eltic design has become my visual language, through which I seek to express the interconnectedness of all things. Drawing from such revered sources as The Book of Kells and other ancient Irish and Scottish artifacts, I am honored be part of the evolution of this tradition.

I first became interested in Celtic design when I began studying Celtic music. I am a singer, and in my investigation of traditional Scottish and Irish songs, I was drawn to the artwork on CD inserts. I began looking for these designs in book form and started a collection of instructional materials on how to accurately draw knotwork, mazes, spirals and animorphic motifs. Learning how to reproduce these patterns became a treasured part of my day, not unlike a daily crossword puzzle might be for someone else.

One day, as I was looking out the window at the trees in the yard, instead of seeing leaves, I saw pattern ... not just any pattern, but Celtic design spiral pattern. Instead of bark, I saw mazes. I turned to look at the dog sleeping on the carpet and I saw Celtic spirals in the fur, and knotwork in the way his paws overlapped one another. It was a breakthrough, and this has been my artistic passion ever since.

In my daily life, I have developed an ability to find the grace in ordinary moments and mundane activities. Those individual moments in time are over in the blink of an eye, but somehow stretch out for all eternity in the present ... those are the moments that amaze me. No matter how ordinary, each moment is unique.

Currently, my focus is on a series of pet portraits, through which I am exploring the connection between humans and pets. A split second of eye contact with an old Basset hound is a timeless moment that I have explored in a painting titled "Missing You." In capturing this on canvas, I observe the patterns in the skin and fur, the natural order of the way the garden arranges itself harmoniously around, while remaining connected to the flowers offered pleadingly to the viewer. In layer upon layer of under-painting, I recognize colors that typically go unnoticed in a split second glance. I relate my wonder at the intelligence of nature, evident in the way shapes in the picture fit together like the pieces of a puzzle. Most importantly, I linger warmly in the sense of yearning, unconditional love, and acceptance in a mutual gaze.

Other series of mine include “Human Trees” and “Work in Progress,” an exploration of ordinary but unique moments during various types of work.

These paintings represent my own thoughts and emotions so deeply, I think of them as self-portraits of my instinctive, intuitive Self; simple and fully present. I think of these moments not as frozen in time, but fondly bookmarked for repeated visits.