135th Anniversary Annual Members Exhibition

June 7 – June 22, 2024

This show can also be seen in person at:
One Art Space
23 Warren Street,
New York, NY 10007

  • collage
    18.5 x 21.25 x 1.75"
    Our model was a wonderful person, covered in tattoos and piercings. I thought, at the time, so many people would consider her as different, but why? What if she was a Saint? What if she lived a life full of grace and beauty? I wanted to create layers of colors and hidden bits for people to find when they looked at it. Just like people.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • acrylic 23.5 x 31"
    How to depict the illusive concept of sin? Choosing an apple strongly symbolized this religious meaning, but how to render spirituality, devoid of gravity, was the challenge. The painting method implemented was to paint a setting of various deep blues pushing space forward and back. The wispy leaf-like lines created movement and visually flowed across the canvas implying spirit. The apple, in its purest form and color, is braced by 2 branches and created a stillness... Now the apple is ready to be picked.  
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  • watercolor, colored pencil 30 x 27 x 1"
    For the past fourteen months, I have been mourning the death of my daughter. She taught middle school ancient history, and my current work connects to images from those times. That’s what’s led me to look at a schematic of the Biblical tabernacle in Jerusalem and make paintings based on it. Some of this work has focused on the scarlet, purple, and indigo veils that divide the three sections of the tabernacle. Making paintings with these references lets me feel connected to my daughter and is helping me process my grief.
     
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  • mixed media on vinyl tile 12 x 12 x 1"  
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  • enamel on copper 18 x 18"  
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  • driftwood, oil pastels & soft pastels 30 x 15 x 6"  
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  • oil on canvas 16 x 20"  
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  • orange alabaster 12 x 12 x 5" Luminosity shines bright to get the attention of the viewer. Octopuses, with their three brains are brilliant and are on the top of the oceanic hierarchical chain. Their keen ability to sense their surroundings, the interaction with humans, and how they care for and defend themselves is a marvel. Luminosity was created to represent the importance of the ocean and her creatures. I , personally , have immense respect for these sentient beings. Man's interference has taken a toll on all these glorious beings. How can we understand the impact we have had and change what we have done?  
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  • wood, found metal, magnets 10 x 8 x 3" I love collecting sticks while hiking. When I return to my studio, I sort the sicks by length, width, straightness or curvature, and color. When a stick's bark is spotted or striped, it often remains, but I also carve, burn, and use colored pencils on others. My next step is to search through my bins of found materials to find the perfect match between sticks and usually abandoned metal. The entire process of creating is fun and exciting, filling me with joy.  
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  • oil painting 24 x 24" This artwork sparks a vital conversation reflecting the interconnectedness and balance within the microcosm of my garden and the macrocosm of the cosmos. My work draws inspiration from the life cycle of flowers to explore existential questions about existence, purpose, fragility, and interconnectedness. By blending recognizable floral imagery with cosmic visions through layered, transparent glazing techniques, the painting symbolically merges the micro and macro realms. This convergence aims to underscore how all life forms, from the smallest flower to the vast cosmos, are intricately connected and demand an open dialogue to ensure the survival of this universal interdependence.  
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  • acrylic on canvas 15.5 x 16.5 x 1.5" My work is all about New York. The sense of belonging, and the desperation felt whenever I'm not in New York. It is about finding the place where I feel like myself. My work seeks to ask the viewer: ‘what is it that you desire? Where is it that you’d wish you could be? Where are you the happiest? What are you doing or where are you when you are your most authentic self? Who would you so dearly wish that would appear in front of you? What dreams do you have? What keeps you moving forward? Through my paintings I hope the viewer will engage in a conversation that could also relate to their own personal story, their own memories, their own personal questions, hopes, and aspirations.  
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  • collage with acrylic and paper 18 x 18" This collage, which presents a destroyed landscape, comes from my emotional response to the devastation of human displacement. Working loosely with abandon, layering paint and papers on a panel, the intuitive process itself supports the creation of an abstracted evocation of the chaotic aftermath of a cataclysmic event.  
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  • 3D mixed media 30 x 23 x 5" War is the number one cause of child hunger. War destroys a country’s infrastructure thereby disrupting the chain of food production. This, in turn, leads to the vicious cycle of yet more unrest and violence. Children living in war-torn countries such as Yemen, Syria, South Sudan, Nigeria, Ukraine, and Palestine are very likely to be malnourished and ravaged by stomach-aching hunger. Where there is war and conflict, children are dying at a rate unfathomable to our well-fed sensibilities. How can we, as flourishing members of the global community, prevent these unnecessary and endless conflicts, these wars that result in the heartless deaths of millions of children?  
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  • oil 36 x 26 x 2" This is a self-portrait done at my favorite location in my house - the kitchen! It includes a small colored glass sailboat hanging in the window, made by my father shortly before his death.  
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  • drypoint with monotype & hand additions 17 x 15" I live in Maine. Every year we wait for the spring peepers to signal that winter is finally over. I use the process of monotype with drypoint and toxic free inks to freely express gestural aspects of nature that surround me. I used various textured offsets to get a nuanced blue surface in this piece which had several iterations. Knowing when to stop is always the question.  
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  • photography 13 x 16"  
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  • acrylic painting 24 x 24 x 2" The Haro Strait is one of the main channels connecting the Strait of Georgia to the Strait of Juan de Fuca, separating Vancouver Island and the Gulf Islands in British Columbia, Canada from the San Juan Islands of Washington state in the United States. The forested mountains running down to the shore and the color of the water create a very different landscape than the south Florida coastline. With whales, seals and dolphins watching the marine life is pure joy.  
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  • acrylic, oil & markers on canvas, plaster & found object 20 x 30 x 2.5" Reflections is a hybrid sculptural painting that expands the viewer's perspective and viewing options. Front and back sides of the canvas are visible simultaneously, revealing hidden elements & layered meanings, both physical and conceptual. Seemingly ordinary objects carry concealed narratives beneath their innocent façade, suggesting deeper, even unsettling layers. A dismembered bottle nipple with a faint human reflection rests in white impasto and in a busy background of suggestive textural movement. A partially formed, unpainted baby bottle precariously balances in front of a baby apparition that seeped onto the backside canvas. Reflections is about reflections and interpretations.  
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  • collage on clayboard with sgraffito 16.5 x 13.5" I used to have students render statues. As demonstrations, I started using the truncated female torso in my own work, repeating variations in different media- watercolor, oil pastel, woodblock printing, and more. This reflected thoughts about aging- how a statue can lose parts over long periods of time. What may once have been adulated in youth has changed and is now attractive in very different ways. This art piece uses the same torso shape repeated throughout the series, and adds a portion of a cotton lace curtain from my first home that finally fell apart. It is dipped in encaustic wax, which preserves it. The line work scratched in the clayboard suggests breaking of bonds or barriers.  
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  • oil on canvas 24 x 18" The painting is based on two stages of a dawn off my back porch, looking over the Salton Sea. Earlier the sky was darker, later, more light comes in. During this time the clouds also change. The two paintings, done on lose canvas, were refractured - cut up and reassembled - mounted on a stretched canvas - to incorporate the two phases. The following poem is written for and painted into the painting: Storm clouds, fluffy clouds All the product of weather, changes are the key.  
