Nomentana’s collages are abstract landscapes of the mind, infused with the light of Maine's changing seasons and her own emotional weather. Working primarily with acrylic paint, she navigates themes of formalist concerns: spatial relationships, color, form and line. These landscapes are also infused by music which is her constant companion in the studio. Movement and influences in response to it are always present, at least as possibility. Art making for her involves longing and discovery, through an exploration of self and the visual world.

Her process involves working largely on the floor, where she fabricates painted objets for use in making non-objective collages. She starts by making large sheets of paint, which are then peeled to make paint skins. Through tearing, cutting, scrunching, etc., the skins become objets, ready to be glued to the surface of the work. Rather than collecting images of objects such as shoes, or pieces of sheet music or cutting out noses or other body parts, her objets are uniquely Nomentana. She makes the images, choses the colors and determines the shape; she is in total control of their materiality. She holds them in her hands, partnering them as she places them into their final position on the picture plane. Each objet will relate to the other objets where they coexist on the surface. Investigations and configurations interact with and play off of one another.

This intuitive and informed process begins without preliminary sketches or concepts, and with only the most tenuous of ideas. Nomentana manipulates, responds to, and interacts with what she sees before her. Typically, she works on several pieces at once, dancing into and around the space/spaces. Along the way, she adds or delete shapes and colors, in dialogue with her formalist concerns of the moment.

Nomentana sees collage-making as a way to choreograph visual form, where the aesthetically interesting gradually becomes pictorial reality. Interested in quirky abstract shapes, large physical gestures, and of late, tiny little specks, surprises occur. Her paintings are human in scale, carrying many meanings in a fragmented, absurd world that may or may not mirror reality. Nomentana’s work probes the interactions between calligraphic markings, architectural references, street art, plant forms, decorative flourishes and anthropomorphic images, all swirling and swimming in a universe in flux. Her eccentric but engaging forms and spaces may carry sociological or psychological meaning, or no meaning at all. The configurations may be anomic, funny or perverse, sometimes verging on the narrative. She aspires to create work that is intriguing and pleasing, with a strong minimalist impulse tempered by a dry sense of humor, and a powerful sense of hope. Though the work has become darker, in these times of plague and governmental dysfunction, art is a refuge. As the world seems more and more topsy turvy, art is her lodestar.