Winter Small Works 2026

Online Exhibition

February 1, 2026 – February 28, 2026

  • alcohol ink 7 x 5 in. Carrie Cornils is a professional artist based in Eagle, Idaho, whose vibrant, joyful creations are inspired by a lifelong journey with autoimmune conditions. Based on years of living in Virginia and Idaho, her art is a personal and emotional response to healing—designed to uplift, energize, and soothe. Carrie believes that color, if used intentionally, can heal both body and soul. Carrie’s artistic path continues to evolve alongside her life experiences. Nature is a constant muse, and her work often features colorful, whimsical landscapes that radiate positivity. She is currently focused on developing a cohesive body of work that reflects a distinctive and deeply personal style. Carrie has been passionate about art for as long as she can remember. She pursued her creative education through school and earned a Bachelor of Arts degree from Marymount University in Arlington, Virginia. While there, she studied under John Chapman Lewis, a well-known Washington D.C. artist and member of the Washington School. Committed to lifelong learning, Carrie continues to explore new mediums and techniques through ongoing mentorships with acclaimed artists such as Shawn Dell Joyce, Alain Picard, and Karen Margulis. Before fully dedicating herself to fine art, Carrie built a successful career in commercial interior design in the Washington D.C. area. Her creative expression expanded into graphic design, landscape design, and furniture design. Today, her artwork is included in private collections across the United States and in eight other countries. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.  
  • Persistence and Sisterhood
    oil on cradled board 
    14 x 11
    For their Graduation, my granddaughters wore white, along with the faculty and students. This tradition originated in 1909 to honor the Suffragettes. I used the concept to show the difficult climb that lies ahead, but, as both NAWA sisters and triplet sisters know, it is easier together.
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  • Purple Mts
    acrylic / cradled wood panel
    8 x 8
    Our mountain trails take us up and into the valleys above Albuquerque. From a distance what looks purple or blue/green is actually quite different when amongst the sage and cacti.
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  • Crab Cakes?
    ceramics
    7 x 8 x 8
    Walking along the beach in Costa Rica with its most colorful crabs, I observed a dog who was extremely interested in them! I enjoyed sprinkling a bit of humor and whimsy in the scene!
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  • T Square
    paper, acrylic paint, and objects on birch panel
    12 x 12
    I blend a preoccupation with art of the past with a love of paper, objects, paint and design. I hope the resulting image engages the viewer in conversation with the work.
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  • Legend
    fabric on board, acrylic paint, graphite, stabilo
    15 x 15
    My intention with this piece was to communicate feeling through its layered technique and color palette. My muse was a young girl who radiated mystery in her eyes. I blended abstract and representational style. I wanted to evoke the feeling of contemplative mood of my muse and used instinctual blending of styles. The overall effect I hope invites the viewer to linger on the muses’ expression and gesture
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  • Whispers of Tradition
    encaustic
    12 x 12
    Art embodies a dialogue between cultures, and my work serves as a bridge connecting diverse traditions through the lens of Japanese techniques. In this encaustic painting, I explore the intricate interplay of color, texture, and pattern, revealing narratives that resonate deeply with my love for Japan. What excites me most is the opportunity to share the rich cultural influences that inspire my creations. Each piece reflects a journey, inviting viewers to engage with the stories woven into the fabric of our shared human experience. I aim to evoke a sense of nostalgia and warmth, encouraging conversations about the beauty of cultural fusion. Through my artistic process, I strive to create works that not only adorn walls but also spark reflection and connection. By blending traditional Japanese techniques with contemporary motifs, I hope to inspire others to see art as a means of personal expression and cultural appreciation. My philosophy is simple: when I create, I want the emotional resonance of my work to endure, fostering a lasting impact on those who encounter it.
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  • Sisterhood
    acrylic painting on stretched canvas
    12 x 12
    My paintings draw inspiration from the patchwork embroidery of western India, especially the vibrant palette, bold contrasts, and geometric, abstract forms. I build layered shapes and repeating patterns into a single, cohesive composition that carries a story and a sense of place. I usually start with only a loose idea of the subject, then let the work evolve as it’s made, allowing the colors, shapes, and forms to lead the way. The painting shows four women standing together, their heads gently inclined toward one another, creating a sense of intimacy. The surface feels textile-like, almost embroidered, with repeated marks that feel like folk traditions. Despite the complexity, the patterns flow together into a cohesive whole rather than competing for attention.