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  • poured watercolors, fluid acrylics & paper collage 28 x 24" Abstract painting is an opportunity, for me, to retreat into my imagination and paint with my “mind’s eye”. In recent years, the universe has been an intriguing source of inspiration. I watch from afar, wondering who or what is out there? For me, the big question is what path or door should I go through in order to better understand my place in a universe of spinning planets filled with other beings.  
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  • oil on linen 20 x 20" I take joy in going on plein aire expeditions in the beautiful Catskill countryside near my home in upstate New York. I love the beautiful landscape, the barns old and new, the animals and plants in the region. The particular barn in this painting was built by the owner himself - a former New York City discotheque owner! I was drawn to the colors and patterns in the scene and enjoyed talking to the owners. Plein aire painDDting is always an adventure and full of surprises.  
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  • watercolor & mixed media on paper 25 x 21 x 1" This exuberant abstract watercolor piece is a reflection of the joy and engagement I feel when I'm painting. I created this piece last July, and I was clearly inspired by the lush and verdant summer foliage I love, which gave this piece its name: Flourishing.  
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  • encaustic 10 x 10 x 2" Caribbean Cottages is inspired by the vibrant colors that abound in tropical seaside towns. The mesmerizing blues of the ocean provide the backdrop to quaint, colorful cottages that dot the landscape. These colors encapsulate the idea of slow-living; being present and enjoying each day as it unfolds before you.  
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  • acrylic 21 x 17 x 1" I am currently working on a series of Strong Women, inspired by artists, writers, and other women of prominence in their fields who have demonstrated a passion for their work and a resilience to survive, sometimes against all odds.  By delving into the past as well as the present, through paintings and photography, I have been inspired to recreate those images in my own expressionistic style. It is an ongoing challenge and hope that the finished portrait will give a sense of immediacy and permanence to the subject, that the strength and depth will shine through.  
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  • monotype (printmaking) 16 x 24" The Inner senses to me are as much of a truth as the outer senses. My art is an expression of that Truth. The Truth which goes beyond our five senses. The truth which goes beyond the senses of seeing, hearing, smelling, tasting and touch. This is a truth of feeling and sensing, the inner world and the intangible outer world. I use visual art forms such as painting, drawing, printmaking and photography to express my inner and life experiences.  
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  • oil on canvas 20 x 26 x 1" I was inspired by Martin Johnson Heade and his ability to incorporate floral imagery in landscape. I am interested in creating surreal, fantasy elements in a traditional style.  
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  • photography 25 x 25" Worn by a variety of cultures in Africa, antiquity documents the wearing of Locs or Dreadlocks and braids back to 3000 BC in the Sahara Desert. Dreadlocks are worn for many reasons including religious/spiritual beliefs, rites of passage, ethnic pride, the rejection of capitalism and colonialism. The Crown Act, first signed into law in California in 2019, now law in 24 states including Texas, prohibits the denial of employment and educational opportunities based upon natural hair texture or style. Texas continues to draw national attention as it denies educational opportunites to students with Locs (protected under the Crown Act). The Crown Act has failed to pass the US Congress twice.  
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  • mixed media 14 x 17.5" My mother just died and the dogs in my mind were visiting. To say she is alright. It is made with acrylic paint fabric and mosaics. Dogs are all around my neighborhood so they become the animal inspiration. And heaven is a beautiful place with mosaics all around. I miss her very much and hope she safe.  
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  • digitally manipulated photography 25 x 19 x 1" Our hands are the most expressive part of our bodies, after the eyes. Being intensely emotional, I find it very instrumental in communicating with people. You can tell a lot about a person by how they move their hands while talking. In this photo collage, I depicted my hands flying all over the place, akin to the conductor's hand movement, creating a dynamic and vibrant image.  
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  • acrylic on canvas 10 x 8 x 1.25" I find peace and ultimate joy getting lost in the deep blues and teals of wild Florida's freshwater springs. Inviting as they are on the surface, the underwater surprises yielded by these jewels only add to the delight. Instantly calming, these waters help connect me to deeper thought and insight.  
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  • bronze 15 x 8 x 8" When my son did communion I noticed the altar boy standing in the corner. I was so inspired by all the young children, the beautiful innocence, the trust they give and the dedication given to join and understand tradition. Children are truly an empty vessel. I find it so ironic that we think we can teach and fill this vessel, when this emptiness is something we should all learn from. When I am able to listen and learn, when I harbor empathy and understanding deep within my soul, I feel like I can understand the child I saw standing in the shadows of the church, with all his earnestness.  
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  • acrylic on black walnut 24 x 22" A Bloom in Time portrays three vibrant women on Black Walnut wood rounds, each adorned with colorful flowers. The piece symbolizes resilience and growth, highlighting the journey of overcoming hardships to eventually bloom. Through vibrant colors and intricate details, it conveys the message that despite the challenges they face, all flowers—and by extension, all individuals—will eventually flourish and bloom in their own time.  
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  • oil on canvas 36 x 72 x 2" Ambiguities and allusions of depth offer thoughts to individual and varied interpretations, as do all the common experiences we have as humans, no matter where we happen to be born. I’m keenly aware of the passage of the lives that have inhabited our small earth and respect what their labors have left for us. Moodiness, reflection and intrigue are a part of everyone's world, not completely and clearly understood. One can read their own interpretation of mysterious fog and manmade walkways made safer by fencing. The indistinct movements of water give hope for sustenance of life. Pathways suggest individual and varied interpretations.  
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  • photography 25.5 x 21.5" This image is part of a project I am near to completing. Entitled Mystical Metaphors. Various images of encountering mystical moments or metaphoric occurrences are included. All are quotidian in nature. I am hoping to self publish a book soon.  
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  • watercolor 16 x 21 x 1" Color, light and shadow—created by the sun outside but observed primarily indoors in the kitchen—are magic. There is something about lighted round vibrant color fruits, such as oranges and tomatoes, combined with blues, usually found in ceramics and fabric, that, for me, represent a promise: of the pleasures of food, kitchens, meals, community, peace. Given the disturbing times in which we live, my paintings are a small pleasurable alternative. I deeply appreciate still life.  
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  • steel 36 x 24 x 2" Continuing the artist's journey to explore the plight of women in our society, this steel sculpture is inspired by the moment a woman unwinds at the end of her day. Playing with the volutes of the feminine curves and the metaphor of the spring or the string, the artist invites the gaze of the viewer to unwind along with the subject, from her mind to the tips of her toes.  
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  • acrylic 19 x 17 x 3" My inspiration was the beauty of blue skies and tranquility of nature. Just riding down the long road encourages my senses to explore the beauty I am beholding. The cacophony of color creates ideas and visions that I can picture in my mind and then bring to life onto canvas.  
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  • oil 24 x 24" Since childhood I found myself mesmerized in painting the mysterious beauty and complexities of the natural world, later I saw the same qualities of vulnerability and power interwoven in the aesthetic of female forms and nature. Having been forever awestruck by the sanctity and power of water, I infuse fluid organic forms in my paintings to provoke a sense of fantasy, reminding people of brief moments when life felt like dreamy encounters.  
