In my current portfolio, 'AutoAbstraction,' I executed most of the paintings in a gesturally abstract, graffiti-like way. I approached others in a geometric, non-objective or minimalist style. And all of the works lend themselves to psychosexual and/or abstracted figurative interpretations. My palettes were initially inspired by own olive complexion, then by my investigations into the Fitzpatrick Skin Type Scale or SPF chart, a Pantone SkinTone Booklet, various beauty product promotional color charts, and several paint brands premixed colors. Color often drives my painting, and I usually begin a series with acrylics on gessoed canvases or linens, and sometimes complete it in oils. 

Within this body of work, as is historically true for me, I am  philosophically positioned within feminist aesthetics, and methodologically, I work as an autotheorist. For my own painting, and to teach painting, ancient through contemporary art histories and color theory, I am continuously researching, which impacts my work. Classical cosmic diagrams and tantra painting have long interested me, but my creative vision is most indebted to developments within 20th Century Western abstraction, now acknowledged as a pre-feminist spiritualist painting genre. I am particularly inspired by  it, and by 'painterly abstraction', 'post-painterly abstraction', and 'new image' painting movements. 

My favorites painters include most historical modern painters (from Giotto on), and especially abstract painters like Hilma af Klint (1862-1944), Hans Hoffman (1880-1966), Sonia Delaunay (1985-1979), Alma Thomas (1891-1978), Willem deKooning (1904-1997), Phillip Guston (1913-1980), Gene Davis (1920-1985), Joan Mitchell (1925-1992), Robert Rauschenberg (1925-2008), Andy Warhol (1928-1987), Cy Twombly (1928-2011), Howard Hodgkin (1932-2017), Elizabeth Murray (1940-2007), Sigmar Polke (1941-2010), Louise Fishman (1939-2021), Susan Rothenberg (1945-2020), Anselm Kiefer (1945- ), and Rita Ackerman (1968- ).