Winter Small Works 2026

Online Exhibition

February 1, 2026 – February 28, 2026

  • 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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  • 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.  
  • 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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  • 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.    
  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • #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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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