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  • pastel 16 x 29 x 1" The ocean is one of my favorite subjects to paint because of its ever changing hues and shapes. I love painting waves and depicting the beauty and power of the wave just as it breaks. The flat water in the distance reflects the blues and purples from the sky. The true green color of the Atlantic Ocean can be seen as the wave crests.  
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  • freehand digital painting, archival pigment ink on cavas 1/12 32 x 40 x 1.5" It’s All True-NOW DRINK is inspired by the post truth, conspiracy theory, misinformation, current political climate we’re living in. In the painting we see a young girl scout, or is she a Neo Hitler youth, selling blue drinks and flat earth cookies. Behind her, childhood myths are presented side by side with obvious falsehood beliefs held by a number of people. They have drunk the Kool-Aid, a pop culture phrase which means blind obedience to an ideology or person even when presented with proven facts that their beliefs are false.  
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  • acrylic 20 x 30 x 1.5" In an Oasis of peace all my senses came to a palette of emotions observing gentle, warm pleasant view of brown and yellow tones. This moment was stollen from my ordinary hasty life style.  
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  • pastel 23 x 29 x 1" I painted this pieces based on some photos I took while I was at a park which had a pond. There in the pond hidden in plain sight was this frog, half submerged in the water. The color and light drew caught my attention, but also the subject matter. As I painted the frog, it made me think about people and how we humans also hide in plain sight for similar reasons. Have you ever played "hide and go seek"?  
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  • oil & oil sticks on Oleo paper 19.75 x 29.75 x .1" Hawaii is such an enveloping place, every island is unique. The dichotomy of the old and the constant evolution of these volcanic islands inspires. This view struck me as so American, of a time when America was new. The beauty of the early morning mist and the light illuminating the cows freely roaming around ancient giant trees was an amazing sight. The colors were so true. It kind of reminded me of the scenes painted by the Hudson River School of mid-19th-century American painters. Very romantic, moody and idyllic. The use of oil paints on oleo paper gave me the ability to give dimension to this amazing and unique landscape. Feeling it as I painted!  
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  • acrylic with handmade imported paper 16 x 20 x 2" My art for a lifetime has been about the magnificent diversity of humanity and nature. The ‘Endangered body of work’ was  begun fourteen years ago as it became evident that Mother Earth, the wildlife, and humanity are endangered from climate change, deforestation, overfishing, insecticides, pollution, poaching, and the effects of war. Mother Earth and Mother Nature are also often used metaphorically for women since many women find themselves in situations of endangerment globally. Tree of Knowledge I was painted with a burning tree because I feel deeply about all the women worldwide who are denied educations.  
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  • oil on canvas 20 x 16 x 2" I am a Philadelphia based artist who loves color! I use painting to express my interest in people and how they fit into their environment. Everyday experiences interest me the most. In this oil painting, I focus on 3 brothers enjoying the fading afternoon sun of the spring shoreline. They are comfortable being together, yet each of the boys are lost in their own world. My process begins by taking a photo with my phone, and rendering the lines, shapes and values with white and black charcoal on gray paper. Next, I choose the size of the canvas and compose the piece using yellow ochre watercolor. Finally, I use a variety of brushes to apply layers of oil paint to complete the image.  
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  • photography 28 x 17 x 1.5" The thrill of speed, spray, and splash during a boating adventure are my favorite ways to spend a day. Equipped with my Nikon and a telephoto lens, I sat aft observing the ensigns' flow and flutter. I favor a telephoto lens for its ability to draw viewers into the scene, eliciting a reflective response to the imagery. This vision was captured aboard "Irish" off Camden, Maine, in West Penobscot Bay. Being on a US-flagged vessel gives me a profound sense of security. I aim to search for images that convey significant symbols reflective of how and where I live. The clarity of bright days contributes to fulfilling my artistic pursuit of simplicity, symbolism, and the evocation of thought.  
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  • oil 30 x 20 x 1" Resilience Blooms: Surrendering to Growth is an oil painting that encapsulates the transformative journey of self-discovery and healing. At the heart of the artwork stands a woman, symbolizing the collective human experience and the pivotal moment when one realizes their worth and confronts their fears and past traumas. Surrealistically intertwined with the landscape, she signifies that our past is an inseparable part of us, but by facing it, we can foster personal growth and empowerment.  
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  • acrylic 36 x 36"  
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  • acrylics 30 x 30 x 2" I have been exploring color relationships and the interplay between shapes, light, and shadow for my entire career. Color is the driving force behind all of my art, and experimenting with a variety of mediums, materials, and sizes is an integral part of my creative process. In the painting Origami, thin layers of acrylic paint are glazed onto the canvas to give the illusion of light filtering through vibrant color. The effect of the loose brush strokes further enhance the softness of the light and give the paintings a more textural feel.  
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  • oil 26 x 22.25 x 1.5" I am inspired by the figure and the actions of the figure. Talking on a cell phone is truly one of the easiest actions to observe and provides a picture that hopefully everyone can relate to. People are very focused on their phones, so, drawing or painting that situation gives you multiple artistic areas to contemplate.  
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  • oil & thread on canvas 20 x 16" I used to weave carpet, this work is part of series, oriental that inspired by oriental movement in 19 century and my knowledge as carpet designer and weaver, this is the smallest in the series.  
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  • oil on canvas 30 x 30 x 1.5" Inspired by my daily walks in the nearby woods with my dog, I sought to capture my experience of the natural world through a colorful and dynamic composition. What sets Giverny Reflections apart is the overall patterning of colored marks, created through vigorous brush strokes.Someone told me that the intermingling blues, reds, greens, and yellows reminded her of Giverny. The sense of movement and depth, around the portion that suggests reflection and possibly water surrounded by foliage-like forms on either side, reminded her of standing in the garden there. So despite the fact that the inspiration came from my local walks I adopted the reference to that beautiful garden in France.
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  • oil on linen 24 x 30 x 1.5" My paintings refer to the mystery, power and spirituality of the landscape. They speak of hope and optimism, while they also recognize humankind's insignificance in relation to the universe. The work is not about realistic forms but rather my response to what I see —the colors, shapes and atmosphere. My intention is to reflect nature's timeless cycle, the ephemeral sense of life, and the question of what else might be.
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  • mixed media, acrylic 12 x 12 x 1" My love of architecture is evident in my work. Trained originally as a sculptor, I try combining the feeling of depth and structure in my 2D pieces. The small spaces in my work allows the viewer to enter the space and capture their imagination.
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  • ceramic 11 x 8 x 8"
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  • punch needle embroidery 30 x 24 x 1"
    Rejecting the insinuations often thrust upon the female form, this work presents a highly rigid and resolutely geometric portrait of a woman, without a stroke of curvature. It's depiction of a fractured facial profile calls out the notion of discomfort from unwanted attention and mis-placed celebration of beauty that women receive simply by just being out in the world. The Artist presents a reaction-driven portrayal of those exchanges, and simultaneously shows strength embodied in female agency. This work re-examines our perceptions on “social appropriateness”.  
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  • acrylic 23.5 x 31"
    How to depict the illusive concept of sin? Choosing an apple strongly symbolized this religious meaning, but how to render spirituality, devoid of gravity, was the challenge. The painting method implemented was to paint a setting of various deep blues pushing space forward and back. The wispy leaf-like lines created movement and visually flowed across the canvas implying spirit. The apple, in its purest form and color, is braced by 2 branches and created a stillness... Now the apple is ready to be picked.  
