FAQs

“What is Lemniscus?”

Latin for “ribbon,” from the Greek lēmnískos, meaning a woolen ribbon attached to celebratory floral crowns and diadems. When this word first appeared to me, resonating with my artwork, I was unaware at the time that “lemniscus” also describes (in anatomy) a band of fibers, especially of white nerve fibers in the brain. As an artist living with Bipolar type 2, ADHD, and Multiple Sclerosis—a chronic, typically progressive autoimmune disease involving damage to the sheaths of nerve cells in the brain and spinal cord—the metaphorical ties in my work to this word have only strengthened with my lived experience. As such, my “ribbon work” has served as not only my platform for personal expression, but as the thread I have followed throughout my journey though chronic illness and in the pursuit of mental health.

“What do the red ribbons mean?”

In Chinese folklore, it was believed that fate was a red string that connected and ran through everything. Though I'm not a champion for the idea of pre-destiny, I do believe that the choices we make today and everyday bind and limit our choices tomorrow. If Time is a river, then Fate is the current in which we stand. So what happens to us among the rapids when we tie ourselves to the things not aligned with our place and movement as they pull and move on their way? My ribbons explore these false limitations, the ties that bind, and the restricted definitions we place on ourselves—fragile things which are easily broken or cut, if only they weren't so lovely and integral.

“What tools do you use?”

Prismacolor Verithin Red/Blue double-ended colored pencils form the bulk of my work, embellished with Poppy Red, Navy Blue, Sun Yellow, Sicilian Yellow, and Ink Black Derwent Inktense water-soluble pencils, water brushes, white charcoal, and sometimes black ink.

“Why the red and blue pencil?”

One pencil; two colors... I first discovered the red/blue double-ended pencils at an art supply store after choosing to embark on a very personal illustrative journey in the midst of a separation precluding a difficult divorce. It was during this time that I was diagnosed with Bipolar II—marked by phases of high-creativity and low momentum. Although the pencil was likely designed and intended for drafting or animation, I identified with it and wanted to use it in an unorthodox way to express my unorthodox experience. Since then I’ve leaned that not only are my moods and energy cycles also affected by my ADHD, Multiple Sclerosis, and Hashimoto’s Thyroiditis diagnoses, but that the bipolar experience is not merely shades of simple red and blue, seemingly bouncing between two extremes as the stigma perpetuates. It is a slow rise and fall, each day one of a great multitude of phases. With each piece, I aim to express this subtle spectrum through the careful balancing and blending of both red and blue, exploring all of the multitudes of shades therein.

“Why are you so open?”

While I may project openness, it was not an easy decision to share my mental and physical diagnoses. The truth is both chronic and mental illness/neurodivergence are still heavily stigmatized and wildly misunderstood. That being said, it is not my goal to educate or to appeal for understanding from those who make judgments. My sharing is for those like me who struggle to find solidarity and self-compassion. When first diagnosed with anxiety, CPTSD, and Bipolar II, I noticed that my online resources typically only came in 3 forms: clinical diagnostics that are as difficult to parse as they are subjective, lists of bipolar celebrities lined up for amusement like in old timey “geek shows,” and forums populated by loved ones and former loved ones of bipolar individuals making harmful blanket statements. Rare to find was the 4th type—First hand experience. My aim was to be able to offer up my experience in the hope that others like me may find it helpful, even if only to feel seen. It wasn’t until my Multiple Sclerosis diagnosis that I also learned the value of shared experience as a means of demystifying an often scary diagnostic and treatment process. When first courting a diagnosis of MS, I was overcome with grief as I researched my likely condition. It was because a friend shared with me her MS diagnosis and story that I was able to find my courage to lean into my own diagnostic process and eventually take the steps to learn how to live with my challenges. This helped in my later self-advocating to achieve my Hashimoto’s Thyroiditis and ADHD diagnoses. I share openly because when we are silent, we feel alone. It is by sharing that I further the connections I hope to make in my life as well as in my art. I share because my experience is my art.

“Where do you find your inspiration?”

Many of my symbols are inspired by my great love of Greek mythology and fairytales, much of which was gleaned from my hobby of reading my father’s encyclopedia and learning from him about star hopping and constellations while standing beside his telescope in the back yard. My father had graduated with an English and Latin double major and was an enthusiastic storyteller. This had a profound effect on my choice of entertainment. Growing up, I remember being completely engrossed by shows like Jim Henson’s Storyteller and Grimm’s Fairy Tale Classics. I loved how David The Gnome delved into the specifics of gnome culture and lore, all while teaching lessons on kindness and conservationism. I was equally intrigued by the drama of Shakespeare’s Animated Tales and the Shakespearean references in Gargoyles, many episodes serving as cautionary tales. As a child of the 1980’s, my favorite movies included the 1985 Legend (I now much prefer the Director’s Cut), The NeverEnding Story, The Adventures of Baron Munchausen, Willow, The Dark Crystal, and Labyrinth. The ballroom scene in Labyrinth made a particular impression upon me which I believe is still evident in my work. I was also dazzled by the animation of Rankin Bass in The Hobbit, The Return of The King, The Flight of Dragons, and The Last Unicorn. The illustrative art style of these Rankin Bass films led to an appreciation of early 1900’s Golden Age Illustration. My current art book collection includes many of the greats. Arthur Rackham, Ivan Bilibin, Edmund Dulac, Wily Pogany, Jessie M.King, Ida Rentoul Outhwaite, Maxfield Parrish, Aubrey Beardsley, Kay Nielsen, N.C. Wyeth, and Adolf Hirémy-Hirschl are among my many, many favorites from this period and genre of art. While standing perhaps beside (rather than on) the shoulders of these giants, I am inspired by their mastery of detail and visual storytelling. However, it wasn’t until experiencing Anselm Kiefer’s mythology-inspired and autobiographical “Heaven and Earth” exhibit that I became so inspired to tell my own story through mythic symbols and visual metaphors. I wanted then to create art that was deeply personal and intensely vulnerable. In utilizing Ray Bradbury’s method of looking for literary patterns in word-association lists as detailed in his book “Zen in The Art of Writing,” I discovered a cache of symbols that were personally significant for me. These objects were seemingly ethereal and mysterious, yet striking, many calling upon the iconography of magical items and helpers in ancient stories. While working through my many traumas and anxieties, these symbols were suddenly summoned. I saw my life challenges play out in my mind’s eye as a play of characters and ritualistic images. It soon became clear to me that, while inspired by a wide variety of sources, my art had become my personal therapy. Each piece is now a knotted ribbon to be untangled, a meditation on emotionality and feeling. Just as artist Yoshitaka Amano had answered when I asked about his source of inspiration, “I am inspired by my walking the path of my own life.”

“Do you take commissions?”

As of right now, I am currently only taking business and gallery offers/inquiries. As work on my “Lemniscus: PANACEA” series and “Lemniscus: The Ribbon Tarot” continues to unfold, I am not currently able to fulfill personal commissions. That said, I am experienced in illustration, character design, lettering, and digital colorist/flatting work.