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  • Beatrice and Dante Watch TV
    Paper, Plaster, Gouache 3D Puppets on Silkscreen background
    12 x 11
    I'm a fan of the Divine Comedy and have Florentine ancestry. When Beatrice died, Dante realized "only through love for his Beatrice would he be able to reach the divine." I thought if I, as an artist, could resurrect their relationship to the present time, I would place them cosily side-by-side on a sofa watching TV. Beatrice chooses the film. Dante holds the remote.
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  • Fungus (Orange)
    colored pencil
    6 x 6
    Drawing has always been, more or less, part of my life. My great grandmother was an artist, as was my mother, and they influenced (and, in the case of my mother, supported) my affinity for realistic art. I focus mostly on detailed, realistic drawings, including magnified images of woodland landscapes based on photographs I have taken while walking in the woods and on the beach near where I live in Essex County, MA, using both graphite and colored pencil. I find the magnified images of the woodland floor compelling landscapes not only because of the varied shapes, but the myriad of colors. In this case, the orange and dark reddish purples are compelling. This particular image is a portion of a larger image that I intend to draw in the future, perhaps on a larger scale.
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  • Insomnia
    Mixed Media: Sculpted frame with glass, dichroic glass cabochon and 24k gold
    7 x 8
    I am inspired by nature, dreams, spirit and antique treasure bindings. My work starts in clay and I cast, paint, mosaic and gild each piece, adding my handmade cabochons as the final ornamentation.
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  • Winter Sky
    acrylic on canvas
    12 x 12
    There is a barn that sits in a meadow near my house where I take my dog to stretch her legs, and in the winter I tromp around in snowshoes. I enjoy taking in this view of the barn through each season, from bluebird sky to approaching snowstorm.
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  • Farewell party
    acrylic on canvas
    12 x 12
    To see a group of people always inspired me to paint or sketch the scene. Here a group of women are celebrating a young girl going to study abroad. The main character is in front, the others are part of the celebration. Always very important too.
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  • Winter's Heart
    acrylic on canvas
    12 x 12
    "Don’t judge by the frost on the surface; true warmth is found when we look within". A young woman stands alone in a snow-covered forest, her figure against the vast, quiet landscape. From a distance, she appears reserved, even melancholy, blending with the cold of winter. Yet upon closer observation, her eyes and posture reveal a soft strength and warmth within. This painting invites viewers to reflect on the contrast between outer appearances and inner life, reminding us that beneath the surface, resilience and tenderness endure. The warmth is not found in the season, but within the soul. My painting speaks of inner light, the quiet strength of gentleness - where even the coldest winter cannot touch a heart that remains warm. I am drawn to the contrast between the external and the internal: the frozen branches against a golden glow of the sky. The woman's calm gaze and protective layers symbolize a soft and warm heart - one that remains open and compassionate even when surrounded by cold.
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  • Hand in Hand
    encaustic with toner transfer on board
    8 x 10
    I often use black and white toner transfers from my photographs to create encaustic paintings. I was struck by the love emanating from this elderly couple, on a warm summer day, on the streets of Manhattan. Two lucky people to have each other, and more precious than a newlywed couple.
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  • My Happy Place
    oil on canvas
    12 x 12
    This painting was started as a plein air and completed in the studio. I am intrigued by trees and how they seem to hide from each other. Having been a textile designer I look for the patterns as I start my process manipulate what I see to create a mystery.
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  • With Beauty Before Me My I Walk
    collected natural elements from the southwest desert mounted on canvas and shadowboxed
    12 x 12 x 1.5
    I live in the southwest desert and take walks picking up dried out devils claw, pods, ocotillo branches and other elements. This assemblage is from my walks in the desert. The title is from a Navajo prayer: In Beauty may I walk. All day long may I walk. Through the returning seasons may I walk. Beautifully will I possess again. Beautifully birds. Beautifully joyful birds On the trail marked with pollen may I walk again With Grasshoppers about my feet may I walk With beauty may I walk With beauty before me may I walk With beauty above me may I walk With beauty behind me may I walk With beauty all around me may I walk In old age, wandering on a trail of beauty, living again, may I walk. It is finished in beauty
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  • The Dinsmoor Family (Lucas, KS, 1932)
    digital manipulation/ collage of historical photograph (C) 2026
    12 x 12
    Samuel P. Dinsmoor married his second wife, Emilie Brozek, on August 24, 1870, when he was 81 years old and she was 22 at the time. They had two children -- a son named John and a daughter named Emily Jane. Dinsmoor was a teacher and an eccentric sculptor who built the Garden of Eden (built 1905-1907) in Lucas, KS, a 12-room log cabin. The site was put on the National Register of Historic Places on April 28, 1977. The Garden of Eden is still open for tours with seasonal hours. Known as the "Grassroots Art Capital of Kansas," Lucas is home to folk art and unique galleries.
