When did you realize you wanted to pursue an artistic career and what influenced your decision? I can’t explain why my first response to the familiar question to a child of “what do you want to be when you grow up?” was always a confident answer of “an artist!” I did not grow up in a home of art or culture. I was rather isolated as a child but somehow came upon this conviction at a very early age. I just always knew it was right for me to pursue the life of an artist and specifically that of a painter. It came very natural to me at an early age to refer to myself as an artist although it may have appeared a naïve and rather unstable approach to life, but no matter the concern it caused in my family or the uncertainty it presented as a dream, I never minded. It was so true to my nature and interest that I stuck to it, and through objection and criticism I continued to lead my life as though I was already an artist and incorporated that philosophy into every aspect of my life. Through living life this way I have been able to become a part of what I always dreamed I would be - a painter. What are some of the greatest joys of being an artist? I think the greatest joy or triumph of being an artist has been the ability to take all life has to offer, the good and the bad, and turn it into inspiration. As often stated, we cannot control what life gives us, but we can control how we deal with it. Life cannot always offer great moments of joy and privilege, but if you can take whatever life sends your way and turn it into inspiration, and use that inspiration to create something beautiful and tangible, it makes life more interesting and manageable to work through. Do you have a muse or other source of consistent inspiration? My constant source of inspiration is usually the powerful images of memory, which I utilize as a catalyst for the work. The real power of inspiration comes from the process of painting and the unexpected revelation of something outside of my self which I find throughout the works as they develop. The source of passion in understanding and articulating the emotions felt throughout self-discovery are everlasting. Through choosing such a strange and complex source for inspiration, I have never limited myself by the confines of rendering. The subject of understanding one’s self is so complicated that I could never bore myself with a solution or resolution. The paintings become questions and not answer in my exploration of self. My desire to quench the thirst of total acceptance and understanding can never fully be achieved; this process keeps me continually excited, curious and ambitious to take it to the next level and reveal just a bit more each time. What leisure activities do you enjoy? Although my most enjoyable activity is always painting, I find that the more I incorporate into my life the more inspiration I have to draw from in my studio. Some of my favorite non-painting activities are developing my garden, mostly filled with vegetables and herbs that I can cook with - another great passion. I love camping with my husband in the beautiful Pacific Northwest with our puppy and fishing or enjoying canoe rides in one of the lovely lakes and rivers that surround us. I always have many projects around the house from refinishing an antique I picked up at a consignment store to retiling the kitchen. I keep myself pretty busy at all times. Have there been particular highlights to your career? I would have to say my favorite experience as an artist was my study abroad in Rome. I spent my junior year studying mainly painting and drawing there, returning to finish my thesis in 2002. This time was such an amazing one for me as a young artist! Overwhelmed and feverishly inspired, I had tremendous breakthroughs in my work and returned with a clearer vision of the direction I really wanted to explore. Many of these trends I set into my process I still use today in my studio. Entering into relationship with a gallery reflects a transition from private to public. Explain this process. The process of working towards having my work seen in public has been a slow one, although I am now very comfortable and calm about it. The transition was able to happen for me when I was able to really be honest in my work while it was in studio. When these works were then put out to the public, although it caused much anxiety for me at the time, the most amazing thing happened; people really began talking about the work and I found they were just as honest and open with me about their life as I had been in portraying mine through the painting. People became less concerned with wanting straight answers from me about myself and became very vocal about their own stories and feelings. As well as being a very exciting time for me, I began to feel less alone in the world because I found such common connections to others. What would you like your paintings to convey to a collector? One of the greatest things a collector has told me was that he sees something new in the work each time he views it - often relating to current life situations. He told me they have become his friends – the work serving as a kind of mirror allowing him to develop an open relationship where he can continually check in with his feelings by examining his paintings. I would hope a collector would always feel a sense of renewal by growing with the work. I would like collectors to find themselves in the work and connect to what it makes them feel about themselves. This experience is much more important than a collector understanding my own intention or narrative behind the work. The term collector to me really implies someone who collects the work over time. With a dedicated collector, I would hope for him/her to grow with me and feel like we are on a journey together, though we may not always know what or whom we will meet along the way. Does critical feedback affect your creative process? No, it doesn’t really. I think since I am a younger artist, people have the tendency to offer more advice or criticism than for others. But although I am young, I have been actively involved in the arts and the art community for as long as I can recall. And through this involvement I have been conscious and aware of some of the difficulties presented to artists and allowing others' criticism to get to you is really a problem for a lot of sensitive people trying to live creative lives. I take criticism in stride, listen when appropriate, but give myself the freedom to trust my instincts and my artistic voice and work through the discouragement often offered from outside influences. What quality or qualities, in your opinion elevates a well-crafted work into a work of Fine art? For me, a well crafted work is just that - a craft - and I have much appreciation for craft and the work and skill involved in creating something that shows a mastery of the medium. To elevate the work to Fine Art, it must also hold properties of concept. When a well-crafted work is infused with a conceptual element, this is when I find a piece to be a work of Fine Art. What are some of your artistic goals? My goal remains to paint everyday. If I can accomplish this goal, my life becomes a part of the process involved in creating. By painting everyday, I document the subtle changes of growth that happen by living and examining life everyday. It is amazing to see the subtle changes I feel from day to day. Painting allows me time to examine these thoughts and changes and grow with them, to check in with myself and to observe what has happened that day allows me to appreciate small triumphs and discoveries. What 3 adjectives would you use to describe your work or yourself as an artist? Sensitive, unusual, layered - these words could describe my work or me as an artist.