I make abstract paintings and installations that reflect on the physical, psychological and spiritual. My research is inspired by a whole universe of things spanning from the cosmos, mathematics and sacred geometry, to esoteric traditions and philosophies, especially aesthetics and phenomenology. I am also inspired by my research and teaching of art histories, color theory, contemporary globalist art, painting, and critical theories of formalism, iconography, auto-ethnography, autobiography & biography, feminism gender & sexuality studies, socio-economics, semiotics, structuralism, post-structuralism, deconstruction, and psychoanalysis.
During the fall of 2021, while reading and researching for a color theory class I was teaching and for Transart Intensives I attended, I was inspired for the concept for my current series Color Coded. My palette obliquely references “scientifically generated” skin-tone charts, “The Fitzpatrick Skin Type Scale”, used since the 1970s to determine SPF levels required to prevent sunburn, by its predecessor the “Von Luschan scale”, developed as a method for classifying ethnic populations via skin color and "racial classifications", and also by a myriad of "beauty" industry product promotional color charts.
My own skin tone lines up with the middle shades of all of the aforementioned charts, very closely matching the “olive” labeled one. Hence, variations of "olive" tones dominate my Color Coded under-paintings. In regards to having olive-toned skin, throughout my life I have been socially and psychologically conditioned to understand myself via my inherited Mediterranean ethnicities, as what I think of as assimilated white, simultaneously I am subconsciously aware that I am non-anglo, non-brown, non-black person. Consequently I occupy a kind of in-between "racial space", in the middle of racial constructs, in a sort of "observational" position. Note: As an artist, this suits me. Yet personally, while I have gratitude for what was "gained" by my ancestors enormous sacrifices, I also have heart ache for what I and my assimilated to Italian/Mediterranean American generation lost in the process.
This coupled with my inhabiting a cis-female, feminine body within a society that still largely engages in the glorification of anglo or pale, light skin-toned male or masculine bodies, powerfully impacts my lived experiences. In terms of sexism, like all females/feminines, I encounter it as a matter of course. And because most of my awareness, that is my feelings, thoughts and processing of my ethnicity, race, gender and sexuality is internal, subtle and abstract, my creative expressions are also abstract. One of the many aspects I enjoy about abstraction is that it allows me to construct for viewers what I intend as opportunities for introspective, expansive, transpersonal visual experiences.