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  • Sumiko Inoue
    collage, acrylic, charcoal on panel
    12 x 12
    Sumiko Inoue is a portrait shaped by absence, displacement, and the quiet resilience demanded by war. During World War II, thousands of Japanese American families were forcibly removed from their homes and interned, their identities reduced to numbers, their lives abruptly suspended. This work does not attempt to document that history literally; instead, it seeks to convey its emotional weight. The figure emerges and recedes simultaneously, layered with erasure, abrasion, and fragile color. Her expression is restrained—neither confrontational nor submissive—reflecting the emotional containment required for survival. I use muted, weathered tones interrupted by sharp passages of color to suggest both vulnerability and endurance. Scratched surfaces, veils of paint, and partially obscured marks echo the experience of being seen yet unheard, present yet displaced. The portrait exists in a state of in-between: between cultures, between belonging and exclusion, between visibility and invisibility. The surface carries its own scars—intentional marks that mirror the psychological toll of confinement and loss of agency. This is not a single individual’s story, but a composite presence shaped by collective memory. Sumiko Inoue honors those whose dignity endured despite injustice. It asks viewers to slow down, to look beyond surface beauty, and to consider how history imprints itself quietly—through posture, restraint, and what remains unspoken. The work stands as both witness and memorial, insisting on remembrance through empathy rather than spectacle.
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  • Hands On
    acrylic and paper on canvas board
    14 x 11
    There is a tension between the nonchalant act of a womxn skinning an apple, the red crescents of apple skin falling towards a fish, a once living creature, being sliced open seemingly like a sacrifice upon an altar. A womxn's hand appears to hesitate near the fish as though an attempt at saving it was unsuccessful. The black and white figure conflicts with the bright red apple skins falling from her knife. Red represents both the fruit and the life force. The iconographic use of gold implies a spiritual aspect to the piece as do the hands with palm reading diagrams indicating that fate is unyielding.
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  • Portal I
    oil and cold wax on cradled panel
    15 x 12
    While creating Portal I & II, I was thinking about a transformative passage guiding me from the past into the future. It begins with remnants of memory: fragments of places, moments, and emotions that linger in the shadows of my mind. These intangible echoes become the seeds for exploration, calling me to engage with materials and textures that carry traces of the natural world I cherish. Through a layered process, I move across time. First, I gather elements—colors, shapes, lines—that respond to memories rooted in shifting seasons and landscapes. Then, using oils and waxes, I press and pull the elements onto the surface. The act of painting becomes a ritual, where the familiar past folds into the present moment, revealing hidden stories. This evolving process is not predetermined. I follow intuition, letting the work unfold and choose its own direction. Contrasts in texture, color, and form become signposts along the way, marking transitions between emotional states and ideas. Emerging from this threshold, the artwork holds a passage forward—a glimpse into possibilities and transformations yet to come. It is a dialogue between what was and what might be, a space where healing and discovery converge. Through this portal, I invite viewers to step into their own journeys of renewal, embracing change as a vital force that connects past, present, and future in continuous motion.
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  • The Magic Lantern printmaking 10 x 8 in. This piece imagines a magic lantern show, a form of entertainment that was wildly popular before cinema. Magic lantern shows featured pictures on glass slides, often about travel and exotic lands, with live narration and music. Here the showman projects images about ancient Egypt to an audience, including one with a Theda Bara-like vamp as Cleopatra. The print combines multiple techniques: etching, aquatint, soft ground, dry point, and marbelizing in the lantern smoke. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    
  • Run mixed media collage 4.5 x 6.5 in. This collage highlights color, motion, and line. The muted grayscale house suggests stability and memory, while loose washes of color introduce emotion and disruption. The rigid lines of the building are surrounded by ragged edges and fluid color, creating visual tension. The girl, frozen mid-run, brings urgency and motion to the scene. Her bright dress stands apart from the darker ground, guiding the viewer’s eye and raising a central question: Why is the girl running? Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    
  • Lingering at Dusk 3.25 x 4.25 in. Painted with a credit card, this abstract acrylic work reflects the gentle drift of end-of-day thoughts - fragmented yet unhurried - as they move through the mind in haphazard succession. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    
  • Provencal Home in Lavender Field
    pigment print on canvas
    8 x 10
    I was in Provence and spotted this home in this amazing lavender field in early evening light. I was drawn to the composition and had to capture it for posterity.
