Having experienced childhood trauma and dislocation, I used art as a tool for coping and transcendence... Before my teens I was already buffeted about to two vastly different countries and cultures. By the time I was a teenager in England, the third vastly different country and culture, I  was drawing for meditation and self care/comfort. My  teachers, recognized my gift for drawing, and suggested that I apply to art school.

After graduating from St. Martins School of Art,  I  settled in Bennington, Vermont where I became immersed in depicting the landscapes of New England and the South West. These were commercially successful at the time: I was granted  an art fellowship and several solo shows in prominent New York galleries.  
More than a decade later I  moved to New York City and then to upstate New York, where mywork changed dramatically: I began to experiment with fabric collages, creating imaginary cities, 'Cities of Dreams', and exploring metaphysical and spiritual themes through Biblical allegories. In noticing the vast differences in the topography of these newer surrounds, I focused more on rock formations and landscapes rather than the willowing grasses, forests and fields she painted in Vermont. My visceral painterly approaches to the 9-11 tragedy were done at this period, as well. 

Dislocation occurred again in 2003, when I moved to Waterbury Connecticut. I soon experienced loss of a loved one and began to work through  grief by painting a series of images depicting the 22 Major Arcana of the Tarot: The human journey from birth to death. (Highlighted in a solo show "Milestones"). Soon after, I became interested in aspects of time: temporal and eternal, which initiated a series of paintings on the theme of time; the Times Square series, which were both symbolic and representational (temporal). Eternal time was expressed in a series of  large gestural abstractions symbolising  Cosmic time. 
The latest paintings and collages depict the adverse consequences of environmental degradation by climate change and human greed. This interest in social narrative is evident in the vignettes of the LIFE in COVID  painting.