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May 1 to May 31, 2023
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serigraph (silkscreen) 10 x 8" Landscape series is composed of two serigraphs that deal with private and public worlds. Inner Landscape demonstrates how little we really know about another living being's inner life. It can be healthy and growing like a forest, as in this artwork, or something entirely different. Outer Landscape demonstrates how much we can guess about another living being just from their outer appearances. That being said, appearances can be deceiving and there may be important aspects of personality that are hidden from view.
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acrylic on canvas board 18 x 24" It started in 2013 as a mountain landscape, and it never felt exciting or finished until this year when I realized what image was hidden in it. I traveled in the Himalayas for the first time in 2008 and realized right away that any photos taken of them are just facades. The energy there was palpable, transformative; it was in everything and everyone, crystal, intense. Charged place. Trees, hills were engaged with each other and humans intensely. I am sure we all feel that when we are spending time in nature, but this intensity was very new. It was as if all colors became more vibrant, all emotions (especially bliss) became strong. Nothing ever returned to the feelings I had before the trip, which I know perceived as a bit muted experience. Meeting Gods changes you.
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sculpture installation 48 x 84 x 72" I create staged environments defined by human presence. I sculpt fibers to extremes with textures, scale and forced perspective. I challenge the audience enter my world of illusions, entertaining contemporary issues and calling for consciousness.
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cut & painted paper, wire, tissue paper on canvs 24 x 18 x 1.5" One of three different works, but all collage paintings, that are puzzles of design construction done layer by layer. I cut and paint each piece of the puzzle then assemble it then glue onto canvas or masonite. When I am doing each piece I do not know where it will take me. This piece is part of an on going series of works. I have selected one work from each of my series: Evil Eye Protection & #13 -Tissue paper, recycled fruit crates, wire, paint on canvas.
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acrylic on canvas with mixed media 32 x 12 x 2" Mabel Dodge Luhan was an American patron of the arts who was associated with the Taos art colony. After her marriage to Native Tony Luhan in 1923 she purchased Kiowa Ranch near the Lobo Mts. The couple hosted influential artists and poets in New Mexico, where she experienced a spiritual awakening.
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oil on paper 22 x 30" This painting reflects my long love of mountains. I lived for years in Geneva, skied and hiked in the Alps and the Jura. From the Green Mountains and White Mountains of New England to the Tetons of Wyoming, I retain vivid memories. In my imagination these impressions are transformed, reworked with many techniques, and imbued with emotions. Mountains represent many sentiments.
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gold painted marble heads on wood stand 7 x 18 x 12" Two lines of thought influence my work: The prehistoric Neolithic Period and Buddhist figures. I used leftover stone and reclaimed wood to create both landscapes. Gold paint is the latest addition to my work. One landscape tells the story of Venus of Willendorf, whom I imagine being a female direct carver standing tall among her self-made stone sculptures. In the other piece, I created the burial ground of four parts that make up a whole: the self, the person, the living soul, and the being reunited in their resting place. The four selves are a recurrent theme in my work.
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acrylic, oil, wax, metal leaf on cradled wood panel 24 x 24 x 1.5" In my work I tend to pare down visual impressions, which is a refinement my senses enjoy. The result is abstraction. Elements of landscape are usually the springboard -- and spaciousness is where I play. Lively pockets of activity speak to the viewer within layers of painted history, much of it rich with life and possibility. And there is always the 'space' which remains, somehow present, comfortable and embracing. The mindful awareness of Space is the stage upon which all else lives and moves -- vast, recognizable, within the reach of our imaginations, but just beyond what we can fully grasp. I am energized by this notion and by inner landscapes -- the places I visit when I close my eyes.
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watercolor and ink on paper 12 x 12" I dream of landscapes, lush and tropical, or watery and luminescent. My dreams insert themselves into my paintings whether I plan this or not. My process involves many layers of transparent and opaque color to create a vibrant painting. My images often include imagined planets, blue suns, red palm trees, and purple waters.
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acrylic on wood 24 x 20 x 1.5" This painting was begun experimentally by dripping paint, which I then slashed through. I had the idea of making some sort of dense floral, decorative abstraction, but it evolved into the painting of a hedge. Adding the doorway transformed it from a landscape into a mindscape, as we are invited to explore unseen depths.
