For years I have studied concepts of decay, scale, allegory, ambiguity, and layering using lens-based images. What began as a series of portraits over ten years ago evolved into a deeper, more expansive evaluation of a larger theme; the divine feminine. My current work is influenced by the vast archeological, mythological, and anthropomorphic history of our civilization when feminine was synonymous with nature and the cycles of life. Drawing from the earliest existing depictions of the feminine forms as found in ancient worlds of the Near East and Old Europe, during Neolithic, Paleolithic, and later periods of our ancient civilization my work explores how we reorient our understanding of the feminine and its evolution in the future of the Western world.

The feminine in this context is not gender-identified. It is non-gender; non-binary, rather it embodies the ancient characteristics of the feminine which embody nature itself – life giving, renewing, and at times destruction in order to birth again.

In these images, reflections, plane shifts, layering, masks, and other symbols contribute to the perceived ambiguity of the seen and unseen. The images subjects are individuals who are inclusive in age, ethnicity, and gender fluidity. Intuition and being present with each image in the making inform my choices as I embed history and cultural references with each subject. They serve to illustrate the inherent conflict with the feminine with deeply ingrained, and largely unconscious and distorted meanings assigned by the patriarchy through the millennia via religious, political, and cultural institutions.

The images are presented on large scale silk panels, on translucent Japanese papers and video. Layering at a large scale in space allows for images to interact with each other.  Diffused light all angles creates a more complex yet ethereal affect.