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  • acrylic 16 x 20"
    The inspiration for this work comes from the highly invasive Oriental Bittersweet vine that grows in the woods behind my house.  
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  • acrylic painting with 3D leaves & branches 36 x 60 x 3"
    I am always inspired by my onetime hometown of Kailua, Hawaii. I feel a profound connection to the island. The smells, breezes, colors, ocean and warm, wonderful people inspire me. It is not about making a pretty picture, it is about spiritual connection on a deep level. I have experienced healing there after devastating losses. It always fills me up, even when I didn't realize I was empty. My hope is to move the viewer in some way.  
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  • acrylic 30 x 24 x 0.8"
    This piece is from my 'Landscapes' series, capturing memories from last summer and filled with anticipation for the next. It evokes the summer nights when the fresh memories of fiery sunsets still sparkle in my mind before they fade away. "But thy eternal summer shall not fade." William Shakespeare  
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  • oil & gold leaf on linen 22 x 28"
    This painting is based on my experiences in Rio during Carnaval. I have been working on this theme, aiming to portray the energy and colors I've seen during my participation in Carnaval in Rio De Janeiro. I added gold leaf, a new medium for me. I wanted to portray a fresh look, movement and "Allegria"; (happiness).  
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  • watercolor 19 x 25 x 2"
    Had an interesting walk along the Palisades. During the hike, I gathered some chives which I incorporated in my breakfast for the following morning.  
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  • encaustic 24 x 24 x 2"
    The hot flow of encaustic color is beginning to phase out my previously tightly controlled assembly of patterned hexagons. Those are still referenced in my work and their optical effect is still noticeable,—what is new is greater freedom in the fungible marks of hot encaustics—letting the lava flow & fuse. The pigments sparkle in my newest works.  
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  • metal, nylon, plastic, & cardboard 22 x 18 x 4.5"
    My recent series of work is called "Vagina Masks." The masks reflect on sexual abuse, body dysmorphia, social pressure to be perfect and forever young, and changes that occur in our minds and bodies as we age. I wrap, tie, and bind recycled materials and everyday objects found in my home (such as hangers, plastic bags, yarn, pins, etc.) to create layers that hide, reveal, constrict, and free what is under the mask.  
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  • oil on canvas 40 x 40 x 1.5"
    My painting is inspired by the fiery feelings that overcome peace..I intended to show the passion I feel that drowns out beauty and struggles to stay above the political fray.  
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  • painted steel wire on wood panel 23 x 26 x 2"
    My art depicts a broad and embracing perspective of human closeness to allow viewers' imaginations to respond in as open a way as possible. My parents suffered extreme early traumas that left them fearful of others. Their influence was a huge obstacle for me to overcome. As a result, I am sensitive to the damage to people, communities, and nations when fear prevents us from finding trust through recognition of our similarities and negotiation of our differences.  
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  • ink on yupo paper 12 x 16 x 1"
    In times of darkness, there is always a ray of hope, positivity, and light. The painting, Always Follow the Light, is an image to remind the viewer to never give up. There is a choice to seek the possibility that comes in every phase of life. It is within each soul to seek that special light. This painting is dedicated to my mother, who while battling cancer, spoke her last words " Well, I have had a wonderful life". She always followed the light.  
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  • painting 16 x 20 x 1.375"
    Stinger Flight is from my Visual Poems series of drawings that I have been developing for the past seven years. This piece was inspired by a Loquat leaf I found abandoned in nature. Within each object, hidden personalities are found and speak to those that listen.  
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  • photography, digitally enhanced 26 x 38"
    As a fine art photographer my goal is to engage the viewer. It is not my purpose to document an event as a photojournalist would be doing, but to create a work of art that stirs an emotion. I photographed these penguins on the Falkland Islands off South America and waited until the penguins started interacting with one another before I attempting to photograph them. By waiting until the right moment, the viewer can now feel the same excitement as I experienced, when I saw these two penguins greeting each other… ready to kiss!  
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  • digital fabricating to ink on paper, AP1 14 x 14"
    This QR code links to an animated portrait of Abraham Lincoln, where the digital marks of its creation unfold one-mark-at-a-time. The marks themselves are both a witness to the spirit of the man as well as to the medium that is defining our technological age. This portrait is part of a larger series of black and white drawings of Abraham Lincoln created by the artist during the tumult of the last presidential election.  
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  • encaustic 8 x 8 x 1"
    Everything around us was shades of blue and grey. We were sitting outside on the coast of Pico Island, in the Azores, listening to the waves break over volcanic rock. Not the nicest weather for a vacation with friends, but the Sangria we shared muted the chilly, damp weather.  I love the contrast of the dark red and the orange against the stormy sky and sea. This piece takes into consideration, unpleasant weather, along with the concept of making the best of it.  
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  • pastel 19 x 23"
    To find inspiration for painting, I sometimes get off the pavement and take the roads less traveled in the Midwest. This is a painting that resulted from my trip one early morning last Fall. I couldn't see well enough to determine if a deer was really off in the distance that morning, but something in the field looked like the form of a deer. I really enjoy capturing the natural beauty of the Midwest landscape to share with viewers--especially when the morning light creates such vibrant color for a painter to enjoy.  
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  • acrylic on canvas 20 x 20 x 1.5"
    This painting was initially inspired by images from the James Webb telescope. I have always loved viewing the sky and this is my interpretation of what is out there.  
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  • oil on canvas 30 x 24 x 1"
    Ego is a significant part of self-esteem, self-worth, self-confidence, and self-image.  We care for it, caress it, allure it, so it stays with us, loves us, and lives in us. Although it is the part of the mind that mediates between the conscious and the unconscious, it's responsible for reality testing, and we need it for a sense of personal identity. Overindulgence in loving yourself may bring Ego to a dangerous state that might hurt us. The Ego separates us from ourselves and becomes an unhealthy sense of superiority and importance. It brings arrogance and self-centered ambition. It becomes our enemy. So, what does one do? Live with the enemy? Tame it? Or maybe killing it is the answer?  
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  • oil & mixed media 36 x 84 x 1.5"
    Tribute to NAWA founders and all subsequent members, names of current SC chapter along base. Divided into 3 centuries, 19, 20,21. Four founders shown handing caged birds, aka female artists, to original, Grace FitzRandolph, who frees them into next centuries. Depicts expected societal rules and fashion. Ironic use of vacuum cleaner bags for samplers, with names stitched, child like. Corsets, keys, cages, chatelain, approved art subjects. 20 century, my artistic journey with doubts, failures, dark places to hide but within glorious symphony of nature. 21 century, my confident, peaceful place with space to think and work. Carolina Wren as guardian. Birds and flight paths connect the centuries.  
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  • alkyd oil 30 x 48 x 1.5"
    Painting and poem inspired by survivors of COVID-19 Gathering together They've made it out of the woods. From the edge of darkness and back Broken but patched back together, They take their places on pedestals, like trophies. They've won. They survived. And who are these witnesses below? Did they escape the pandemic- Or did they succumb to it?  
