In "Flow State," I embrace the feedback loop of art inspiring art. These paintings capture creativity in full display – the focused energy of musicians immersed in their sound, writers weaving stories, actors embodying emotions, dancers in motion, and the powerful connection that moves viewers to become active participants in creation.

“i am the blind men/ i am the elephant” marks my most personal artistic undertaking to date, delving into aspects of my lived experience often concealed even from my closest confidantes. This series of watercolor paintings revisits the well-known parable of the blind men and the elephant. Blind men who have never encountered an elephant try to learn what it is by feeling only one part of the animal’s body. The elephant is then imagined as a snake. A wall. A rope. A fan. Even a weapon. Each perspective is justified, yet the picture is incorrect.

Applying this parable to my own identity – as a mother, artist, nerd, wife, feminist, and woman navigating contemporary society – I go on an introspective journey. Through the fluid and surprising nature of watercolor, I am creating a series of works that blend humor, self-scrutiny, and a touch of the surreal.

Furthermore, this project confronts my own complicity in perception, recognizing the biases and blind spots that inevitably shape my understanding of the world and others. 

By combining abstract forms, symbolic imagery drawn from personal experience and popular culture, and figurative representations, I aim to encourage viewers to pause and examine their own perceptions. Are they, at times, the “elephant,” the subject of others’ limited grasp? Or are they the “blind men,” struggling to comprehend the reality of those around them?

Ultimately, “i am the blind men/ i am the elephant” hopes to foster an appreciation for the complexities of the modern human experience. This body of work is a continuous unfolding,  mirroring my own gradual process of self-disclosure.

"Ingress" marks my initial journey into the world of abstraction. This watercolor series is an entry into the unknown, a courageous step toward a new artistic territory, fueled by the excitement of a new adventure.

Phenomen-Art-ology is an artistic "study" fueled by my curiosity into the  ways our world works. I draw inspiration from surprising behaviors revealed by humanity’s greatest minds behind scientific inquiry. It is my attempt to grasp and express the inherent strangeness of reality, a subjective and imaginative lens through which to contemplate the logic and magic of our universe.

"the artist pays attention: finding meaning in the age of distraction" is a body of watercolor paintings on paper that critically engages with the pervasive forces of the attention economy, the global marketing strategy that thrives by capturing and sustaining our attention, often through algorithms that maximize engagement. Through satirical humor, allegory, and literary allusions, these paintings delve into:

"the artist pays attention" seeks to unpack the layers of our complex relationship with attention and  explore the power of art to create authentic engagement and connection in an increasingly distracted world. 

I've been on a journey to connect art and mathematics. My explorations have taken me from visualizing constants to uncovering stories in the graph of functions and playing with geometry. Though I have been enjoying these explorations, I still struggle to express the core of math's resonance for me. This has been surprisingly less obvious than I initially thought.

I have always been drawn to puzzles. I enjoy logic. I relish the sense of accomplishment from a hard-won understanding of concepts that took hours, days, or even weeks of confusion. I am fascinated by proofs. And recently, it occurred to me that is what holds the answer: Proof. 

Truth, once an absolute in my youth, is now a source of uncertainty. Recent events have prompted a re-evaluation. How can two people witness the same thing and arrive at such different—even opposite—truths? Even science, our most reliable tool for understanding reality, grapples with this. Physicist Sabine Hossenfelder, in Lost in Math, argues that theoretical physics has prioritized mathematical beauty over empirical evidence, leading to elegant but untestable theories—theories that may forever remain beyond proof or disproof.

Bombarded with information, I find myself  with a constant hum of anxiety, feeling as if I no longer have stable ground to stand on. Brian Cox and Jeff Forshaw's the quantum universe captures this feeling perfectly: “That we do not fall through the floor is something of a mystery. To say the floor is ‘solid’ is not very helpful... atoms are almost entirely empty space. The situation is made even more puzzling because, as far as we can tell, the fundamental particles of nature are of no size at all.”

That's how I feel—still standing on solid ground, but with the unsettling sense that the laws governing these infinitesimally small particles might not hold, that somehow these laws might no longer be true.

But through mathematics, we have a powerful tool for critical thinking.  Though with inherent limitations, proofs have allowed us to establish and build upon fundamental, albeit abstract, truths.  Proofs demand rigorous demonstration. They are only as good as their assumptions, so there is a possibility of disproof. Proofs require a willingness to admit error and acknowledge that even long-held truths can crumble in the face of new evidence. While we don’t live by theorems, the spirit of mathematical inquiry—its emphasis on logic, reason, and intellectual humility—to me offers a compass in our current world of manufactured realities.

It seems, then, that my exploration of the intersection of art and mathematics is actually a quest for truth, expressed through art.