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pastel on paper 11 x 11" I love capturing the essence of life with my art. Using distinctive coloring technique and imaginative approach, I depict the subtle lights, reflections and hidden hues on the subjects. The subjects are either close to my heart, telling a story, or from a memorable moment. Storm tree is based on my travels to the Irish countryside. I saw this tree wrapped by another. The tree branches are completely intertwined and formed this dreamlike shape, almost look like they are moving in a storm.
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acrylic on canvas 36 x 36 x 2" The 36 x 36-inch panels are part of a series that begin with fall and winter, and as the images progress, a pregnant female form emerges from her leafy environment, and ends with new life being nurtured in summer. They speak to the intimacy of our relationship with nature, and perhaps a larger cosmic vision of the wisdom of embracing the feminine energy that birthed us all.
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oil & cold wax on canvas 18 x 24" My goal is to capture unique landscapes and bring the viewer into the place I have visited. In both paintings I worked to capture the feeling of cold and vastness; and how the animals find resolve in harsh the environments.
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mixed media on linen 36 x 36 x 1" My painting series is inspired by the elements of Earth and beyond and its organic depth of color. I see inspiration in landforms from above, water’s transparency and movement, rocks and minerals and their multiple layers of colors. Many of the materials used in painting are derived from elements of the earth and I use these elements to build something abstract and yet symbolic of what our planet is made of. Circles also have a symbolic meaning of infinity, balance, returning cycles, and the cosmos. I am creating a story of our planet but most importantly a dialogue about climate change and what is infinite or finite.
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acrylic on canvas 24 x 36 x 1.5" In "Territory Unknown", I use abstraction to convey the notion and emotion of displacement. Given the pandemic, political acrimony and the ever-present refugee and immigrant experience, we can all relate to the sense of feeling displaced. This painting attempts to capture and evoke such feelings.
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watercolor 17 x 22 x 1" I try to use watercolor, to paint abstractions. Landscape is perfect for this: there are so many shapes and colors from which to choose.
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platinum/palladium photograph 11 x 14" In my art work, I capture the simple beauty in everyday life, the commonplace or ordinary scenes in the natural environment. These images offer us rare moments of solitude, time to slow down and observe the world around us, and to enjoy quiet beauty and 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. In these images, I combined infrared film negatives with the platinum/palladium printing process to capture a softer, mystical effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the images.
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acrylic, collage on canvas 24 x 24 x 2" My Portals are acrylic, mixed media on canvas. They represent openings to opportunities, the unknown, which seem promising, beautiful, enticing. Like Native American "dream catcher," portals offer a landscape of positive energies surrounded by edges that can snag and encumber the viewer as they reach for the magic in the center. Portals reflect opportunities for a quiet, meditative, and peaceful space encumbered by unknown obstacles, dangers, and barriers. One must focus on the safety and quietness in the portal's center, while also navigating the broken, seen and unseen impediments that may interfere with the journey forward.
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oil on panel 16 x 16 x 1.5" "Soliloquy" is the 5th in a series of 16" square paintings using the coastal Pacific province of Guanacaste as its setting. Mounded isles covered in hairy, gnarly trees dot the coastline. The sky is loosely based on a photograph I took sailing into the sunset. I often reference birds in my work, and in this piece I painted flying flamingos. The flamboyance of the flamingos is echoed in the costume of the figure in the foreground. The patterns and history of harlequin costumes suit my tattooed model and this exotic landscape to a "T".
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ink on paper 10 x 8" I’m interested in notions of landscape that focus on shallow water systems in both natural and man-made environments. This work combines representational and abstract approaches for a dialogue that addresses structural complexity and metaphor and which celebrates the intuitive response across painting, sculpture, drawing and print media. The monoprint/monotype process that I explored in early 2023 became a way to expand my drawing practice and still convey a natural water system where familiar color, structure, and perspective are replaced and re-ordered.
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acrylic & latex on canvas 30 x 40 x 2" After living in Los Angeles for years, I moved to Northern California. The pristine beauty inspired me to paint the landscape - motivated in part by the fear that I would wake up one day and it would all be gone! The Wildfires of 2017 were traumatic, we (my husband and I) experienced three on our land that year. Lower Ridge and Cow Mountain Under Smoke were both painted during the 2020 fire season, I felt as if I had to bear witness to this vanishing landscape. Later that year, largely due to the sudden death of my youngest sibling and ensuing California wildfires, we chose to sell our 195 acre place and move back to the East Coast to be near family. In my quiet rural town we are creating a new life and farm. I am still witnessing and interpreting the landscape. October Garden is about the excitement of connecting to and observing my new environment.