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  • acrylic on thin birch board 16 x 12 x .125"
    I wanted to branch out into less traditional portraiture, and conceived of the idea of modern iconography—portraying everyday people as saints and mythological characters. I loved the reference model's beautiful silhouette and sidelong look, and decided to add a halo and name her Saint Side-Eye to convey a sense of mystery and distinction.
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  • oil on canvas 24 x 24"
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  • stone 17 x 6 x 6"
    I create sculptural forms from natural materials, drawing inspiration from nature yet veering towards abstraction. The essence of my work often embodies a biomorphic aesthetic. Calling II, was created from a marble that seems embedded with fossilized bits that inspired a primitive bird like form. It is also the same stone that I used to create Calling, an earlier sulpture.  
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  • oil 24 x 30"
    On our visit to a rural village in Sapa, Vietnam, we came across a man bringing home a hard days work of harvesting, with the beauty of the Vietnam hills in the background.  
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  • monoprint 14 x 12 x 1.5"
    The image is based on an original drawing inspired by a nearby forest. Its trees are in permanent descent and on every walk I take appear to be shifting closer to the lake they surround. They sometimes seem to shuffle behind my back. The etching was pulled from a zinc plate and is hand-colored in watercolor with gouache highlights.  
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  • painted foundry molds & found materials 28.5 x 17.5 x 6"
    My palette of found objects and foundry molds requires being tactile, playful, and using chance and intentional placement to create anthropomorphic totems. As I create my work, I let the shapes and objects guide me. The composition comes first but with constant editing, a theme emerges. I find meaning in these found objects and detritus from the past. By reimagining their purpose and giving them personalities, I look to recast their history and for the viewer to find kinship in these haunting shapeshifters. Freed from their destiny as trash, these curious objects assume new identities and evocation of something soulful.  
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  • acrylic 30 x 30 x 1.5"
    Despite the chaos beneath, playful colors can bring us calm and joy. The process of creating That Hits the Spot was a balanced mixture of measured control and intuitively painting, each of which, in its distinct way, helped to release the angst that had been inside of me.  
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  • photo screenprint 24 x 18 x .5"
    On the Dock is a work from the Rowing Series, which depicts the sport of crew from the point of view of an active participant. In this series, the quieter moments of the ritual of preparation and repose are included alongside more vigorous action, all in the bucolic setting of the Hudson River. The photoscreenprints are hand-colored in the process of making them, wherein the screen itself is colored and the color is then transferred in the printing. The photo processing and tinted inks create the illusion of a newsprint photo from years past, creating a sense of nostalgia and reflection of a time gone by.  
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  • acrylic on wood 12 x 12"
    I was walking near Ben Yehuda Street when I noticed the color contrasts. A less busy street it glowed with warmth.  The night sky that usually intimidates me felt inviting. Using a limited palette this little painting on recycled wood makes a BIG statement.  
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  • mixed media sculpture 27 x 26 x 5"
    My artwork highlights current topics in society today. The title American Roulette is a play on words denoting games of chance. In America today there is always a chance of violence even in your own home. The "roulette" wheel around the center of the sculpture encircles the home showing threats of violence as the symbolic American eagle lands on top.  
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  • colored infrared print on vellum gilded with 24kt gold leaf 15 x 13 x 1"
    Sheldon Ruins is the ruins of a Prince Williams Parish Church in South Carolina originally built in the mid-1700’s. General Sherman burned it down in the Revolutionary War in 1865. This image was created by using a fully converted digital infrared camera with a filter of 590 nm giving some red and blue color along with the infrared wavelengths of light displayed. I chose to gild this with 24kt gold leaf to create the blue/green of the sky and to accentuate the antiquity and beauty of this ruin not typically seen in the United States.  
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  • oil on ceramic 13 x 6 x 6"
    My bud sculptures are peaceful studies of nature/form and one's tactile/visual response to nature. They are meant to provide contemplative solace to the viewer as they do for the maker. The pieces are ceramic clay painted with oil paint. They range in size and are made to be wall hanging or free standing. They are made spontaneously. They are a joy to make.  
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  • digital 14 x 17"
    After the passing of my late husband I traveled to Egypt, land where the afterlife is revered. In examining my photographs of that part of the world, I wanted to honor culture and consciousness. This digital collage came about by combining images of symbolic significance to me with text gleaned from an ancient language. The Latin phrase translates from MEMENTO VIVERE to REMEMBER TO LIVE. The imagery background is the sand of The Sahara Desert, near the Pyramids in Giza. Temporary footprints in the sands are analogous to the finite and fleeting qualities of life. The foreground pyramid image represents a trinity with ocean water contained within its frame.  
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  • graphite 27 x 23 x 1"
    The positive and negative spaces created by a chair in space intrigue me. Using the frottage technique, I am imagining these spaces as absorbing part of the energy of those who might sit in that chair, in a sense carrying a 'memory' of that person. The "#14" in the title refers to a particular bent wood style chair, now ubiquitous, first designed in 1859 in France and known since then as "Number 14."  
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  • sculpture 10 x 8 x 8"
    After visiting a Pompeii exhibit I was inspired by the plaster casts made of the victims. I wanted to do a diorama that depicted the emotions on the faces of a family unit. I decided to paint a mimi portrait of the Mt. Vesuvius eruption as seen through a window of the house.  
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  • printmaking 23 x 14 x 2"
    Recently, I've been working on collographs. A collagraph is a print that is made from a collage of various materials that are glued together on cardboard, metal, or a hardboard plate. Texture can also be created by gouging or cutting into the board. It is then inked as either an intaglio or relief then run through the printing press with dampened paper on top. I enjoy this technique as it gives me the freedom to experiment with different materials and textures. I also work with decorative papers as an added element. It is also a departure from my more realistic linocuts, allowing me to explore abstract compositions.  
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  • photopolymer lithograph with chine collé 25 x 33"
    This piece is inspired by my mother’s loss of independence towards the end of her life. We exchanged letters and I used them as text over my image to cope with her circumstances and projection towards my own. I did some research into my background and based some of my texts on these family secrets; both mine and others. I explore the changing relationships of parenthood, family, identity, love and loss, and am always concerned with the downward social spiral I see around me. I find I use artmaking as a means of negotiating a way through some of the irreconcilable behaviors I encounter in myself and in the world around me.  
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  • mixed media including stitchery, painting & drawing 24 x 24"
    The word Matrix in its archaic form means mother and is associated with origins of life. Made of over 36 4”x4” squares, some with strong visual bonds and some with no visual bonds, the meaning and strength of the individual pieces comes from their relationships to each other. We can each be unique individuals with depth and complexity, but when we form a common bond or have a common need, our uniqueness forms a collective. A perfect metaphor for humanity.  
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  • acrylic on canvas 16 x 12 x 1.5"
    My family and I were visiting my brother in a beautiful houseboat in Seattle for our vacation last summer. My son and his girlfriend were relaxing on the dock one morning while my daughter paddle boarded in the distnace on the lake. The scene was so utterly idyllic that I had to snap a photo of this enchanted Venice-like sun filled moment with those who are sclose to me. Appropriately enough my son is now engaged to his girlfriend and the name Lake Union seems to work with this double meaning!  
