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mixed media encaustic collage on cradled board 24 x 24" As a society, we are filling the universe with all kinds of junk and my collections of the patterns inside security envelopes only take a tiny fraction out of the waste stream. The protective intention of these decorative patterns is to camouflage & shield financial information. From an endless supply I pick the patterns that appeal to me and cut the envelopes into hexagons. Painting, drawing, handmade paper, gilding and encaustic combine in layers —building pattern and color. I layer tirelessly and final works have a very different appearance and impact. Straw into gold—the hexagons, plus the flux & flow of hot encaustics, transforms the junk mail that endlessly fills my space.
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oil on canvas 24 x 24 x 2" Fresh Water Stone Garden is about reflections in the natural world as we see them in quiet waters, repeated in subtle variations, and has a double meaning of reflections in life: how we choose to be surrounded by the images that cause us to look within ourselves for new insights.
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alcohol ink on yupo paper 14.5 x 11.5 x 1" The aging torso contains many mysteries as it embodies the person’s history ranging from injuries to stress both physical and mental. As I age, I am inspired by process and how it has transformed me physically and spiritually.
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conte crayon and ink on Sunset Velvet Rag 18 x 24 x 1" Perhaps in these times where we see women's rights being literally ripped away from us, we can be inspired by those in the past like Eleanor Roosevelt who battled the odds and never gave up -- she fought for us. Let's keep fighting with all we have, from protest marches to voting for change to electing a judicial body that speaks for us. We must use all the tools we have, including conte crayon on paper, to salute our heroines and ignite others to continue the good fight. The battle continues.
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acrylic on canvas 14 x 11 x 1" Inspired by 17th century Dutch still lifes. This painting is symbolic. The quail eggs and feathers symbolize the spring, the hope and a new beginning. Artist combines bright light with delicate colors and finds a sensitive balance in the seemingly haphazard arrangement of objects.
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oil on canvas 18 x 24" This artwork was born right after Hurricane Sandy caused major devastation along its path. Seeing the destruction of her home and city, the artist found solace in her community's unity to rebuild. The artists went through personal hurricane around the same years, and her work is a tribute to a human spirit and strength. Using the Peacock as a symbol of resilience and beauty, she portrays a world where human can conquer even the most catastrophic events. Through her use of vibrant colors and intricate details, the artist captures the essence of this remarkable spirit, portraying a world in which even the darkest of moments can be transformed into a source of fortitude and inspiration.
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oil 24 x 30 x 1.25" I fell in love with Italy many years ago, and have returned a few times. There is so much beauty in the landscape, their sculptures, the piazzas and museums. So a year ago I traveled to Florence (again), Lake Como and Cinque Terre. Taking photos always holds the memories of the trip for me. I chose a photo from Cinque Terre as inspiration for my painting. The lighting was perfect for an afternoon, the boats were moored after a day of work, and two people sitting and chatting completed the scene.
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drypoint print 10 x 7 x .5" “Mistaken” is a drypoint print with watercolor and gouache highlights. The print is based on an original figure drawing and was made on a piece of thick plexiglass that cracked when I tried to re-bevel the edges. The figure (who nearly had her hand cut off in the process) looks back at the artist and viewer reproachfully.
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acrylic, paper, and ink 19 x 25 x 1" On a trip to Costa Rica, I did some nature hikes with a local guide in the old-growth forests. He was terrific at spotting animals up in the trees. We would view them through a high-power spotting scope (similar to binoculars but with only one lens). I loved viewing the world through the microcosm of a small circle. It made me focus on a tiny aspect of the greater jungle around us, ignoring everything around me. As an artist, I also like to create that focused direction in my artwork. I lead the viewer to what I want them to see through color, shape, value, and line.
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paper, sequins, acrylic 18 x 18 x 7/8" "Hanging Out" is an example of the collaboration between the artist and the work that often happens if the artist takes the time to listen. This piece began as a collage of a western landscape, but slowly a different image began to emerge. Initially the artist saw a torso similar to a headless Degas ballerina, then a sleeveless jump suit appeared that clearly was in need of a hanger.
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photography and gold leaf gilding 13 x 15" While wandering through Paris at dawn, I spotted the beautiful monument placed so artfully at the end of a Parisian street. I had to capture the essence of what I saw at that location with the bicycles placed on the bottom left portion of the scene and Marianne of France at center stage as the star of the show. Marianne is the symbol for France like our Statue of Liberty.
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sharpie marker on paper 11 x 10" This work on paper illustrates the beauty of movement in stillness as observed through the captivating gesture of a singular insect. In this drawing my aim was to capture the complexity and fragility in its body mechanics as thou snapping the shutter of a camera and freezing the image.
