Ms Kane draws on personal narrative and experience to create her paintings of maps, home made art magazine covers, and the relics from her children’s youth. Kane works in several visual formats, while maintaining a set of marks and icons that travel between images, uniting the art as a body of work. A few moments examination rewards the viewer with an intricate visual language, that while speaking to the observer, also carries on a converstation between the works themselves.

In a review of her work, author and critic John Loughery wrote;

Kane leads us into a peculiar netherworld, a hard to place area that’s both reassuringly ancient, and anxiously modern. This is a painter who is interested in the unconscious and the archetypal, and utilizes her own private, (but not inaccessible) vocabulary and imagery.

The road to Kane’s art is quite distinctive. Looking at it one can see the influence of Arshile Gorky in her linear painting and color, but she also admires the work of Richard Long, with his deep connections to the earth and the way in which his materials reveal his process. Kane is self taught. A true child of the sixties, she grew up in Washington DC absorbing the period’s powerful political climate and eschewed college in favor of work in the National Park system. Yosemite and the Grand Canyon offered her the opportunity to study ancient Indian ruins and to document pictographs in pen and ink drawings. These primitive figures drifting across the maps allude to the aboriginal concept of a walk about, or offer a sense of nomadic wanderings.

With regard to her current body of work, Kane says:

These maps are my inner landscapes, reflecting my sense of balance or instability as I observe the political and environmental tumult of our times. They are not about particular places, but rather concern my fascination with migration patterns and the forces of nature. I am also deeply moved by the relics of childhood, and feel compelled to document those artifacts which hold enduring memories from that time.