"How to arrange myself to seem bad and remain well? It is like when one looks at himself in the mirror (or the portrait) looking for the beautiful angel (without anyone observing it) to check that one keeps on being the same always. Some plant themselves sideways, others will imprint the truth with that which they would like to be, others will ask themselves: How am I really? But the truth is that we all live taking notes on ourselves, lying ambush for our own selves, declaring only the most visible, and hiding the irregularity of the apprenticeship and of time... For my part I am or believe I am hard of nose, minimal of eyes, scarce of hair on the head, growing of abdomen, longlegged, wide-soled, yellow of face, generous in loves, impossible to calculate, confused with words, tender of hand, slow in going, unrustable heart; fan of stars, tides, tidal waves; admirer of scarabs, walker of sands, slow of intuition..." (Pablo Neruda, Windows That Open Inward).

How we long to look in that mirror and approve of what we see. "For my part I am or believe I am" exploring imagery that focuses on the self and one's perception of that self using the female body. Cultural labels and stigmas that define femaleness have flourished throughout the history of art. Appropriating this imagery allows me to create a visual language that juxtaposes the past and present. New meanings emerge. Although, no one knows for sure what the "authentic feminine looks like (L.P.Streitfeld)" each of us contributes to the collective definition in our personal struggle with that image in the mirror. In creating a tangible form for this experience I am looking to awaken the unconscious to misconceptions, self-deceptions, dreams, and myth. My hope is that I have raised more questions than answers.

Out of necessity, this journey has propelled me into new artistic territory. The landscape with its accompanying flora and fauna has evolved from an interior reference to a full backdrop for the figure. It has taken on greater importance visually and metaphorically in the work. At times, the landscape behaves as a wall or barrier. At other times, as in the Adolescent's Dream, it projects both serenity and mystery. If danger exists it would be in the misstep of a protective herd or in the uncertainty of darkness. I've also reintroduced into the process the technique of glazing to create a deeper, richer sense of space and a more visually layered composition.

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