As an interdisciplinary artist, my work blends historical techniques with contemporary craft, exploring themes of nature, labor, and identity. To me the history and the reputation of cyanotype is undeniably feminine. In my studies of alternative process photography I was never drawn to cyanotype due to its simplicity and the limitations of its color. 

When my life drastically changed within a year following the birth of my daughter, my Multiple Sclerosis diagnosis and the realization and escape of my abusive marriage; I reevaluated every aspect of my life, including materials. The pulls of motherhood demanded my attention, and the darkroom was neglected. I looked for a craft that I could do with a baby on my hip. 

My MS diagnosis suggested a correlation with a lack of vitamin D which led me to seek more time in the sun in my last days in Oregon,  then to fully immerse myself outdoors after returning to my native state of California. While healing from heartbreak, I was desperate to keep my hands busy and found myself surrounded by wildflowers. 

For all of these reasons I turned to cyanotype. Every spring and summer since I have returned to this part of my practice where I am able to unapologetically embrace the beauty of nature. In contrast  to my conceptual work, this practice is not led by the complexity of trauma but by the simplicity of unapologetic beauty. Each summer I make a series of botanical cyanotypes that allow me to soften my practice, and allow a tenderness to seep in that I am able to carry into my other work and life.