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  • batik on silk 18 x 24"
    Wherever I travel, I have always been struck by the many ways that families dry their clothing. This particular scene was photographed from a moving car on the Caribbean island of Dominica. Drying clothing outdoors is a universal occupation whether it is hanging from a balcony in Egypt to a clothesline on a Caribbean beach to a line hanging outside a home in Japan. This has lead to a series of paintings primarily using the wax and dye resist method known as batik.  
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  • oil 30 x 30 x 1.5"
    My visual reaction to so much of what is said.  
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  • wool roving 13 x 9 x 5"
    My work is inspired by the natural environment and made to celebrate, memorialize, and preserve living entities during the ongoing climate crisis. Coral Group 3 is one of a series of work inspired by many visits to the Mesoamerican Reef off the coast of Belize. The incredible variations of colors, textures, and designs of the corals are translated into a wet felted 3-D textile sculpture. It invites the viewer into the flow, patterns, and textures that evoke a more emotional connection to the environment and its precarious balance due to climate change impact.  
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  • watercolor 45 x 51"
    This painting is about the fragility of life and how life changing events may happen in an instant. It is so important to surround ourselves with supportive friends to celebrate our achievements and help us get through our difficult challenges.  
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  • fresco (plaster); salvaged wood 22.5 x 24 x 2"
    My inspiration derives largely from nature. I’m constantly piecing things together, whether in the studio, in nature, or in an urban environment; picking things up and rearranging them. I’m fascinated with the juxtaposition of contrasting materials, colors and textures. In this work, the warm, rough texture of the salvaged wood plays off the cool surface of the plaster, creating a dialogue between these disparate elements.  
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  • acrylic, airbrush, latex, ink, oil pastel, UV pigments on canvas 60 x 120"
    Synaptogenesis is a process that directs the formation of synaptic contacts. Synaptic contact is necessary for the transmission, analysis, and comprehension of stimuli meant to aid the body in functioning, but also in the development of language, critical thinking, and intelligence. As a philosophical, humanist artist, this painting and its theme become allegories for my intentions to foster and nurture new connections through art.  
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  • drawing 24 x 32 x 1"
    This piece is titled Dazzle after the term used to describe a herd of Zebras. A dazzle of zebras creates a mesmerizing appearance that protects the group.ion to the individuals in the group. Ironically, while seeing all the stripes together serves to confuse predators, their unique pattern also aid in individual recognition among zebras. As the sight of a dazzle celebrates the beauty of both the collective and the individual, it also reminds us to cherish our common humanity while honoring the special qualities that make each one of us unique.  
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  • watercolor on paper mounted to board 22 x 30 x 1"
    After traveling to Svalbard on the Arctic Circle residency, I was inspired to do larger works on watercolor with unusual presentations. The glaciers were astounding, magnificent, and fragile. This piece has been around the world promoting climate awareness (even at COP 21 in Paris for the conference). I love that this piece has been able to represent my work even if I couldn't be there.  
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  • paper & acrylic on canvas 24 x 18 x 2"
    A friend gave us a beautiful bouquet of flowers and I wanted to keep it forever so I made a collage of it. In this piece I continue to incorporate home sewing patterns by using the instruction sheet as background. Also included are painted papers and bits cut from one of my hand-colored woodcuts. I rearranged these familiar items in a playful way.  
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  • acrylic / mixed media 30 x 24"
    Mama’s Garden Was Blue is from the series ‘Into The Woods’, I believe green is a lucky color, most people love it. From spring to fall it presents us a galore of nuanced hues and values. And it takes its place right in the center of the rainbow. Blue, on the other hand, is the foundation of the world. It’s everywhere. It’s our air, our seas, it’s the one that embraces us, another words it’s like a mother. Here my entire interpretation is about a mother’s love. In such, while almost contradicting my own theory, the blues are in the flowers, whereas the green is placed at the mom’s skirt. Challenging myself and wondering what the reaction of the viewer will be. This always enriches me!  
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  • oil 21 x 25 x 1"
    I'm not sure that animals possess imagination, but I'd sure like to imagine that they do. And when they look at cloud formations in the sky what do they see? Perhaps more than we imagine.  
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  • India ink, archival ballpoint, crayon, coffee, watercolor, gouache, color pencil, acrylic on paper 28 x 21"
    Commit to Memory: The Precipice of Extinction is a social commentary addressing the shifting and eventual disappearance of our culture using animals as metaphors with overall goal being socially relevant as well as visually compelling.  
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  • ink & watercolor on museum-grade canvas 20 x 20 x 2.25"
    Abstraction takes the eye through an adventure. It has evolved from a formal piece into a more interesting, deeper, and more informed version of itself. Layers emerged, delivering hidden gems. It has become one of my favorite pieces because it just keeps giving. Dark tones are filled with a surprising myriad of color that prove that there is no real black, but rather a spectrum of deepness within color asking for light to draw out character within them. Look further at these color-filled dark areas, and as the eye searches, this piece will keep changing and rewarding your view.  
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  • oil 24 x 24 x 1.5"
    Peace for the Plover brings to light the Piping Plover that is on the threatened and endangered species list in many states.  
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  • digitally enhanced photograph 16 x 20"
    I have always been inspired by nature and the textures of Flora and Fauna. While visiting various Gardens (Longwood, Morikami, NY Botanical and others around the country) I am drawn to the beauty and elegance of lilypods, water movement, flowers, leaves, stems and the metaphors of life they produce.. While photographing these lilypods a calmness and peace came over me and I became one with the universe. I use a Canon SX20 Digital camera, do my own printing, mat cutting and framing.  
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  • collage 17 x 19"
    During a month-long residency in Ireland I became entranced by the rich textures of stacked stone walls and pointed silhouettes of rooftops across the moody grey skies. As a figurative artist I was pleasantly surprised to see these architectural elements seep into my work. Ann’s Dairy came to me at the completion of my residency and captures the essence of a day spent in the countryside. This small, but mighty piece incorporates my gestural approach to figure drawing using handprinted papers to weave a tapestry that blurs the line between structure and nature.  
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  • etching - drypoint, aquatint, engraving with Gampi chine collé 15 x 17 x 1"
    Crab Nebula is a copper plate etching that transformed itself with the addition of dry point, engraving, and then embellishment with two different roulettes, one a wheel, and one an aquatint rocker. Cut-outs of colored gampi paper were added with the chine collé process to lend excitement and depth. The image was inspired by photographs from NASA’s amazing James Webb Telescope. I am intrigued by questions of the origins of life. Did it arrive from space on a meteor? That the Crab Nebula looks much like cell division during the development of the human embryo is fascinating.  
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  • collage / acrylic 18 x 22 x 2"
    I love to express myself through dancing. Whenever I feel stuck, I need to remind myself of those creative women inside of me who dance freely.  
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  • walnut ink, sumi ink, minerals, pigments, graphite powder, oyster shell, silver leaf, found tulle, paper scarps, mitsumata, on mulberry paper mounted to panel 24 x 48"
    This piece was created during 2020 and inspired by a series of phrases and ideas that I focused on during that time as I compared and contrasted seemingly the oxymoronic events of the day. "Lines of communication bruised, but maybe not broken. Self. Speaking, Suspended conversations, zooming fact checks behind masked members of race. Seeking spaces between memory and a formulations of the possibility of fright or fight. A missed flight. A fight for intimacy and for air."  