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acrylic, oil pastel, graphite on canvas 35 x 36 x 2" It is the space between things that I find fascinating; the space between thoughts, between moments, between physical things. I have read that we are mostly the space between the atoms that make up our physical beings.; not solid at all, it turns out, but primarily the gap, the void, the opening between the atoms. I ask myself what lies in that space? Is this where we find spirit? or consciousness? I believe it is in the space between what we see that Life actually exists and that is where the focus of my art lies.
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mixed media on canvas 36 x 46" Karlene explores memories and perceptions of the natural world through her colorful, gestural paintings. She uses shapes and lines to mimic organic forms found in nature, playing with positive and negative space and layers of paint to build up a sense of atmosphere on a flat plane. Her work is also fueled by bursts of color. While not true to life, her palette creates a conversation between cool and warm tones and serves to energize her compositions. “McConnell uses her experiences of the real world to recreate the joy, excitement and even the magic of a walk in the woods. When she is “in the zone” she is exploring the interaction of vibrant colors or making simple marks that mimic nature and are pleasing to look at. Harking back to Matisse, we hear a similar theme: Composition is the art of arranging in a decorative manner the diverse elements at the painter’s command to express his feelings. This is about as close to a manifesto that we can imagine for the wild beasts (Les Fauves never wrote one) and it applies to McConnell as well. This kind of painter makes no effort to desaturate or blend but allows pure color, even discordant ones, to ring out at a maximum intensity.” - Dr. James Murphy - original Art Director Atlantic Center for the Arts & former Art Professor Florida State University.
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oil on canvas 40 x 30" Summer 2022, I spent time in Roussillon, France. Roussillon has been the major source of ochre pigment for thousands of years. I walked the ochre quarry paths and filled a sketchbook with drawings. These colorful paintings reflect the excitement I felt.
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oil on panel 18 x 18" This painting is a plein air painting done on location. Cottage Garden, was painted in my father's garden in Alameda, California and won the Island Award of Merit during the Frank Bette Plein Air. My father's garden holds a sense of childhood fascination and magic for me. He is the gardener and he enjoys nurturing the plants and watching them grow. The place is filled with the wildness of the plants, the beauty of their blooms and the greens of their leaves.
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pastel on mounted UArt board 20 x 25.5 x 2" The ice formations on Mendenhall Glacier in Alaska were awe inspiring. The various values in colors and the intensities of the ice and water when the came crashing together was something that had to be captured as a painting. This abstract version I believe captures the visual image.
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mixed media on stitched textile 40 x 35" As a visual learner, I see art in everything. My morning walks are consumed with taking smartphone photos of shapes, textures, patterns; many of which have inspired my textiles. Additionally collaged images are posted to my social media. Often others respond that these images cause them to look more closely at their surroundings as they move about in their daily lives. Whether pattern, shape, movement or color, the natural world provides endless inspiration.
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colored pencil on illustration board 33 x 24" "New Beginnings," was completed using Prismacolor, Polychromos and Holbein colored pencils on Strathmore 500 series cold pressed illustration board, using my own photo references, imagination and actual live Luna moths that my son and I raised and studied. This piece used 600 hours of layering pencils with no solvents; all hand drawn.
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oil, charcoal, graphite on paper 26 x 21" For three years I have lived and worked in Dutchess County/Upstate New York. Here I cannot escape--the landscape. The natural environment of the Hudson Valley are triggers: rivers, ponds, mountains, trails, farmland, forests. I look for my own underlying order amid nature's chaos. Using drawing and mark making with charcoal and graphite and painting with layered oils, I generate an imagined reality. Draw/erase. Paint/scrape. Again. And again. A ghost remains. I work toward a bilateral glimpse of interconnectedness between what we can see and what we imagine we can see--a superficial and subterranean geography. The resulting blend of drawing and painting awakens the unknown and casts the familiar in new light.
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solar plate etching 8 x 10" Marian has a BA in Studio Art, emphasis in printmaking, from UCSB. She continues adding to her printmaking pallet of knowledge with classes and workshops, and currently works at her home studio, and with a group of other printmakers in an Open Studio in the San Francisco Bay Area. Marian shows her prints locally and nationally, and has won awards in juried shows throughout the United States. These current works are explorations of the Solar Plate technique of etching, creating the images on grained glass plates and exposing them to photo sensitive polymer plates. Looking for the spirit within!
