I like soft edges and the act of blending. 
 
​A painting is finished when I can't live without it.​ Color first, then food and water, then squares, rectangles and flowing lines.
 
​I am interested in transcendence and the physical embodiment of it through honesty, intuition and trust. I want the artwork to somehow blend the unseen with the sensual and be a meditation on the new and familiar. I think the paintings are uniquely detailed and I want them to captivate up close as well as draw you in.  The initial gestures can be very free and set the stage for more deliberate layers and fabric-like visual textures.  I need to see something through something else - translucence, mystery and the intuitive flow of random and deliberate.
 
For me, this has been a journey of growing courage, the courage to make a mark, to make a strong shape on top of the color gradations I love, whether in oil or the random drips of ink, followed by small lines to fill in the spaces.​
 
STILL DANCING
​I bring 25 years of Classical Indian dance to my visual arts, and I called my first solo show “Geometry and Flow” because my paintings reflect the same dynamic that drew me to Kathak dance. A fluid language of movement and grace, Kathak (North Indian traditional dance) is geometric shapes strung together in intricate patterns of hands and feet, and phrasings with crisp staccato endings.  ​​Precise or messy, cognized or spontaneous my work is often a dance between sharp-edged forms and forms half- hidden, the illusion of shapes emerging or shapes disappearing.  Sometimes a strong geometric shape or calligraphy floats over the layered colors and happens like a performance.​​Abstract, intuitive painting is performance, and it is improvisational. For me it is the same dance between basic forms and the raw edge of discovery: lines that break and reconnect, shapes emerging or disappearing, layers of color, like the shot-silk fabrics of the costume.​
 
MEANING
 
I see meaning, in non-representational painting, as having at least two dimensions: The impact of the painting without reliance on the reference to familiar objects. What happens when two colors next to each other make the foreground-background ambiguous? In the gap of not knowing mind can fall away.

Impact derives from spatial relationships and from color and from other qualities that keep you captivated because, as in poetry, you don't have to understand, you have to feel and to float in the gap between curiosity and resonance. A second impact is the artist's story about the painting and process. When this is articulated, it can take the viewer deeper into the work.  

Yet, reference and story are inevitable. In mark-making, once there is variety of form, you have the possibility of seeing familiar objects and stories. That is okay with me as long as they don't dominate.  Inside the artist during the process are experiences and images that arise and influence what goes in. Understanding those gives more meaning and depth.

TITLES
A good title describes the dynamics of the work, without interfering with the viewer's experience.  Titles happen like the paintings themselves.