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

  • 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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  • 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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  • acrylic on canvas 15 x 19 x 2"
    I lived in Philadelphia only briefly decades ago, but in recent years I have had more than a few occasions to visit, thanks to the generosity of a local friend. I have taken advantage of those visits to sketch, paint and photograph various sites around the city. My paintings of South 9nth Street, the Italian Market's main drag, are my most successful efforts to date to capture the essence of one of Philadelphia's neighborhoods. I like the area's historic status and distinct character: It looks impervious to the development that is so prevalent in much of the city these days. Although, there are indications that this neighborhood too will give way to new construction.  
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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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  • bronze 4 x 14 x 17"
    A country, locality, or situation in which cultural assimilation results in blending the heritage and traditions of previously distinct ethnic groups. Yes, America has been labeled a melting pot of society, we encompass all colors, religions, nationalities to become a cohesive society, but our history also speaks of something else. A time when not all people who came to this country were treated the same, when people were spit upon, enslaved, and treated as second class citizens. We have spent the past few hundred years trying to rectify that mistake. We falter, some never learn, and when you put people with so many different ideas, beliefs together there beg to be differences. Will we ever.  
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  • mixed media 30 x 24 x 1.5"
    Perceptions of the natural world are explored through gestural paintings. This work serves as a bridge between the expectations of realism and the freedom of abstract expressionism. Palettes that are chosen create conversations between cool and warm tones and serve to energize the compositions.  
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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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • ceramic 11 x 8 x 8"
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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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  • 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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  • two layers of hand cut paper, foam board, chip board
    15 x 15"
    Transformation, connections, shadow and light are themes that I explore in my artistic practice. My work is constructed in layers that I keep apart allowing the shadows created by the change of light to become a vital part of the artwork. The shadows visually mingle with the two layers creating a labyrinthine image and revealing kaleidoscopic forms of interconnected microcosms. Strolleroptera is a word that I created combining English word "stroller" and the word "ptera" meaning "wings" in Greek.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • soft pastel on sanded paper
    16 x 20"
    The genesis of my piece titled Sunset Rays lies in a moment of serendipity driving along the highway. The sunlight pierced through the clouds in a manner that felt transcendent. Aware of the fleeting nature of such scenes, I was compelled to capture and preserve it as a painting. I find inspiration in the natural world, translating its essence into art using soft pastels. My creative process extends beyond simple observation; it involves capturing the vibrant interplay of colors, the flowing elegance of lines, and dynamic arrangement of shapes within the realm of light and shadow. Whether it's the ordinary or the extraordinary, I endeavor to encapsulate the ephemeral beauty I witness.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • 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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  • platinum/palladium photography 11 x 14" In my art work, I capture the simple beauty in the natural environment, providing moments of serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. This image was originally captured with infrared film; the negative was subsequently scanned and transformed into a digital negative. I then contact printed the image using the platinum/palladium printing process to capture a softer, painterly effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the image.
     
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  • watercolor 23 x 19" Love the power of nature. Wanted to express the energy and the force of the falling water.
     
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  • collage with hand-cut found paper, historical elements, decorative rice paper
    20 x 16 x 1"
    Sadako Sasaki was a Japanese girl who was born in Yamaguchi, Japan. When she was two years old, she was at home about one mile away from ground zero, when the United States dropped an atomic bomb on Hiroshima. Sadako was blown out of the window and her mother ran outside to find her, suspecting she may be dead, but instead found her two-year-old daughter alive with no apparent injuries. While they were fleeing the atomic blast, Sadako and her mother were caught in black rain. She survived for another ten years, becoming one of the most widely known "hibakusha" -- a Japanese term meaning "bomb-affected person" and later died of malignant lymph gland leukemia in 1955.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • 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, handmade paper, paper, graphite, pastel 16.6 x 20" Drawing from the live figure is an imperative part of my practice. The beauty of the female human figure never waivers. Using a figure drawing, drawn from life, an environment was created in the spirit of Matisse's odalisques. Her gaze is confident, yet sultry; exuding her confidence and power.
     
