My art started with my fascination of fine textiles and embellished surfaces and began to take on a sculptural and visceral tone when I started to incorporate a traditional quilting technique called trapunto. I began to explore the irregularity between my notions of a traditional composed female veneer and the emotional subsurface of femininity. Around this time I became pregnant with my son and there was something in the combination of a changing physical appearance, psychological unknowns/fears/excitements, and fearing the loss of a sexual identity to motherhood that made me start to make work that appears beautiful-gutsy-bodily-lusty-anxious-comforting-feminine-disjointed. I feel like I try to get to some sort of truth about myself and about being a woman and then when I arrive there, I start to obsess and over obsess which results in the over articulated and manipulated surfaces of my work. My work represents various components of myself while also psychologically mapping my notions of femininity. Some one recently told me that my work reminded them of fascia, the soft tissue that is part of our connective tissue under our skin. I loved this analogy because fascia provides support and protection for most structures with our body: my work is like protective manifestation of what supports me as a mother, wife, woman, artist, human being.