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  • Through the Hollow Wood
    acrylic gel print on paper with acrylic gel printed YUPO (a plastic "paper") mask used as the collage element.
    5.5. x 5.5
    Working with different color layers, when creating my monotypes (the substrate for this piece) results in interesting colors and abstract patterns on the stencils and masks I may use in the process. I often use them as college elements in the final artwork to add greater depth and visual effects. The chair is a frequent motif in my work. I use it as a metaphor for our memories and the stories we tell ourselves.
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  • Sweet Khaos
    pastel on paper
    12 x 12
    My work is guided by a deep love of color and a desire to capture the fleeting beauty of everyday life. Growing up in Beijing with artist parents, I was immersed in art from an early age before continuing my formal education at the School of Visual Arts in New York. These experiences shaped my approach, allowing me to bridge the principles of classical Impressionism with a contemporary sensibility. I perceive color in a distinctive way—often noticing hidden hues and bringing them forward through an expressive, broken-color technique. Working primarily in soft pastel and oil, I value the immediacy and richness of these mediums, which allow me to respond intuitively to atmosphere, light, and the subtle shifts of emotion that animate a moment. My pastel painting Sweet Khaos captures a beautiful white horse whose personality is as gentle as it is strong. True to her name, Khaos is resilient and powerful, yet it is her sweetness and calm presence that truly captured my heart. I was drawn to expressing this balance between strength and gentleness through her pose and expression. I especially enjoyed capturing the subtle sunlit hues across her fur. Using soft pastel allowed me to layer delicate warm tones into the white, revealing texture, light, and warmth without losing softness. Sweet Khaos is a portrait of quiet strength and tenderness, celebrating the gentle spirit within a powerful form.
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  • Salt, Pepper, Sugar
    watercolor on paper
    7 x 8
    I love incorporating old family heirlooms in my still life’s. In this case I was capturing the delicate light on porcelain and the fanciful designs on prosaic seasoning containers - everyday items infused with delight.
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  • Near B.Y.
    acrylic on wood
    11 x 12
    It is dark walking to a closed off area called Ben Yehuda. I hear the music. I follow the lights and smell the aroma of cappuccino and mid eastern delights.
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  • Around the Bend
    soft pastel on sanded paper
    8 x 8
    The light as evening beckons creates a sense of wonder. Who knows what possibility awaits just around the bend!
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  • Road to the Vineyard
    oil on panel
    10 x 10
    Always a lover of the natural environment, I became an avid hiker. This translated to studying, and then teaching, environmental science and engineering classes. My love of the outdoors is reflected in my paintings as I study color and nature's subtleties while painting outdoors!
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  • February in Forest Hills
    egg-tempera painting on prepared panel
    12 x 12
    One fine morning I stepped out for a walk and was stunned by the beauty of blue shadows on the snow cast by lumonous February sun and the turquiose skies promising arrival of the spring. I made a quick plein air sketch, which was a base for this scrupulous egg-tempera painting.
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  • Built to Last
    monoprint, charcoal, graphite on archivaln ujabi paper
    8.5 x 8.5
    Built to Last honors the foundations we build for ourselves. Inspired by Ireland’s enduring stacked stone walls, the work reflects how layers of experience, relationships, and place form the base upon which we grow.
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  • Winter Walk
    oil on panel
    12 x 12
    My work is rooted in direct observation and an interest in subtle shifts of light and temperature within the landscape. In Winter Walk, the primary focus is the contrast between the cool, blue-toned planes of snow and the muted yellow-ochre warmth of the distant trees. These temperature relationships create depth and guide the viewer’s eye through the composition. I aim to suggest form rather than describe it fully, allowing atmosphere and color relationships to carry the painting. The simplified handling of the trees and snow supports a sense of quiet and clarity, inviting the viewer to engage with the scene without distraction. Through restraint and observation, I seek to convey the stillness of a winter landscape.
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  • Stability
    Collage: Linen, paper, acrylic paint, and archival glue
    8 x 9
    Black/Linen Collages, 2024-2025 I gave myself a challenge in this series: Use a minimum of color. Always include black. And leave areas of the linen background unpainted. To create a variety of images under these restrictions of color and space is an exercise in minimalism. These works are small and almost square. They are primarily organic shapes but often play against others that are geometric. Some are very still and a bit architectural. Others are more dynamic and can refer to movements found in landscapes.
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  • Red Hat, Winter Night
    pastel on pastelmat surface
    9.5 x 12.5
    I am captivated by vintage photos, spending hours on end looking at photographs of people whose day-to-day lives happened long ago. I guess you could say I have a fascination for the past. Pastel on pastelmat paper. Unframed.
