I have a chance to meet

There is so much I want to ask

And so much I want to tell” 

Otsuko Chino from “Imagine Finding Me”

Life is basically a series of memories—whether from seconds ago or years ago. Our minds are similar to a labyrinth and photographs help to reflect, create and reconstruct our past. Family photographs had disappeared from my memory bank. Yet, when seen for the first time in years, the dress I wore or the street where I lived were as vivid as yesterday. By combining two photographs into one image, I am compressing time and allowing viewers to see the past and not so past simultaneously.

This series references the works of several artists. Martin Parr often experiments with depth of field and renders subject out of focus.The shadow portraits of Lee Friedlander and John Baldessari use negative space and iconic dots to obscure both figures and places within a photographic series. Inherent in our understanding of appropriating these vernacular images is the concept that the new work reexamines whatever it borrows to create another work.

Photographs are often the main source of life’s remembrances. Our minds see events and people subjectively and photographs sustain that memory. Images are an abstraction of the real experience and as such influence how we react emotionally to our past

FAMILY is about time, loss, memory and the creation of a legacy for the future.




 “The aim of the wise is not to secure pleasure, but to avoid pain.” Aristotle

Several years ago, I descended into spinal purgatory, unable to walk or stand for very long. Suffering with unrelenting leg and hip pain, I tried exercise, meditation, physical therapy and acupuncture. Having been diagnosed with scoliosis, spondylolisthesis and stenosis, I started to visualize the anatomy of my lumbar spine and what it meant to be out of alignment. I imagined the spine’s complex network of bones, muscles, nerves and discs and how they could be causing me so much discomfort.

Using sculpture and photography as a means of expressing my pain, I created artworks that reflect my desire to understand what was happening to my vertebrae and how surgery might change the structure of my spine.

This series of photographs, from sculptures I have created, focuses on my perception of pain and the spine and how pain can impact mortality and my perception of aging. Based on my medical diagnoses, I perceived my body and my vertebrae as both organic and inorganic materials with the spine out of shape, constricted, disintegrating or collapsing.

Through allusion and metaphor, I am addressing images of pain sensations and options for living. For this series, I have created a visualization of what my spine looks like to me--not the real spine, but an unorthodox view of my anatomy. These photographs convey my feelings of living with a disability, the pain of aging and daily confrontation with my mortality.




 This work is in response to living with chronic pain. As my spinal condition worsened and my daily options became diminished, I had to navigate my world with new restrictions. I needed to deal with multiple medications, wired instruments to control pain and the need for a constant supply of batteries to keep the machines working. With my activities restricted, I started to see myself confined to a narrower world. Filling the cage with my necessities became a way of visualizing how I was feeling.




 "Light is unlocked, received and revealed as the fundamental penetrating force of the universe…” says Lyle Rexer in "The Edge of Vision, the Rise of Abstraction in Photography.”

 Light is an essential life-giving element, whether it’s the light that allows me to photograph, the light that emanates from a light bulb or the light  that nourishes a flower. The seemingly contradictory natures of flowers and light bulbs come together for me in the images I call “DICHOTOMY.”

In this series, I explore color, texture and shape. Color expresses a positive emotion in my work. The beauty and diversity of colors in our world are a source of inspiration and reflect my wonder at nature. Hard and soft textures delineate objects, while repeating shapes unify images.

By discovering and revealing hidden nuances and unique combinations, I  strive to provide moments that capture the unexpected.



Next Year in Jerusalem celebrates and honors the many versions of the Haggadah that are available to us today.

Passover is one of the most widely celebrated Jewish holidays. Regardless of their beliefs, Jews around the world get together with family and friends to celebrate and commemorate our liberation from slavery and to acknowledge the plagues that are still with us today.

The earliest version of the Haggadah that is still in existence is probably from the 9th Century C.E. A fairly complete fragment of this Haggadah was found in the Cairo Genizah—a repository/archive for ancient texts located in the synagogue which was built in 882 C. E., in the Egyptian city of Fostat, now Cairo.

Although the term People of the Book specifically refers to the Jewish people and the Torah, Jews historically have seen reading, literature and knowledge as cornerstones of our faith. Reading the Haggadah at the Passover seder embraces this tradition. Today there is a Haggadah for everyone’s needs and beliefs.