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  • ceramic
    4 x 9 x 4" Domestic Duties Strained 2021 A mixed media ceramic form serves to collect found objects of maternal memories, symbols of traditional roles of wife and mother. A life strained by societal and religious expectations under the influence of a narrow cannon.  
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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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  • cast handmade rag paper wall sculpture
    30 x 16 x 2"
    I am inspired by undulating forces of nature: the formation of rocks eroded by wind and water and the shapes of organic forms. My sculpture addresses the interior and exterior of form by abstracting movement, force and tension. I explore the thought process revealing multilevel reflections of my inner self and collaborations between nature and culture. As an artist one of my communicative functions is to create awareness and reflect concerns for the natural world. Human intervention with nature has caused tension. I believe that with awareness, there is hope. Collaboration between nature and culture can effectively illuminate and channel proactive thoughts and change.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • 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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  • 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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  • 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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  • 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 on wood panel
    20 x 16"
    The Forest Inscapes came about accidentally, as I was experimenting with dripping paint on wood panels. I had used dripping extensively in my large Erosion paintings, in which the drips formed veils of color. In a smaller format, the columns of paint looked like trees. Thus were born the Forest Inscapes, which have evolved to reflect the seasons in the forest around my studio. Forest Inscape #28 is an interpretation of the glittering effect of early evening light seen through the screen of forest foliage.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • fiber on panel
    13 x 13 x 1.25"
    No Tension is the beginning of a series around the idea of resilience. We have gone through and will continue to go through difficulties in our lives but I believe we have the strength to keep going and can do so with grace and beauty. Wrapping, stitch, paint and quiet marks are all evidence of our sensitivity which contributes to our resilience.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • oil on canvas
    24 x 22 x 1"
    The composition for this painting was inspired by the view from my campsite at Buffalo Gap Campground, part of the Dakota Prairie National Grasslands, during a road trip in September 2020. The mood and quality of the sky and sunset, though, borrowed from every sacrifice I have made in life. Whether I realized it at the time or not, each of those sacrifices involved a kind of faith. Sometimes, often much later, that faith can seem so foolish -- if not designed to deceive. However, this painting does not connote anger at that cycle, but rather peace.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • 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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  • 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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  • digital photograph 17 x 21"
    This is a digital photograph I took of a large old rustic barn on a ranch south of my hometown.  
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  • blown glass, bread, resin 5 x 14 x 8"
    My current work is a documentary self-portrait as I go through pregnancy, childbirth, breastfeeding and postpartum. The multidisciplinary installation consisting of video, glass and breastmilk sculpture, as well as painting, is a direct cry of motherhood pride and fragility. In my practice I dissect, peel, slice, unveil and reorganize extreme experiences to help me process their impacts.  
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  • graphite 32 x 24"
    Figurative drawings have the potential to convey deep emotions and tell compelling stories. Whether it's capturing the human form in a raw and emotive way or exploring complex themes through subtle details, As I revisit the portrait genre repeatedly throughout my artistic career, I document the changes and growth within myself—both as an individual and as an artist, and my subject. Each portrait becomes a reflection of a state of mind, an experience, and emotions at a particular moment in time. Whether rendered in graphite, charcoal, or vibrant colors, these portraits can serve as visual diaries chronicling the passage of time and the complexities of the human condition.  
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  • marble
    26 x 7 x 8"
    In my work, I have at times carved female figures in place of traditional male figures, sometimes with animal attributes, like horns. Nyami Nyami shows here the face of a woman, with a snake tightly wrapped around her body. She bears the name of an African river god portrayed traditionally as a snake. The construction of the Kariba Dam on the Zambezi River in the 1950’s caused the forced resettlement of an entire population under the British rule. Today, this piece is a call for environmental protection. It is meant to bring attention to the many indigenous sites that are threatened by pipelines, mining and human greed throughout the world.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • photography 24 x 18" In this photograph my granddaughter Georgina looks transfixed out to sea. She lives with Rett syndrome a rare genetic neurological disorder that affects the way the brain develops. She is nonverbal. I do know by her calmness at the shore that she feels a sense of peace and wonder here. I want to share that with her and with you.
     
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  • douglas fir 21 x 4 x 3" (with pedestal, 72")
    It’s A Mans World A woman behind every great man? Still, visually speaking, my intention of women representing structural support in this totemic carving offers opportunity to suggest a bit of satire aimed directly at the gender power play. This series, the body language unique to each one, was created as a direct result of a lifetime of my own personal experiences.  
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  • acrylic & gold leaf 44 x 24 x 2"
    In my latest body of work entitled "Echoes," I explore memories and long-forgotten sounds from my youth. Each painting serving as a vessel for a poem of a childhood train as the underpainting. The thin top layers befit the ghost-like forms featured in my surface designed compositions and recall the carefree spirit of childhood explorations.  
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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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  • 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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  • graphite 30 x 46 x 1"
    Grounded in realism, the drawing navigates between reality and interpreted vision. Eliminating all references to color, the monochromatic palette enables exploration into a scene simply and directly and with a sense of abstracted reality. Manipulating dark and light through a myriad of tonal contrasts goes beyond representation to where, layer upon layer, delicate strokes and nuances convey an ethereal, serene image. The work is not necessarily a direct representation of a scene but is a practice of nurturing an appreciation of the incessant resilience of the flourishing and decaying of nature and the complexities of our relationship within those cycles.  
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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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  • oil on canvas 16 x 20"  
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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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