There is an intention in my work to create multiple layers of meaning. I want to encourage a certain kind of focused attention so that the imagery becomes felt as much as seen. 

I build the paintings slowly, through a painstaking process that has evolved over time. My deliberately protracted approach requires that I work flat, using oil paint (a process that is inherently slow), and involves a gradual surface development. The physical labor of crafting these pieces is key to what separates my images optically from the vast amount of visual information that constantly surrounds us.

The relevance of this is meant to be a comment on contemporary life, and the times we live in. It is a reaction to a  digital world, and the fast pace of current news cycles. Making my paintings requires a dedication to time spent simply looking. I savor getting lost in my eternalized considerations of color, patterns and surface. The avoidance of a specific narrative, or the use of textural flourishes, denotes my resolve to having the paintings be experienced, as opposed to having them be a quick read. Their slow construction, and the viewer’s gradual apprehension aims to create an unhurried circumstance of awareness.

New in this body of work is a reference to landscape. I think of all my work as coming from nature, but with some of these paintings I am adding what I see as an additional pattern, one that suggests rock formations undoubtedly inspired by time spent in Joshua Tree. In all the paintings I continue to explore the effects of warm and cool colors, with varying degrees of tonalities, but the insinuation of landscape allows me to examine a different type of spatial field and its relationship to scale.

Originally from Colorado, I studied art at Western Washington University & Fairhaven College, Bellingham, Washington, the University of Copenhagen, Denmark and the University of Washington. While living in Los Angeles I worked as a curator for Gemini G.E.L., and with various corporate art collections. I also worked as a consultant for David Hockney’s studio. I then moved to Portland with my husband, Mark, to start Mahaffey Fine Art, a fine art print workshop. In Portland my work is represented by the Russo Lee Gallery.

I have exhibited primarily in galleries on the West Coast and at institutions such as the Portland Art Museum, Boise Art Museum, and Oregon State University. I have completed various public art commissions including ones for the El Paso International Airport, TX, Columbia Basin College, WA, Oregon Convention Center and Tigard Public Library, OR, Tacoma Public Schools, and for a Fire Station in Aurora, CO.

My work is included in the collections of the Portland Art Museum, New York Public Library, Tacoma Art Museum, Portland State University, Boise Art Museum, Good Samaritan Hospital, King County Arts Commission, Swedish Hospital, Microsoft, Oregon Health Sciences University, and private collections.