Paint she applies flatly and in solid colors, modulating close-value hues bracketed by other, higher contrast colors. Forms she defines with thin, curvilinear lines that continuously interrupt geometric shapes, recalling Heather Gwen Martin in LA and Amy Ellingson in SF. However compartmentalized, the effect is of a mellifluous flow – broken by those truncated heads and torsos. They remind us of how appearances can contradict reality. Key examples, London Bus and Mission Boogie, both refer to people in transit, and in both, the oscillation between positive and negative shapes makes it appear as if we’re looking at mirror images. We’re not, but the repetition of
those forms on opposite sides of a horizontal “axis” makes it appear as if we are, and within this claustrophobic, too-close-for comfort zone these works come to life.