Working in oils has given me a great feeling of control over color and light. Over the last four years, I have been experimenting with the glazing techniques of the old masters. I love the high gloss and rich color I can achieve through these methods. I occasionally experiment with iridescent powders, mixing them into linseed oil to create a dual color sheen.I have also started to reduce my canvas size. I used to love the challenge of a large canvas, but now I enjoy the intimacy of the miniature piece. I like the way the viewer must come in close to investigate the small details. I feel there is a greater connection with the artwork in this process.

I see my realistic images as challenges. I am very interested in the edges of objects. Studying Ingres has taught me a lot about how important the clean continuous edge is. I also owe a lot of my skills to Frida Kahlo, whose work I refer to often. This control over details, in spite of the difficulty of it, grants me a great sense of harmony. I find I am very fulfilled in this style. I do not find myself limited, as I take a lot of liberties and put a great deal of my own ideas into the pieces.

My subject matter, as of late, is beetles. I became interested in painting beetles after a tip to the Houston Museum of Natural Science, where I saw hundreds of preserved beetles under glass. Seeing them under the track lighting in that setting instantly awarded them prestige. Beetles are an amazing visual dichotomy. In painting them, I give beauty ot something unsettling. We are repulsed when they catch us unaware, yet their colors and habits are fascinating. I enjoy the intricate layers of parts one sees when their wings are spread. Many of the objects and situations the beetles are depicted in are derived from surreal dreams I have had. I appreciate the beetle's place in myth and legend, dating back to early Egypt. They are symbols of strength and continuity of time.