Following the completion of Spending Time, it was clear that this meditation on marriage was going to change with time. Spending Time was a recognition for the seconds, minutes... really, the timelessness of time in partnership during a human life. It seemed relevant to take time to meditate, one stitch at a time, on the reality of a lifetime commitment to each other. Spending time, a later realization, was like spending money - understood by living with the artwork and led to a new understanding of richness. This meditation does not end. Five years past Spending Time, the exercise repeats as Know Know. Upon 6 years of marriage, and 13 in partnership, The question of knowing one another was the meditation. Gradually unfolding all misunderstandings of the other's real motivations, needs, dreams and reflected understanding of other became a cascade of mystery and discovery sometimes delightful, sometimes painful. Know, Know has a double entrendre of its own as it appears to affirm and sounds as disappointing as "No, No." The early marriage feelings of dissapointment and disillusionment coupled with a new commitment to always trying, however limited we are, to know, to get to know, to remember that we don't know the true being of the partner. Each stitch as each pixel of the 2016 photograph (by Charlie Smith) gives way to meditate upon the pain of isolation and joy of discovery that comes with mid life. The practice is to stay with the unknowing until it is possible to know.

Spending Time, a double portrait of artist and husband is created from a photograph made by the artist and then pixilated to create a script for the stitchwork. Each stitch recreates the image pixel by pixel. Formally, this work nods to early American needlework and the tedious work of commemorating family through stitches. In practice, the sustained work of cross stitching over 8 months, spending time with the image of partners together, builds to a meditative practice. This piece is immediately personal and reinforces the roll that Time plays in building and sustaining a marriage relationship. Being an ordinary instance between self and husband, in ordinary dress and composure, this relationship and this artwork are meant to be as simple and as monumental without elaboration. It is as with meditation.

Project Hello 2011 is a 7 hour drawing interpreting the traffic of visitors at Project Hello. Project Hello is an event for artists, designers, musicians, writers and poets to introduce themselves posing the questions: How do you interpret introduction? What does introduction mean to you? Show us how you say hello in your creative voice. Furthermore, Project hello is an event to gather, foster, promote and expose our efforts as the creative community of Denver. This drawing is designed to be an impromptu scatter-plot graph representing each visitor, his/her sex and age, and approximately when she/he arrived. Legend: Red - adult female, Blue - adult male, Yellow - female youth, Green - male youth, White - artist/passing time. The graphing begins at the bottom left corner of the drawing and grows toward the top right corner. Visitors were asked to use the color assigned to their sex and age and color in one rhombus. Beyond the technical representation of the audience, this project reveals some participants' personal expectations for participation. For example, when asked to use blue and color in one shape, a visitor may or may not agree to use blue, and if he does agree, he may decide to draw a picture in the shape. During the process of drawing, the project evolved from a simple introduction into a dialogue of self-assertions, compromise and resolutions.

CMYK are a series of drawings inspired by the marks of printers' color test prints. The machines for printing our various paper copies also provide a script for the meditation technique of carefully repeated mark-making. For the CMYK drawings, these "meditation scripts" offer the simple opportunity for careful mark-making with simple colors in simple forms.

Breathing Room, a series of paintings transcribing the sound of my breathing as I breathe, emphasizes the simplicity of presence through the breath and the truth of eventual absence. These concepts are integral to traditional breathing-meditation, while this work requires engagement of a corresponding activity. Layers of translucent white paint alternate with streaming rows of letters spelling the breath. Initial layers gradually become only textures and ultimately invisible. The most visible layer dictates what only just was and becomes, like each preceding layer, a dissolution of vitality. Breathing Room is a practice of awareness as it is a practice of resignation.

Practice comprises 24 days of 20 minutes practicing mark-making. Each day, beginning with either a 2"x 2" or 4"x 4" square and common beet dye, the practice began by painting a mark starting in one corner and continuing marks across the square format for 20 minutes. Each practice composes the spontaneity of each day and an evolving sense of the medium in relation to self. This work is an attempt to meditate daily using the modality of mark-making.

The drawings, Circles of Circles, represent a process of allowing the media to converse with the mechanics of coloring in shapes. By the nature of the medium, a 4-way color pencil, to gradually change, the process of coloring must respond to the colors as they evolve.