The paintings of Extraction are created in the intersection of landscape and abstraction. I sought the freedom of expression through automatic movements of my hands, rather than trying to exact the slice of nature’s chaos. I imagined what Georgia O’Keeffe saw in the air, a landscape that transforms into a tapestry of colors in abstraction[1]. The paintings of Extraction attempt to capture this blurring of boundaries and scales.

Days Without End is an experimental dance film exploring the Asian diaspora through body movement and minimal narrative. The choreography and setting blend reality and imagination to express the artists' feelings while waiting to receive the US green card, which eventually felt like waiting for validation to be accepted by the country.

As a therapist, I know now that the recurring nightmares I have had throughout my life are manifestations of ongoing exposure to severe threats that I cannot escape. This is also known as one of the definitions of trauma- and a classic symptom of trauma are regularly occuring nightmares.  Creative People regularly vividly dream as part of their Creative Personalities, and as a therapist, I have worked with Creative People to underastand the emotional content of their dreams, especially when dreams become thematic, as signals to them of their overall wellbeing and emotional needs.

—obsessed with an iconic painting by Rene Magritte. The painting depicts a water glass on an umbrella. Magritte thought of the combination as a new object that simultaneously "wants and doesn't want water." An amused Hegel might take a holiday just considering it. Thus the name, "Hegel's Holiday."

Co-written, co-directed, and co-designed. 
 

A music video for the song “Two” from the Flock of Dimes album "Head of Roses," co-created with Cricket Arrison. The video explores nagivating a sovereign self while in relationship with others. Filmed in January of 2021 "Two" is an attempt to honor the vital importance and joy of connection at a time when we are extremely isolated. 

Human beings have killed half a million of our own kind, and no one is at fault. Or are they?   

At a dive bar in the middle of a pandemic, masks are optional but politics and religion are strictly forbidden. The humans offer a free one-day hunting license after your third Singapore Sling, pellet gun after six, your own hand gun after dark. If there's nothing in the alley, they'll release the rats they keep above the bar.
For the 2020 installation Locker Room for Basketshop Gallery in Cincinnati, OH a shower has been deconstructed and cluttered with objects. Tile walls, copper pipes and bathroom plumbing implements are transformed from their original function to stand in for skin, organs, limbs or strange, exposed genitals, emphasizing vulnerability, tension, and the fluidity of identity.

This body of work started in the Covid Lockdown of 2020. Trapped at home for days on end, my sweet escape was to go to Towson University, where I taught classes. I’d go to the drawing room and draw and paint from the still life closet. The college was like a ghost town, and the art building was virtually deserted. I held an open studio, though I rarely saw more than one or two students.  The series likely started with me doing class demos but morphed into something much more expansive.