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acrylic on canvas 36 x 36 x 1.75" The squish under my brush, the excitement of creating a color, the rhythm of the music I'm hearing as I work... take me to that place of MINDSCAPE. A mind escape...from the chaos of everyday life. There is no stress in my studio. I am free and oh so happy to fly into the mindset of nothing but my dancing brush.
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collage including painting, drawing, hand & machine stitchery 18 x 38 x 1.5" The interior landscape is never at rest. It chatters, argues, soothes, creates images, film reels, but is rarely, if ever, quiet. These pieces are an acceptance of the complexity of my own interior landscape, in its abundance, my voices and images create a complex beauty.
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acrylic on paper 16 x 16" The Southwest US national parks never fail to inspire me. Having recently spent time in Arches, Canyonlands, and Capital Reef National Parks, I was entranced. Their magnificent sandstone arches, natural bridges and other geologic formations, set against intense blue skies, captivated my imagination. Powerful forces of nature fashioned these breath-taking landscapes over millions and millions of years. I am reminded there that we humans are new to the earth; this perspective gives me pause and centers my spirit, as does the act of painting them.
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acrylic on paper 6 x 4" Working primarily with acrylic, one of my passions is to explore different surfaces, media and techniques creating new challenging endeavors. I love the experimentation and the inspiring dynamics. Besides the exuberant energy of colors, material and texture I also get a lot of inspiration by the ambiance and my personal emotions. What an extraordinary sensation it is to experience the energy we all are surrounded by and then to translate it into a painting! This is a continuing, intimate process. Listening to my inner voice has become a very important part of my creativity; yet, it is never an easy task to do. Last but not least, there is the always-possible element of surprise adding a unique, special effect to my abstract artwork. The combination and interaction of all these factors affect my work deeply by making it strong and powerful. There are no boundaries in art. To me, this synthesis is my art.
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acrylic on canvas 30 x 30 x 7/8" My passion for abstract and semi-abstract painting and mixed media stems from decades of looking at modern and contemporary art in museums and galleries throughout the U.S. and Europe. Mixed media and abstract painting allow an artist the freedom to interpret their reality and meet the challenges of expressing their reactions to that reality through the use of colors, shapes, textures, and composition.
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acrylic, paper, & ink on panel 16 x 32 x 2" My artwork merges the precision of geometric shapes and structures with the organic forms of botanical elements. My abstract and colorful compositions represent the harmony that can be achieved when nature and science are combined. My art reflects my belief that beauty can be found in the balance between chaos and order and the ability of art to bring them together. Using my engineering background and artistic sensibility, I strive to create joyful, dynamic, and captivating artwork that reflects the complexity of nature coexisting in our manufactured world.
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drypoint print with embossing 8 x 6" The dry point “My Eumenides” was inspired by the haunting visions described in the memoirs of Thomas De Quincey "Confessions of an English Opium-Eater." Opium was De Quincey’s escape ticket out of the wretched reality of early 19th century London. In his nightmares, we can see a parallel to the confusion and angst humankind experiences in post-modern times and our dangerous need to sedate ourselves from pain. A series of wondrous and terrifying scenes, "Confessions" compels the reader to visualize the spectacular architecture of De Quincey’s dream world. By making solid the nightmares of societal and personal failings, this book continues to illuminate human suffering.
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oil on canvas 36 x 24 x 1.75" My personal story continues to drive my artistic life. A citizen of two countries, I am in debt to both, and battle against feelings of disloyalty, so, always a parent, I try to give attention to both, at the same time coping with the frequent crises of family life. Sometimes, I am Alice down the hole, baffled, surrounded by crazy creatures, questioning my sanity and the reality of things, then I focus on the beauty and structure of nature, and wisdom returns. This is the essence of my work.
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mixed media 20 x 28" This painting is based in the co-dependence of natural fibers found in plants and the human need to wear and flaunt fashion. This has had a profound the effect on our mother planet.
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oil on canvas 54 x 48 x 1.25" Immersing myself in my painting process, leaving no room for thinking, I work spontaneously in an intuitive moment-to-moment way without knowing what the end result will be. Then comes a moment when the whole thing comes together and an inner voice shouts, "YES!". It is done. Stepping back and fully taking in what has emerged, my deep response suggests a title that is surprising, something I never would have "thought" of, yet feels so right. My title for this painting is a phrase that the Japanese Zen Master Dogen (1200-1253) uses as a metaphor in his "Mountains and Rivers Sutra" to refer to the whole network of interdependent origination in which we are all constantly coming and going. The whole universe is continually changing and we are one with this movement.
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