Having a child was an experience that truly grounded me in making work about the human condition. If I was a writer, I might have written about what I was learning and growing through. The excitement, confusion, anxiety, fears, physical and mental changes…all of it. Although I did journal, I mostly sketched and made objects and images that to me, were indicative of the physical processes involved in creating a human and in growing as a human. My life experience at that time, in many ways, became my art.

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During my early academic studies, I was intentionally experimenting with a host of non-traditional, household, "safe" materials to stay away from the traditional toxic art materials like pigments, printing inks, chemical solvents, acids, and fixatives. Working with things like human hair, Vaseline, lipstick, soap, straw, and textiles was an easy transition for me in that the materials were simply components and characters in the conceptual work I was beginning to craft.

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I was also uncovering artworks, practices, philosophies, and artists that resonated with my approach to art-making. Some of which dated back to the late 1800s but mostly I found my way through modern and contemporary art by known producers like Marisa Merz, Joseph Beuys, Kiki Smith, Louise Bourgeois, even Eva Hesse.  Themes began to take shape in a my work that had to do with the paradoxical interplay of forces in the sexual, biological, and feminine. I became interested in finding parallels and contradictions in the materials I used and in representing the dynamics of attraction and repulsion in the objects and environments I created.

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What manifested over the course of 3 years was a series of immersive installations about sex, reproduction, birth and heredity, all through what I would call a feminist's lens.

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The color pink was an essential element in this work.