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  • resin & steel 18 x 4 x 4"
    I create sensitive and organic sculptures to share my insights about life. Through this sculpture, I intend to celebrate the strength and elegance of modern women while acknowledging societal patterns. By using materials like resin, steel, and wire, and by elongating the dress and incorporating spiraling movements contrasting with the static posture of the figure, I aim to produce tension and energy aligned with my vision of femininity today.  
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  • acrylic on canvas 20 x 24 x 1"
    Fauna represents a diversified animal life, while phantasmagoria denotes a bizarre or fantastic combination of constantly shifting, complex successions of things seen or imagined. It displays the magic inherent in the visual realm of existence. My art serves as a visual language through which I share my enthusiasm. Creating is solitary; displaying one's art is to set it free, allowing others to interpret it.  
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  • acrylic, graphite, antique quilted fabric on canvas 80 x 80 x .5"
    Crone Gobnait experiments with Faith Ringgold’s storytelling quilts. Here, I tell the story of Gobnait, Celtic goddess and Irish Catholic saint. After leaving her dysfunctional family, an angel told her when she saw 9 white deer she’d found the land for her abby. Patron saint of bees and beekeepers, Gobnait is depicted in her crone/grandmother years wearing a beehive crown and honeycomb breastplate. She rises from the waters of her holy well. My grandmother’s quilt surrounds the piece; a nod to my grandmother and to all crones and grandmothers.  
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  • charcoal 38 x 18 x 1.5"
    This Viking, who is searching for his next adventure or perhaps a flagon of beer, is inspired by permission to draw this from armstreet.com, a Ukrainian company that makes Medieval and Renaissance clothing. I've changed the figure to represent the story of searching, and perhaps the Viking here has been running along the beach since his leg wraps are in the process of falling down. The figure is drawn in charcoal with white pastel highlights on heavyweight brown paper glued to a barrier-treated wooden panel and waxed with an archival cold wax. Hence, there is no need for glass on this artwork. My charcoal portraits tend to favor theatrical lighting, costumes, and a good story.  
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  • oil 21 x 17 x 1"
    In this oil painting I worked to balance texture and color with geometric shapes to create a dynamic composition.  
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  • watercolor 15 x 20"
    I painted this outside at my easel along the Hudson River, facing north on a chilly January day. Winter had definitely come to the river. The boats were put away and winter skies can be so interesting--such expanse and drama, as well as the water’s interaction, while holding the skies up.  
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  • image transfer on canvas, gold leaf, acrylic paint 24 x 20 x 1"
    I've been doing research on the treatment of Asian American immigrants in Nevada. Often, their bodies are buried in unmarked graves and the land used for commercial purposes. The most egregious example would be the 10-15 Chinese American immigrants buried under mining waste in Tonopah, Nevada. There is universality in every specificity. What happened is Tonopah is representative of many in our country, buried in unmarked graves, discarded once our utilitarian value has ceased. This is one mixed media work as part of a series as a response to the continuing mistreatment of Asian Americans and the accompanying diaspora that follows.  
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  • oil 24 x 20 x 1"
    The Winter Dreaming Tree is part of a series of works called "The Dreaming Trees". All these pieces were born out of scientific research on Trees communicating through their root systems and how all of these creatures are much more then they seem, they are living and breathing just like us. I have devoted some of my creative works to our concerns over our environment and I believe our seeing nature differently will help us all evolve and protect our world.  
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  • acrylic, ink, graphite and thread on canvas 20 x 20 x 1.5"
    With the needle's gentle glide, Resides the essence of their pride. The strength of humankind, In perseverance, beautifully entwined. Painted canvas of a cut-out arabesque shape, is transformed through intricate stitching, weaving together themes of love, hope, and freedom. The free-hand sewn thread symbolically captures the essence of life, while the painted arabesque evokes a connection to heritage, imbuing the artwork with a profound sense of unity and meaning.  
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  • oil on canvas 30 x 24 x 1.5"
    I live on the Big Sur Coast of California. My work abstracts my environment, which consists of the undulating Pacific Ocean, mysterious fog, continuously changing light shows, and the experience of living in the natural environment.  
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  • oil & cold wax on wood panel 12 x 9 x .75"
    Abstract images evocative of nature engage the viewer into decoding the meaning of shapes, colors, and textures. This isn’t just a pretty scene. There is something off. Thrive is part of a series depicting the epic battle between flowers and single use plastic. Who will win? Who cares?  
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  • digital art on metal 24 x 18 x 1"
    Often my artwork is inspired by divine beauty of flowers, and I use them to explore spiritual themes. I aim to connect viewers with the power of biblical words through the motif of flowers. The artwork Spiritual Thirst is a visual interpretation of biblical words through the flower image. I digitally created this piece by arranging cut tulips on the lifeless place surrounded by water droplets. The tulips represent our yearning for the living water that Jesus offers us for eternal life.  
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  • acrylic on canvas 36 x 24 x 2"
    Travel often inspires my artwork both while traveling and later, in my studio. My sketches (graphite, watercolor) lead to small, realistic canvases. Those, in turn, often lead to more abstract work, over time. This canvas resulted from many images of Shinto and Buddhist shrines in Japan, plus my own attraction to the colors used at the Shinto shrines. It describes my  sense of the centrality of religion in Japanese culture plus the excitement and passion of visitors (often with beautifully dressed young children) there.  
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  • acrylic 60 x 48 x 1.5"
    Along with my deep passion for painting figures, there is a mysterious coming alive of an inner spirit, where emotion speaks through the canvas. This magical practice allows one truth to emerge where the inner and the outer truth reflect one another. May these shadow figures awaken your one truth and connect to the window of your soul.  
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  • glazed stoneware 15 x 8 x 8"
    For most of my career, I had worked with female models, exploring issues of identity, sexuality and personal power. During and after the pandemic, that didn't seem relevant. I also wanted to throw pottery again as I had at the beginning of my career. I found the process consoling, and I wanted to offer consolation to others. I felt protective of my friends and my family. I began a series of sculptures that combine thrown and modeled forms. They are meant to be protective figures from the realm of myth and imagination. This one, Buddy Buddha, is my own beloved dog, who was such a cheerful and affectionate companion during that terrible time.  
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  • suede, paper, copper 22 x 26"
    Animated Forms is a recurring theme in my paintings, sculptures and mixed media work. My interest is in exploring the boundaries between representation and abstraction. I reduce the subjects to bold, simplified forms and like to create excitement, tension and often lots of space in the work. Color and texture became increasingly important in development of the collage, and man-made and natural materials like suede, copper and paper were incorporated into the piece. This is an exciting, intuitive and challenging way to work.  
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  • oil on canvas 22 x 28 x 0.8"
    Sharks have been on this planet for over 400 million years and have survived multiple mass extinctions, Yet, they never evolved a swim bladder and so must swim constantly. I wanted to paint a shark out of its element. Baking in the desert under the beam of a spotlight.  
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  • acrylic on canvas 21 x 25 x 2"
    When I created the painting, Alla Turca, I had no inspiration in mind other than the thrill I felt with the color light ultra-marine blue. I wanted to create a painting using the color, and it was the first time I started off with that background color. I put down a shape here and there as I worked progressively, configuring my creation as I immersed myself in the creative process. Each time I finished one phase, I would photograph the image review and self-critique before returning to complete it. When considering a title, I considered a musical piece. Mozart's Rondo Alla Turca seemed appropriate.  
