My thesis exhibition title for my work in 1995 at University. Still applicable in my work today, and I believe has always been there from the beginning, before calling it out in that exhibition and now very much in tune to it after.

No matter what the medium, or course a work may take, underlying this exploration, the theme is innate in the work.

My work has been inclined to represent memory, looking into the past, possibly with regrets, hoping to lock it away and forget, a chest of memories, almost like the one your great-great grandchildren may find one day covered with dust and hidden in what was once your attic. Opening the chest will unlock your memories and experiences to them and they learn of pieces of you, and those pieces become another part of new memories and new experiences they may create and make them their own. A cycle.  

The release of memory, putting it to rest, not my own specific recollections, more of a universal past with memories, remembrances, feelings, emotions, things people hold sacred, things people may look back on with hurt, scorn, love, happiness…. Just a feeling, a moment, a touch, a scent....

Through these memories, emotion is explored, in retrospect, the emotion, the memory and the vision change with time, become slightly muted, silenced, distorted or faded. Sometimes they grow stronger and sometimes not. Memories collide, in strange sequences, one is not sure if something was a dream, reality, memory - is that really how it happened? – Imagination and Reality come into question when sifting through memories.

The fine line is also a place where memories begin to fade, these things … people, places, pets, dreams begin to become hazy and feel as if they will be lost forever, becoming subtle remnants of what they may have once been. 

This work, has been created with a memory as subject matter (real or fictitious – even the abstract) of my own creation, however I strongly would like to allow openness for others to interpret based on their own memories, feelings and experiences, these interpretation become as much a part of the work itself as everything I am conveying in the pieces.

I am not exploring perfection in these works - figurative or abstract, more the sketchiness that comes from what has once been, a memory, a feeling.