A curatorial practice has been the foundational and daily constituent of my professional life. In museums and galleries as diverse as Maryhill Museum of Art in Goldendale, Washington, to the Hoffman Gallery of Contemporary Art at Lewis & Clark College, as well as in guest curatorial projects, I put objects in the service of concepts in order to weave a cohesive visual discourse. To my mind, curating an exhibition is comparable to writing an essay inasmuch as the educational component of an exhibition experience is important to me. I consider an exhibition a success if, in experiencing it, a viewer has an unexpected insight or a moment of sheer visual delight.

 

I am an object-based curator. The integral qualities of a work of art are a priority to me: the craftsmanship and technical expertise; a coherence between the visual image and its foundational bearings; if there is a message, how is it delivered? 

 

In working with private collections, my curatorial acumen assists the collector in making wise choices to create a cohesive collection with connoisseurship bearings. I like to think that works of art “talk” to each other and, in juxtaposition, pique lively conversations and ever-deeper aesthetic experiences. I have a broad knowledge of art history—contemporary and historical—with an emphasis on Pacific Northwest artists.