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  • Campus Point Lagoon II
    Acrylic on cradled birch board
    11 x 14
    My kid is a student at UCSB, which is not far from where we live. Early one November morning, before it was even light, I got a slightly panicked text that he needed his spare key and would I be at all willing to drive it out to him. I was still in bed, but I could see the marine layer was starting to break up, and I had been meaning to get out to the lagoon on the campus and photograph it in the morning light, so with a raised eyebrow and a bit of snark, I hauled myself upright and took the key and my camera out to the lagoon. It was still a dreamy sort of half-light when I got there, and the sky was reflecting quietly in the water. This piece is a little dreamlike because I was just barely out of bed in that moment. It feels like it is still carrying something of the night with it. I paint in acrylics, largely because I like the fast drying time, but I have to contend with it by building up many translucent layers to blend and soften the clouds and reflections.
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  • Mexican Dancer
    inkjet print photograph
    11.5 x 8.5
    This photo was taken in Cabo San Lucas,k Mexico, where we were watching dancers on the beach. When this dancer paused for applause, I managed to get this shot.
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  • Flowers for Sargent 11
    oil on canvas paper mounted on wood primed board
    12 x 9
    took multiple photos of flowers in a setting with black paper backdrop and bright light. Interested in the beauty and detail of flowers as well as light/texture of glass and water. layering of color creating shadow texture light for the water and the glass...seeing the flowers , water and glass come to life day by day stroke by stroke.
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  • The Enchanted Forest
    oil on panel
    7 x 5
    Most of my work is fantasy or Magic realism and one of the continuing themes in my works have been paths, whether its paths along forests or mountains. It is one of my metaphors for life in general. In addition, this piece was done in the grisaille method of oil painting which I love to do. It is the most effective method of conveying depth and atmosphere for me.
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  • The Slipper
    oil on linen panel
    10 x 8
    Sitting in my bathroom, just after a shower, I tried to reach my other slipper, keep the towel on my head, while holding my robe closed. A fleeting sense of vulnerability and tenderness came over me. These are the moments I look to capture in my work.
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  • The Path Taken
    photography on metal
    10 x 15
    While out for a walk, I was mesmerized by the play of light and shadows on this pathway. I lingered in this light, not wanting to move for the fear of it changing. I set up my tripod and began to work on the best angle to capture this beautiful light show. I chose to print it on metal to maintain the shine of the mist on the trees.
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  • Wisps
    unique platinum/palladium photograph
    5 x 7
    I capture the simple beauty in everyday life, the commonplace or ordinary scenes in the natural environment. This image offers a pristine beach for quiet reflection.
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  • Winter Night, Facing Northeast
    watercolor and ink pen on paper
    5.5 x 8
    This is the house of one of my neighbor's on a cold winter's day at dusk. I was moved by the cold the warmth of the windows and taken with the beautiful near monochrome of the scene. Taps into a universal emotion that this winter scene of a home triggers.
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  • Between Breaths
    watercolor on paper
    10 x 14
    Between Breaths grew out of my interest in moments of pause within the landscape — those brief intervals where light, air, and space seem to suspend movement rather than describe a specific place. I was drawn less to depicting a recognizable scene and more to capturing a felt experience of stillness and renewal. I work in watercolor with an emphasis on layering transparent washes and allowing edges to soften or dissolve. Rather than correcting or tightening every passage, I let the painting develop through controlled wet-in-wet areas and intuitive color shifts, responding to what emerges on the paper. The goal is to create a sense of quiet immersion, where the viewer can linger in a moment that feels both grounded and fleeting.
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  • Palm Forest
    watercolor and gouache on paper
    10.5 x 14.25
    This was painted on-site at Wave Hill Gardens. I was inspired by the depth of the palm layers in the Brazilian garden. The different sizes of the palms, whether it be wide, tall, or arching with diagonal stems interjecting motion, were fun to contrast with each other with abstract strokes and color.
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  • Cordgrass in Fall
    photography
    11 x 14
    I came upon this scene in Acadia National Park, in a brackish salt marsh, I found color and texture etching into the water. The unusual deep red grass was mesmerizing!
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  • Intersections
    gouache acrylic paint on stretched canvas. The image continues over the 1.5 inch side.
    6 x 6
    A dynamic composition with intricate patterns executed with precision, using fine brushes and acrylic gouache paint on canvas. This meticulous approach captives visually and invites viewers to explore new space relations, graphic flow and visual rhythm.
