I have worked with the figure for many years, but I am not interested in portraying a particular person or in depicting a straightforward narrative. Although several years ago my figures and heads were often representational, over time they became more distorted, and currently my intention is to make a presence of something that is not always a realistic human form. The figures, which are usually female, are frequently wrapped, preserved, and protected in some fashion, whether it is with flesh, such as hands or layers of fat, or a covering of cloth, or marks on the skin. Although they are portrayed as being absolutely motionless, the small marks that completely or partially cover them enliven the surface, creating movement and utilizing the potential of repetition. Evoking a sense of solitude, they are absorbed in their own isolation and rarely face the viewer. However, I imagine them as having some kind of eventful life that takes place beyond the boundary of the canvas, and I hope the viewer is drawn in to this world and willing to contemplate its possibilities.
Some of the same figures and heads are portrayed in several works within a series, much like characters in various scenes of a single drama. For each new depiction of the subject, certain modifications, such as a change in gesture, a subtle shifting of the position of a head, hand, or torso, or a different configuration of figures or heads in a group, allow the viewer to contemplate fresh perspectives. Sometimes rather than altering the representation of the figure, there is only a change in color. Whether the substitutions in color are slight or dramatic, I like to play with how they can create differences in tone and transform the context in which the figure or head appears. This almost obsessive repetition of form and the results of minute to more exaggerated changes continue to be of great interest to me. Although I could use a vehicle other than the figure for an exploration of the effects and pleasures of repetition, and perhaps in the future my figures will be altered to such a degree that they are no longer recognizable, for now I still feel drawn to the image of the human form. I view my figures, then, as participants in unfinished dramas in which they are continually evolving, exploring possibilities for metamorphosis, and remaining indifferent to a final resolution.