiples to ensure the continuation of the species. Seed pods are, in essence, designs for life sustaining and nurturing containers. I began thinking about the idea of birthing containers, pods and sacs that are housed outside of the body, and how life is sustained in these containers.

Birth Series

These drawings were about my perceptions of what was happening to my body during pregnancy. Technology allowed me to see the growth of my twin babies through scans, and this transformed my ability to visualize what was happening within the container that was my body. I felt my entire center of gravity shift, both physically and emotionally. My body changed drastically to accommodate the babies and I felt physically unstable, constantly working to maintain equilibrium. The contours and form of the drawings directly spoke to that sense of wobbliness the times that I felt like a bowling pin, trying to find ways to stay up straight.

Life Series

The sickness and death of a close friend resulted in this series of charcoal drawings. The treatment and processes undertaken in the attempt to save my friends life were aggressive and intrusive. I appreciated the advanced technologies that might save her life, yet I resented what felt like an invasion of her body and soul. The tension between my two responses resulted in drawings about physical and metaphysical inner spaces, and excavations of the deepest and most fragile recesses of body and soul.