Jocelyn never set out to do “Indian Art”. She has simply done what she felt like doing creatively and what she felt to be an honest expression of her feelings and experiences. Much of the work resulting from this approach is possibly the first highly realistic depictions of Taos Pueblo by an actual member of the tribe. Such work has been the exclusive domain of non native artists since they began coming to Taos more than a century ago. She depicts the actual images that she has known growing up at Taos Pueblo, whether or not viewers can distinguish the reality from romantic fabrications of Indian life and culture. Though she does indeed belong to a tribe blessed with much tradition, it is tradition itself that forbids the depiction of Taos Pueblo’s native religious observances. However, the more subtle parts of this ancient village tell more of the story than other more easily identifiable native imagery.

Present in her work are themes of persistence and perseverance of culture and individuals as well as the life affirming beauty of nature. It is her hope that viewers will appreciate the technical aspects of the work as much as the subject.
   Jocelyn’s primary media is Black Scratchboard, scratch removal of India ink from a white clay panel. She compares the process to drawing in reverse. Often she will tint the scratchboard with watercolor. She also experiments with different ink application techniques on plain white clayboard, often depicting scenes of winter or of native plant life in a minimal style. Never wanting to limit herself, Jocelyn also works in oil, acrylics, watercolor and does printmaking including monotypes and etchings.