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oil on canvas/seed beads 24 x 24" Night Cover is from a body of work that is considering barriers. I am using stone walls as a metaphor for exclusion and inclusion. I ask the viewer to consider where one is positioned in relation to the wall -is one included or is one excluded? The painting is oil on canvas with the seed beads hand laid around the image. The beads are in the background but they come forward creating a visual tension-a tension that is reflected in the notion of walls/barriers.
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sculpture 22 x 11 x 9" This mixed media sculpture was inspired by the gargoyles atop Manhattan skyscrapers. It consists of handmade clay figures trompe l'oeil painted part animal and marble and a metal spire atop a grid representing a building.
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acrylic, mirror, grout, tile, fabric, faux gold leaf 18 x 24 x 1" This piece speaks to being seen in an art way yes, but more in a human way. The ways in which being seen can heal and make us feel whole. The way being seen causes our light to shine. The way connection is facilitated when you tell another you see them. I think of my work as being of light. The reflective nature of the mirror creates a movement in light that interacts with its environment and viewer, I am hopeful in the most happy of ways.
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Gomuban plate print, Akua ink 20 x 16 x 1" "Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere."- Phillip Guston
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clay 10 x 22 x 3" “Coral Gradations 14” is part of my “Coral Gradations” series. Each piece serves as a visual reminder of the condition of the world’s coral reefs, juxtaposed against the reality of climate change’s impact on their survival.
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fresco, salvaged wood on panel 30 x 24" I’m constantly “puzzling” pieces together, whether in the studio, in nature, or in an urban environment; repeatedly picking things up and rearranging them. I’m fascinated with the interplay of contrasting materials and, at times, the contrast within those very materials. In this work, there is a juxtaposition of warm and cool colors, as well as warm and cool materials. There is also a juxtaposition within the elements, with the warmer colors in the cool, smooth texture of the plaster, and the cooler color in the warm, rough texture of the wood. From these relationships, a dialogue is born. I think this dialogue is what enables a work to resonate as both simple and complex, simultaneously.
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hand-colored woodcut on canvas with embroidery 19 x 26" A lifelong fascination with sewing and construction led to working in the home sewing industry for many years. This influenced my subject matter as well as my technique by incorporating sewing pattern instruction sheets and pattern tissue, pattern envelopes, fabric and stitching into the work.
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oil on canvas 28 x 22 x 1" This painting is part of a my "Endangered Yet Unbowed" series of painting pertaining to endangered and threatened species. Florida Panthers are dying at an alarming rate. Currently, there are only about 200 known to exist in the wild. I feel we all have a responsibility to protect and bring awareness to all endangered and threatened species so that generations to come can enjoy their beauty.
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digital photography 22 x 18" This image was taken while walking down a street in NYC near University Square. I saw the image of advertisement for the bra and then noticed the reflection of the car and old building. At first I thought WOW - something old, something new, something borrowed (or rented like the car), but nothing blue. However, the reflection is what caught my eye., I have a series of work that captures reflections in water, windows and store fronts.
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etching with chine collé 19 x 24 x 1" I am always excited to explore and conquer new printmaking techniques. In this case, the copper plate is inked, and Chine collé circles were cut out of gampi, kitakata papers, and suminagashi prints, which I made, and were glued on. Then a plum gampi backed it all. Creating and executing the process itself puts me into the zone, a meditative state, and stops time for me. My themes are the search for and expression of the spirit within, be it animals, landscapes, or spacescapes. I use color, contrast and composition to captivate and create an emotional response for the viewer.
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acrylic/collage 14 x 11 x 1.5" Lately, my thoughts have been focusing on the cosmos. Perhaps it has something to do with turning 70? The woman is taking a leap of faith, leaving the security of the steps and heading for the unknown. The figure originally came from a black and white photo of the artist.
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steel 29 x 29 x 1" This wall-hanging sculpture is part of my new « Labyrinth series ». I played with flat bars in steel, drawing lines like labyrinths which speak about our internal human journey. In the process of shaping them, I loved using my strength only (no heat, no hammer). The lines are amplified by the play of light casting shadows on the wall and Her Way is an interactive sculpture, the viewer has the liberty to move all the characters within the labyrinth. Let your eyes follow the lines, and feel what narrative resonates the most for you.
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acrylic 17.5 x 21.5" As a young adult I read the book, Yellow Wallpaper by Charlotte Perkins Gilman. The story stayed with me throughout my life, it was about "the deterioration of a woman's mental health while she is on a "rest cure" on a rented summer country estate with her family. Her obsession with the yellow wallpaper in her bedroom marks her descent into psychosis from her depression throughout the story." She would pick away at the wallpaper, creating images. Maybe it was the idea of what our minds are capable of, how much they can lead us in one direction or another. From elation to depression. My painting reflects both sides of this experience.