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  • oil on canvas 21.5 x 17.5"
    Now What?, the painting's title, poses the questions: how much do we know, how much more do we need to know, and how will we utilize that knowledge?  
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  • oil on canvas 25 x 25 x 1"
    This painting captures a memory of mine, a day spent climbing through grassy hills with my friend Louise. The rolling fields, blue skies and rocky cliffs that surrounded us are depicted in vibrant colors and bold brushstrokes, capturing the simplicity and beauty of the landscape. The wind softly rustling through the grasses can almost be heard in the delicate swirls and textures of the grass.  
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  • acrylic, tree bark, skins, burlap, crayon 19.5 x 19.5"
    Luminous Evening emanates the golden hour's enchantment, born from a small study painted en plein air of a nearby pond. With a symphony of hues, I painted its canvas to mimic the sun's warm embrace. Peach, pink, and coral danced, while the pond shimmered with golden reflections. Trees stretched upward, leaves aglow with sunset's fire. Imperfections embraced; the scene exuded tranquility. The painting captured the fleeting magic of golden hour, inviting viewers to bask in its luminous beauty.  
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  • oil 18 x 18 x 1"
    Luminous Evening emanates the golden hour's enchantment, born from a small study painted en plein air of a nearby pond. With a symphony of hues, I painted its canvas to mimic the sun's warm embrace. Peach, pink, and coral danced, while the pond shimmered with golden reflections. Trees stretched upward, leaves aglow with sunset's fire. Imperfections embraced; the scene exuded tranquility. The painting captured the fleeting magic of golden hour, inviting viewers to bask in its luminous beauty.  
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  • oil 16 x 20"
    I love swimming in the ocean and I spent a few summers on Block Island, RI, i got to know many wonderful dogs over there and was inspired to get my own. I am so happy about this decision, my dog was my doctor during three hard years of COVID. My painting is my way of saying thank you to the dogs for being life savers and to the dog friendly Block Island.  
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  • bronze, wood 15 x 10 x 8"
    The Whirling Darvish sculpture is inspired by the essence of a traditional Sufi spinning meditation practiced by the Dervishes of the Mevlevi Order, in which the practitioner abandons his ego and connects with the divine in a rotating trance by listening to the flute music and symbolically resonating with the spinning planets, partaking of the Oneness of the Universe. Today, the meaning of this meditation puts on a fresh spin when practiced by non-secular dancers united in humanity and humility, harmonizing with each other and with the Cosmic vastness.  
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  • acrylic on canvas 10.6 x 10.6 x 1"
    Immediately responded to the coming Spring 2024. Because I also do some gardening and am so looking forward to enjoying it. The title came quick after I finished the painting and it fit with my mind frame and the coming of the new season.  
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  • sumi-e 20 x 25"
    The Master Potter, a dear friend of mine, her hands move knowing while her mind drifts creatively. Sumi-e, on double shuan paper all from the same ink thinned to a wash to create the gradients, dry brush created the highlights in her hair. The subtle bleeds created between the paper and the ink honor the potters love of Raku and Sager Firing. A tribute to an artist that mastered her medium over 50 years and pushed the envelop up to the end.  
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  • digital photography, Inkjet archival print 23.5 x 17.5 x 1"
    I have always loved photographing people. What energizes me is how spontaneous the process is, and unpredictable people are. This photograph was taken, several years ago, on a Photography trip to Guatemala. I was struck by the light and shadow on the woman, the stairs, and arch, as she was sweeping the church steps. The scene that was in the background seemed to glow in the sunlight. It was a magical moment! These days you might find me with my camera, photographing people on the streets of NYC.  
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  • oil on canvas 56 x 60 x 1.3"
    Kepaniwai Heritage Park is a garden paradise nestled between gentle mountains on the island of Maui. Pavilions in the park are there to honor the various ethnic groups that helped settle Hawai'i. In this painting, I capture the moist atmosphere that hovers over lush and colorful foliage. The bridge represents a very small human element that exists along side of nature.  
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  • collage with jewelry findings and string 12 x 12 x 1"
    In this "portrait," I'm trying to capture the rebellious aspects of a woman's personality, mainly through the colorful and nonconformist way she adorns herself as well as her living space. I'm inspired by the simplicity and directness of Folk and Outsider art. And when I was working on this piece, the words to the David Bowie song, "Rebel, Rebel," were going through my mind.  
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  • collage with mixed media 21 x 19"
    She-Tree is part of an ongoing series exploring the many roles of women as myth-makers, healers, storytellers, peacemakers, earth mothers and warriors. These mixed media dreamscapes are constructed on tactile substrates such as my paintings, handcrafted papers, fabrics, monoprints, photographs, antique books and wallpaper. Adding and subtracting the elements randomly, I then glue, sew, paint, and manipulate them into a slowly evolving composition. Layered with patterns and symbols, metaphor and archetypes I unite often- disparate worlds into new relationships—compositions and artworks that reveal the interconnectedness of nature, life, spirit and time.  
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  • acrylic 13 x 11 x 1"
    Tango, a dance of give and take, rawness and refinement, has long captivated my artistic sensibilities. This small acrylic painting shows the freshness of the moment in a dance of quick action, stance, and reaction between two figures in their pursuit of a perfect connection.  
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  • silk ribbons, antique maps, antique wooden shoe forms 11 x 9 x 3"
    Refugees - maps from geography books published in 1868 are cut and recombined. Combining the maps with antique wooden shoe forms and hand dyed silk ribbons, suggests a journey charted, imagined, or remembered. A unique perspective of mapping the world is depicted utilizing the antique materials in sharp contrast to our present day issues and conflicts, affecting untold populations around the world. The carefully charted topographies, geographies, boundaries and coordinates are ultimately transformed and inviting new explorations. Layering the paper intuitively, responding to the antique cartographic renderings, allows for new territories to form.  
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  • oil, charcoal, graphite, aluminum paint on paper 24 x 24"
    I am a abstract landscape painter. The greens of the surrounding lawn set off the blooms in the rose garden. The colors green and red are complements on the color wheel. Within the choices for the color green I went "Veronese Green." A blast of pure cadmium green with that Venetian/Veronese "twist". The red is many reds but mostly pure cadmium red medium and alizarin crimson--sometimes mixed or overlapping, other times almost pure. The "rose garden" is framed by a cadmium yellow deep border and then outlined in aluminum paint. I am excited about this painting: the big singular shape, the colors and the framing to set it all off.  
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  • collage with digital elements 9 x 8.5"
    I feel like Alice (from Alice's Adventures in Wonderland) as she wonders through this bewildering world.  
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  • fiber 27 x 29 x 2"
    Closing the Gap uses rescued vintage table linens and hand dyed fabrics, some of which were outgrown clothing. The colored textiles represent individuals, families, communities and organizations. The white space is the distance and time between them. As we seem to be experiencing disconnection from the collective whole, this piece is about the energy and perhaps turmoil that is necessary to close the gap that divides us. The vintage textiles and color palette are a nod to the mid-century, when we were more connected to our communities yet fractioned as a society. It is history repeating itself through art.  
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