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  • Frog Splash
    airbrush on smooth paper
    9.5 x 9
    I love using airbrush to paint wildlife, including insects, birds, reptiles, anything with fur. I started out doing biological illustration many years ago but discovered the airbrush and its versatility. The frog was a fun challenge.
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  • The Readers
    oil on canvas
    11 x 14
    On my travels across Asia I was taken by scenes of everyday life in which figures demonstrated a type of visual poetry. These women, quietly reading newspapers in the park demonstrated a sort of energetic intimacy while in the midst of a busy, noisy environment. I hope to demonstrate the simplistic beauty of figures in action while drawing the viewer into the story of others' lives.
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  • Mission Creek
    soft pastel on luxarchival
    8 x 10
    This is a well-loved barn in my area. The ranch it's located on is home to lots of wildlife..... deer, elk, bear and more. It always gives me a sense of peace and serenity.
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  • Bella
    oil on linen panel
    9 x 12
    This painting encapsulates the soft, maternal strength of a heifer. Emphasizing the gentle curve of her neck and the bell she carries, I invite viewers to consider the quiet character of this noble animal.
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  • Night Vision
    watercolor
    6 x 4
    I rarely start out a painting with an idea of what I am going to paint. I am often inspired by shapes that interest me, starting with a mark on the paper and seeing where my intuition leads, often arriving at a very different composition than the one I began with. Some themes do resurface time and time again - the moon, portals, day and night, clouds and the seasons. Once the painting is complete (and sometimes many months after), I begin to get an idea of what it was trying to express, and title it accordingly. I use Arches 300lb. watercolor paper and archival watercolor pigments. Many transparent washes are applied to each painting in order to intensify and vary the color palette - a process I have arrived at over many years that often isn’t recognized as watercolor.
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  • Windowsill Geraniums
    Oil on gesso panel
    12 x 6
    It’s the light! Backlighting is the best. Love painting reds and the glow that light creates. Ala prima painting.
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  • Earth Angel
    acrylic on canvas
    6 x 4
    Since childhood, I have had vivid dreams, movie-like visits to places and with figures that tell me of things to come, good and bad together. Who or what shares this is not clear - perhaps it is just the by-product of creativity. Colorful swirls present the living world, and the angelic figure brings hope and joy.
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  • Janus Moon
    photograph
    10 x 8
    The bare trees with the rising moon became my first photograph for the new year. The title comes from the first month named In the ancient Roman Calendar.
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  • Arches and Bars, Henry Hudson Parkway
    oil on canvas paper
    12 x 9
    As a contemporary realist painter, my work presents urban landscapes and artifacts from unusual points of view and in striking lighting conditions that draw attention to overlooked elements of the environment. In addition, I seek out elements of the urban environment where nature and man interact -- neglected corners where nature has reasserted itself among the steel and stone of the city. This is a painting of a section of the Henry Hudson Parkway in New York City as seen through an iron fence. It is off the beaten path, and partly obscured by tall weeds. I loved the contrasts of the shapes - curves and lines - and of the organic and man-made structures. With the mysterious background light, the parkway arches evoke those of a cathedral. I used multiple glazes to create a sense of depth in the background light, in contrast to the rougher, more gestural strokes for the foreground leaves.
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  • The Manhattan Project
    acrylic on cradled birchwood panel
    10 x 8
    Part of a series of cocktail art that evokes cheerful happy memories of times shared with friends and family
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  • Po Paia
    clay, wood, acrylic, bone, twine, enamel
    10 x 6
    As an artist, my work often explores themes of life, death, and the intersection of nature and humanity. In my latest piece, a mixed media creation that combines clay, wood, acrylic, bone, twine, and enamel, I aim to evoke a sense of contemplation and connection to ancient cultural practices and their poignant representations of the afterlife. The simple face, eyes closed in serene reflection, invites viewers to ponder the quiet stillness that accompanies the passage from life to death. Adorning the forehead is a catfish skull, a symbol of resilience and adaptation in the natural world, while the vertebrae from a large bird protrude from the chin. This juxtaposition emphasizes the blend of life forms and the continuous cycle of existence, suggesting a dialogue between the earthly and the ethereal. Framing the face is twine, which serves as a reminder of the interconnectedness of all beings and the bonds that tie them together. This piece is not just a representation of a face but a meditation on the narratives we share and the remnants we leave behind. Through this work, I invite the audience to engage with the themes of identity, memory, and transformation that resonate across cultures and time.
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  • Ice Melt
    acrylic, ink on board
    12 x 12
    In the abstract painting “Ice Melt" we are left with a feeling of peace and calm. The brilliant blue color is like that of a glacier melting while looking into the ice droplets as the snow moves through the painting.
