The series, “Curved Matrix” is created in my iPhone, as all of my work has been over the last 13 years. The grids are made up of individual images of brightly colored plastic cups, taken in sequence, ostensibly random, but always informed by my 25 years in the studio.

All of the grids in this series are screen shots of my ‘Union’ camera roll. The initial screen shot then gets blended with a second, producing a variation on a theme. The blending is repeated multiple times. 

The palette in this image refers to that of Frank Stella. This piece was titled a few weeks before he died. 

I curate the resulting blends and repeat the process until a particular composition and palette is obtained that sings to me. 

The palette in this image refers to that of Mary Cassatt.

These images function as formal, colorful, banner-like pieces.

The palette in this image refers to that of Philip Guston.

Because the cups are those of my daughter, Claire, from years ago, the images simultaneously function as abstracted portraits, both of my daughter, and as self-portraits.

The palette in this image refers to that of Henri Matisse.

I find that the pieces function as self-portraits because they contain elements of my life as a mother.

The palette in this image refers to that of Andy Warhol's "Marilyn" series.

I have spent the last four years working with self-portraiture. (I  mounted an exhibition in the Fall of all self-portraits.) This "Curved Matrix" portfolio comes out of that years-long endeavor and, by dissolving my visage, takes the work to a broader, less literal realm.

Still, I feel I am somehow present in these images, and still, after many years, using my daughter as my muse. 

The palette in this image refers to that of Frank Bowling.

As my muse for many years, now, 28 years later, I’ve captured her, and by default, myself.

The palette in this image refers to that of Frida Kahlo.

These images, though a departure, also engender a return for me, a reacquaintance with my beginnings as a painter. 

The palette in this image refers to that of Mark Rothko.

Here, as in all of the work I have submitted, the viewer is invited to sew together the images, meld the parts, attach the facets one to another, for a completed picture, in an act of seeing itself.

The palette in this image refers to that of Artemisia Gentileschi.