As a former dancer surrounded by art and artists my influences come from everywhere.  My upbringing alone and environment was all art, no wallpaper or empty table tops, only art on walls and sculptures on tables, including the front lawn and patio. Through my work with the body whether as a former ballet dancer, studying behavior as an actress or in the world of fitness, I find the emotions, stories and messages in gesture and movement within a single part of the body something we as humans understand in a nonverbal way.  We constantly respond to body language on an unconscious level yet overlook how much meaning that information can express. 

There is a large choreographic component in all my work designing each piece as a photographic moment in time, then becoming two or three dimensional.  In my body print work the actual choreography of getting in and out of position without spreading unwanted paint on the surface is just as important as the design of the piece itself.  Creating gestures and positions in either genre gives me a sense of control over the body, the message and feeling or behavior each portrays. My connection to line and form prevails in each piece. That in mind, each includes the invisible element of the rest of the figure. Whatever section of the body that inspires me includes meaning to me personally from a variety of elements of my life. For example my careers in fields where being female had an effect on equality is shown in much of my work encompassing a feminist component, sometimes subtle, sometimes obvious, but empowerment for women emerges in many. The obvious passion for legs and feet from my ballet background is also linked to the connection they make to the ground, the earth and the physiology of the rest of the body in weight distribution and balance in various perspectives. Feet, for instance, carry and lead us therefore can alone express and show a life lived.  These gestures narrowed down in fragmented ways convey the messages I want to reveal. I want the viewer to have options: to naturally include what they don't see, as well as realize, what they don't see may not be necessary in order to respond to the work. What is not seen is as connected and unified to what is seen. 

My influences from greats such as Bernini, Michelangelo, Bartolini and Carpeaux are never ending in my focus on anatomical detail, execution and style of the figurative form.  From these classical influences to the impact Pop art had on me, I am stimulated by art becoming something all together different-classical with a contemporary sensibility. Hand Painting a finish on a classically figurative work in a humorous or modern way can lead to a sense of playfulness and whimsy that inspires me and pulls me in unlimited directions. This theme is what art means for me: the details, the form, the expression ending with an experience different for all. 

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