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  • Cades Cove Treasure
    pen & ink
    10.5 x 8.5
    I loved seeing this beautiful old mill in Cade's Cove, Tennessee, wondering about the lives of the people who built and used it many years ago. Drawing it was a pleasure!
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  • Midnight Mouse Heist
    assemblage: taxidermized mouse- acrylic paint on clock components
    9 x 5 x 5
    Who can steal time for me, and make this day last longer?
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  • Lavender Blue
    oil on canvas
    10 x 8
    The pastel lavenders and blues, create a subdued, soft sense of emotion and solitude. I intended to show an emotional sensitivity of contemplation and fragility.
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  • Herculeus
    sculpture
    5 x 10.5 x 10.5
    My love for nature and respect for its different moods began in Coastal Georgia where I was born. Feeling the need to capture it in another form, my creative journey began. My style reflects my belief that life needs to be celebrated with whimsy and attitude. I use the flow of lines and surface patterns to create positive and negative spaces in my sculpture. This creates movement and balance between the parts. I create with the hope that my work will bring a smile to the viewer- happiness is a very strong positive force. I believe that sculpture in general reaches out to people on an emotional level. It addresses two of our senses without even trying- sight and the sense of touch. It is also possible to evoke our other senses- even makes us feel like dancing.
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  • Black-bellied Plover
    oil on cotton canvas panel
    10 x 8
    After a long career as a graphic designer in NYC, I wanted to return to pursuing the fine arts. I began by painting everyday objects. The object taking center stage. Portrait of a pear. One day, I just decided to paint a bird. Spending time away from the city and in nature opened my eyes to the beauty and delight of viewing, listening and learning more about these miracles of nature. Watching them makes me smile. I want the bird to be the focus of my painting, devoid of distracting busy backgrounds. My goal is not to create exact scientific renderings, but to capture something of the uniqueness and personality of individual birds. A portrait.
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  • Icicle Eve
    digitally manipulated photograph
    10 x 8
    I was drawn to the sight of these extraordinary icicles, backlit and glistening, in line with the vertical paneling of the building. The dark window frames added a dramatic element, while the billowy rooftop snow capped the scene.
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  • Looming Clouds Over Brazil Coast
    print on wrapped canvas
    12 x 15
    Nature's most compelling moments often arrive in contradiction—darkness approaching while light persists, calm before the storm, beauty amid threat. This photograph captures such a moment on Brazil's South Atlantic coast, where I spent over a decade working for several weeks each year with a regional healthcare education institute. The Ceará coastline near Beberibe offers dramatic geological formations: golden sandstone cliffs carved by wind and water over millennia. On this afternoon, storm clouds gathered overhead, their weight and darkness dominating the sky. Yet brilliant sunlight continued to bathe the cliffs and beach below, creating a stark juxtaposition that called to me. My creative process relies on observation and anticipation. I don't manipulate scenes but rather position myself where nature's drama might unfold. Here, the contrast between impending darkness and persistent illumination created visual tension—a metaphor for life's constant interplay between challenge and possibility, shadow and light.
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  • Seek
    Watercolor and Gouache on Paper
    5 x 7
    This monochromatic piece came at a moment of low inspiration. I had been facing personal challenges that had me seeking solace in my paintbrush, but left me staring at blank pages. Somehow, I pushed myself to just begin and wound up staring into these soulful eyes. I sought a creative outlet and created a child who seemed to be seeking something of their own. Even still, I wonder what that is.
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  • Gotham - Darkness and Light
    digital photography
    8 x 10.7
    Experimental Photography - A Study in Light Motion There are streaks of colorful electric light running through the dark skein of the city at night. My photography unravels and exposes this conceptual light art. At times the movement captured is linear, at others a tangled interwoven abstraction; each marvelously expressive and evocative. My primary vocation is medicine, logic, my first love. Experimental light photography is passion, connection. The experiment started in isolation, during the height of COVID. I was trying to connect with the city around me. The neighborhood lights became a sign of life, something I needed to hang on to. There was joy and sorrow in the serendipitous finding of the images I created, some of which is reflected in the titles of my photo-painting prints. The experiment continues to date. Alchemic manipulation of camera shutter speed, aperture and ISO, creating painterly photo prints -“Photo-Paintings”. Look through my camera with me to discover New York, New York and Photography in a novel light.
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  • The Pathway
    photograph
    12 x 8
    A sense of adventure and opportunity - a new path for discovery.
