With an early background in biology and scientific illustration, I set out with a straightforward goal: to make visible the invisible wonders of science and nature. Over the past 25 years, my work has constituted an ongoing series of multimedia experiments informed by science, though unbound by its conventions; while scientists are obliged to strive toward states of detachment, the artist can vacillate between objective and subjective perspectives. Where does observer end and observed begin? Exploration of this question has informed a range of projects and practices involving sound, drawing, sculpture, video, textile, painting, printmaking, and text.

Over time, as the fragility of our shared planet’s ecology has become ever more apparent, I have turned for inspiration to naturalists, artists, and philosophers who have mounted challenges to the European Enlightenment-based “logics” that have served to externalize humans from our environments and from an understanding of inherent entangledness with one another. My most recent work, emerging directly from this research, marks a return to my roots in scientific illustration and the use of more traditional art-making materials, such as pigment, canvas, and paper. Upon sustained, deep looking at and listening to the land- and soundscapes in which I find myself, micro- or macro-views of rock or cloud formations, water bodies, insects, and seed pods become energetic marks, color-saturated shapes, organic abstractions.

Behind this non-dualistic, nonhierarchical approach to “scientific illustration” is a provocative claim: empirical and subjective are equally-essential forms of information.

I believe the simultaneous examination and expression of seemingly paradoxical states—inner and outer, individual and collective, qualitative and quantitative—will be vital in making apparent the scale, urgency, and types of socio-environmental action required as the Anthropocene epoch unfolds.

My earlier bodies of work including 2- and 3D visual and sound-related pieces have appeared in over 50 exhibitions internationally, including the Gwangju Design Biennial (2009), The Power of Making at the Victoria and Albert Museum (2013), and Re:Purposed at the Ringling Museum (2015). I've led field recording/sound collage-making workshops in the US and Europe. Awards include a Fellowship in New Genres from RI State Council on the Arts (1998) and an Artist’s Book Production Grant from Women’s Studio Workshop (2005), as well as residencies at Acadia National Park (2004), Vermont Studio Center (Full Fellowship 2006), and Blue Mountain Center (2006 and 2012).

I hold a BS in Biology from Southampton Campus of Long Island University (1990), and both a Certificate in Scientific and Technical Illustration (1994) and a MA in Nature-Culture-Sustainability Studies (2019) from RI School of Design. My master’s thesis, titled An Intricate Ensemble: The Art-Science of an Ecological Imaginary compares the shared desire of some 18th/19th century Romantic Naturalists, 20th century Surrealists, and 21st century thinkers to defy destructive conceptions of "progress" by “re-enchanting the world.” I suggest this spirit is urgently needed now in light of the Anthropocene epoch.