In kindergarten I made a snowman that was beautiful so beautiful in fact it won first place in the all city school art show for ages 5-6.  Ever since that time I knew that I wanted to be an artist.  In first grade I found it very difficult to color within the lines, I was happiest with a blank piece of paper to draw on rather than a coloring book. Ever since then I knew that I wanted to create things I imagined and not things others imagined.  I found I was happiest imagining realities which today would be considered surreal rather than living in someone else's realities.  As an artist I am content creating alchemies which transform the elements of the real into the surreal and illusion. Transforming alchemy's of the real to the surreal and illusion is process that wonderfully situates itself in the field of the abstract and coloring outside the lines. For me abstract work suggests that all things are in perpetual motion. My art plays in the fields of perpetual motions and in the spaces of the abstract.

I work with contemporary notions of movement, time, change, abstraction in my art but I also consider how these notions have been historicized visually. In considering the historical I draw upon the wealth of aesthetic marks that artists have made in the past and use them, reconfigure them so they become my own original marks and speak from within me and from within the surfaces and materials I work with. Each mark is uniquely visual.

These marks are uniquely visual because I am interested in and highlight movement, moving images and marks in ways that both interface with traditional plastic arts, the historical, and at the same time interface with the contemporary, the present. Traditional and plastic are notions, are ideas, which have been frozen in time and for some reason no longer move or change. There are a wide range of arts and artists that are or have become plastic, that is they or their works no longer represent grandiose ideas that idealize and freeze an idea, a mark and or an artist. A short list of a few artists whose works and marks have been historicized would include the works of Michelangelo, Monet, Van Gogh, Picasso, Cindy Sherman and Joseph Beuys. To juxtapose the ideas and marks of Michelangelo, Monet, Van Gogh, Picasso, Cindy Sherman and Joseph Beuys with the abstract works and marks by artists such as Twombly, Pollock and DuChamp helps the viewer of my work to see the temporality of my works. One may ask but how is this possible?

The organizing principles of movement, time, change and abstraction are compelling ideas and very difficult to make marks for, as once the marks are made I risk the possibility of freezing these marks in time. In my abstractions I try to  side track freezing a mark in time by making marks that are very expressive and impressionistic and are able to change with each viewers own personal interpretation of the work and the mark.  This is why I try to give just a brief hint of my creative journey offer suggestive moving titles which allow the viewer to fill in the missing blanks with their own personal experience. I encourage the viewer to imagine and express multiple perspectives of my work as there is no one monumental right idea within my works.  I ask that the viewer no longer look at a work passively and read a narrative that determines representations for the marks I have made. The marks in the my works move because they include the viewer's personal space and time and in the process reorganize my marks to fit within their own personal perceptions which in themselves will also change over time.

That is why all my works are unique, original and one of a kind.  I fragment the notions of real, abstract, imagined by incorporating the viewer's perspective to be a part of my work. This allows my very real marks to always be in space of perpetual motions, always moving, always changing, and always playing. I call this playground "Motley Spaces." "Motley Spaces" are spaces where one can have the pleasure of play with the notion of "real" and rearrange the real so it creates  contrasts and surprises, never become monumental or idealistic, "Motley Spaces" are imagined spaces, are  abstract spaces. "Motley Spaces" are inconsistent and paradoxical, because these spaces are both real and imagined at the same time.  Christine E. Alfery