In Dahlia's collection each painting is an entity unto itself, the paintings, each of them a labour of love. In rich shades of red, hues of blue, pale greens, a virtual sea of colours, the paintings seem to exist in a vein similar to both the workings of Georgia O'Keefe and Mark Rothko. Strange as that comparison may seem, given the vast differences between those two painters, in Dahlia's collection, many of the paintings depict the same abstract shape, half-womb.

Reminiscent of the womanly sensuality infused in many of O'Keeffe's paintings, the abstract quality of the work is worthy of Rothko. The paint covers the canvas in virtual explosions, in colours so bright, they stand as proof that Dahlia has spent much of her life in her native home Jamaica.

Dahlia is inspired by her inner life; her brush strokes are not controlled but instinctual. Though she does have a background in visual art from 1995 to 2001, she worked as the proprietor of an art studio specializing in contemporary and classic prints - her approach to her paintings is less learned than experimental. She professes to have no absolute technique though the works are mature enough to take varying forms while still remaining consistent to the impetus of this series, the state of woman's heart. In turning to the canvas as a confidante, Dahlia comes away with a collection of paintings that provide answers all their own. Her technique, therefore, may best be described as honest emotion.

She began this series in the fall 2001, a frenzy of productivity that lasted many months. After painting the final one, feeing both exhausted and invigorated, not dissimilar to the emotions of a new mother, she knew that the series was finished. Dahlia's passions are born here, both in her art and her life.

Graduated from both the New York School of Interior Design and the Art Institute of Fort Lauderdale, Dahlia currently resides between Jamaica and the Cayman Islands.