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  • No Cuckoos Here
    bronze/wood sculpture
    9 x 9 x 10
    Birds are frequently the inspiriation for my work. In this piece I was thinking about the cuckoo's habit of depositing their eggs in the nests of other birds. Considering the size ratio of wrens and cuckoos a wren would find it relatively easy to spot an intruder in her nest. I often use beautifully turned wood for my bases and this exceptional Gamble Oak bowl is perfect for this piece.
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  • The Clothesline
    sculpture: double sided cast bronze art medal
    4.5 x 4.5 x 0.375
    The practice of medallic art allows me to create smaller, more intimate works. It also lends itself well to create a series of medals. “The Clothesline” is a first in a series I am calling "Mundane Medals," to celebrate all the beauty I find daily in the little details of our busy life. I'm one who loves to hang dry my laundry, and during the winter I string my clothesline up in my bedroom, (adds humidity and saves energy!) When I wake up in the early morning, with the first dim glimpses of sunlight, I see this rhythmic hanging of shapes of my shirts with such great shadows and texture. I am reminded of the early black and white photos of tenement apartments with clotheslines strung about and I think of my well being, the clothes I have, and the quiet comfortable room I choice to dry them in. A feeling of peace and comfort comes over me. On the reverse of the medal is a haiku that I wrote in support of the image on the front of the medal. A double sided medal begins as two separate pieces, each modeled carefully in clay or plaster. Then molds are made, lettering is refined, and waxes are poured of each side. After melding the two waxes together, it is shipped to the foundry to be cast in bronze.
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  • Five Plums
    pastel
    8.5 x 11.5
    The colors purple and blue always evoke an emotion in me. I found the way the plums, nestled in a blue and white china bowl, were arresting.
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  • #1788 Stargazer Lily
    porcelain
    12 x 11 x 7
    My hand-formed sculptures are nature-themed and this particular one is an abstract form meant to recall the Stargazer Lily. It is finished in high gloss white glaze.
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  • Petunias Noir
    monoprint on rives BFK (Oil-based ink)
    8 x 10
    Flowers always inspire me. Working from life on a solid black inked plate, i lifted out details in the focal area, and then gently massaged the surrounding leaves in a subtle way. Calligraphy brought out the expressive quality of the flowers and leaves. Flowers are rarely painted in black. It seems the antithesis to the riot of color flowers bless us with. These are petunias seen at night glowing in the brightness of a flashlight.
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  • Torso on Armature
    sculpture: cast bronze on stone base
    15 x 3 x 3
    In this piece, I was thinking about the weight and strength of being female. I focus on the female form as I can feel its connectedness to everything. At one time, we were all both male and female, embedded and nurtured in the female torso.
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  • Psychedelic Lulu
    paper and printouts on gator board
    14 x 14
    I read Little Lulu comic books when I was a kid. I decided to update her with some cool shades. The dorky hairdo stays the same, though.
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  • Interference Field
    digital art
    13 x 10
    “Interference Field” explores perception as a dynamic system shaped by repetition, disruption, and visual density. Layered bands and wave-like forms—reminiscent of fingerprint ridges—interact to produce moiré effects, creating moments of alignment and distortion that reference optical and signal interference phenomena. As these elements overlap, the eye oscillates between order and instability. Constructed through iterative digital processes, repetition establishes structure while subtle interruptions introduce tension and movement across the surface. The work invites sustained looking, encouraging viewers to slow down and recalibrate perception. In doing so, “Interference Field” frames seeing as an active process—one that emerges through engagement rather than resolution.
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  • Winter Moose
    scratchboard
    8 x 8
    I took this photo in Jackson, Wyoming on a cross country trip with my daughter. It was lightly snowing and a herd of male moose were wrestling over a female near by. It was one of the coolest experiences I've ever had watching them together. I had to capture it in my new favorite medium!
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  • Activated Pocket Idols
    sculpture
    2 x 6 x 2
    With this project, I created a hand-held idol form to explore the relationship between physical touch and spiritual connection through material manifestation. Each idol will hold the same conceptual meaning, no matter materials or processes used. The historical idea of idols being vessels that project or contain something intangible but with a more personal significance. I wanted to create an object that might offer an immediacy in comfort by being on their person. If it is believed to hold this comfort in its physical form and activated all the personal would have to do is touch it for reassurance. The form I created to be a maternal-like roundness and gentle form that abstracts figure into just a head and body. A crucial element that I think promotes the pocketed ability of the idol is the nail or screw at the center: the idol is not activated until the owner drives a nail or screw personally into their idol. Making this physical connection and experience the idol is then able to release and fulfill what it embodies.
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