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. It is generally true that color drives my painting, and I usually begin them with acrylics on gessoed canvases or linens, and sometimes complete them 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. I research for my own painting, and to teach painting, ancient through contemporary art histories, art methods and theories, including color theory, which impacts my work. Historical cosmic diagrams and tantra painting have long interested me, but my work is most indebted to developments within 20th Century Western abstraction, now acknowledged as a pre-feminist, spiritualist painting genre. I am particularly inspired by 'painterly abstraction', 'post-painterly abstraction', and 'neo expressionist' painting movements. 

Hilma af Klint (1862-1944), Hans Hoffman (1880-1966), 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), Louise Fishman (1939-2021), Elizabeth Murray (1940-2007), Sigmar Polke (1941-2010), Susan Rothenberg (1945-2020), Anselm Kiefer (1945- ), Sean Scully (1945- ), and Rita Ackerman (1968- ) are among my favorite painters.