This body of work sprung from my love of the natural world, my appreciation for Victorian cataloging of specimens, my fascination with biological illustration and printmaking, and my anxiety about the state of the environment. These pieces vary in their technique, but they share a material use of acrylic paint and collage. Collage allows for experimentation and quick connection with a painting, which is an important part of the process for me, as it creates a path of discovery of and response to the challenges and opportunities of each painting. Acrylic, because it dries quickly, is fantastic for layer building. I revel in color, using thinned acrylic to achieve glazes and nuances of tone and hue. I also use painted tissue paper, some stamping and stenciling techniques, and mixed media to achieve layers of surface texture. Finding a balance of these methods is part of what makes each piece different from the ones before, even if the subject matter is very similar.

Each piece is unique, but when seen together they all speak to my high regard for, and interest in, our natural world. My fascination with biological illustration began as a child when I took a summer class in the subject. It was furthered by my college experiences with the RISD Nature Lab and looking at historical illustrations such as those made by Maria Sibylla Merian, Mark Catesby, Elizabeth Blackwell, and Pierre-Joseph Redouté. Looking at nature through the lens of a scientist or an artist illuminates the beauty, originality, and unique design of each plant, insect, and animal. Respect for our world fostered these paintings.

Through the juxtaposition of historical flora and fauna engravings with contemporary use of abstraction and color palette, I attempt to underline the importance of the links between creature and food or habitat. My goal is to remind my viewers of the joy of observing the natural world and the delicate balance we all depend on.