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acrylic, pastel, graphite, acrylic marker on canvas 30 x 20"
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watercolor 24 x 24 x 1" Lavender Square is one of the pieces in my petal series, which all started with a floral arrangement. Photographing it up close, I discovered how the slightest movement of the camera created an entirely new composition. I was fascinated by the amazing color and shape of each petal. This discovery marked the beginning of a floral journey, starting in acrylic, then venturing into oil and watercolor. My background is in graphic design where I developed a bold approach to color and form. Painting shape by shape, I strive to make each one beautifully blended, and build the final painting like a puzzle, balancing color and texture as I go.
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mixed-media, aluminum, sculpted photo, fabric, fiber, encaustic wax and paper 20 x 18 x 5" “Rooted in Humanity” is a series of relief sculptures that records moments of humanity and issues of the environment, reflecting tensions within our current diverse and often divisive society. Inspiration for these works began with long walks in the woods examining nature’s design and detail. By exploring innovative methods and materials, Horowitz’s path is always evolving as are her techniques. Capturing body language, movement and how they relate to emotion and character are essential. Forms emerge from the earth, deeply rooted past struggles and growth. These works depict the human form both isolated and vulnerable and examine the frailty of the human condition.
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watercolor 12 x 9 x 1" I created this piece in a studio session with a live model, which is a favorite way to work, with a breathing person in front of you for only a short while. Watercolor is my primary medium, which enables a quickness and practiced looseness to capture an impression of the subject before me. I wanted to express the boldness of the somewhat relaxed pose. This women is determined not to be a victim and to make her own choices.
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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 underlying geometry and order amid nature's chaos. Using drawing and mark making with charcoal and graphite and painting with layered oils, I generate an imagined reality from a perceived experience. Draw/erase. Paint/scrape. A ghost remains. I work toward a bilateral glimpse of interconnections between what we can see and what we imagine we can see--a superficial and a subterranean geography. This blend casts the familiar in a new light.
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digital art on metal print 30 x 24 x 1" My artwork is a pictorial depiction of abstract words in spiritual concepts through the use of flower forms. By utilizing a central floral motif, I create digital images that place the flowers in a simulated environment, conveying the spiritual ideas and materializing them through digital alterations. For the artwork "Spiritual Birth," I chose a tropical flower that I captured in a photo on a trip to Florida. Its striking shape and vibrant colors inspired in me the idea of a spiritual awakening, which is an essential component of spiritual rebirth.
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ink jet print 15.375 x 12.25 x .75" My quilt top studies are a part of a larger body of work which pays tribute to family quilt makers and stone masons. This work has evolved since the 1960's and has included Conceptual Art systemic paintings, prints, and sculpture as well as more random explorations in assorted media.
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photo screenprint 29 x 21"
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oil, metal leaf, and waxed thread on canvas 19.25 x 15.25 x 1.25" "Avocado Selfie" is not a self-portrait in the traditional sense, but it is an exploration of my current visual interests set against the backdrop of my own facial features. In the piece, I explore the tension between the representational and the abstract; the flat expanses against modeled forms. I am inspired by medieval European aesthetics and my background in theater, which influenced my color and material choices and the decision to stitch thread throughout the piece.
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acrylic 24 x 20"
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oil on canvas 19 x 25 x 1" As I sat on a Chelsea Pier in New York City, a young woman stood at the rail, watching. The vision inspired the original ink drawing on 11"x14" watercolor paper. "The River" is part of my latest series translating my small plein air drawings into larger oil paintings. This painting is 18"x24" (plus 1" frame).
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acrylic with drawing media on cradled board 20 x 20 x 1.5" Dark days of the quarantine resulted in a pall over everyday life, fostering solitude and stressing hope. My work explores the limitless possibilities of abstraction without reference to objective reality while it readily accesses a feeling or mood. In this work, layers of paint and lines mix together, shift and overlap, creating a floating movement as brighter spots are revealed beneath.
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acrylic 20 x 16" I started reading books at age of four. I still love books, especially old books, they remember our ancestors and they will remember us. If you love them, they survive for hundreds and even thousands of years and dont require permanent upgrade.
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ceramic 12 x 12 x 9" The family unit is a medium between personal and social realms. Family is a medium where individual growth occurs in conjunction with interrelationships. It is a space of safety, acceptance, and extreme challenges to harmonize with one another. It is a golden middle between the eternal and the daily. A spirit of protection mediates a family. There are also daemons in the same media, to confuse, and misguide family members, to test their loyalty and their love. Finding a golden ratio among all family members while negotiating individual integrity is a happy medium. In the English language, the word medium has about 7 meanings, all of which can be seen as relevant to the concept of Family.
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watercolor pencil on 140 lb arches paper 28 x 23" This drawing, "The Hummingbird", is from a series of works inspired by my granddaughter who is brain damaged, handicapped and visually impaired. The series is called "Beauty in a Broken World". Oriana, my model and my muse, teaches me to be happy, joyous and free and how to live life on life's terms. The hummingbird's delicate grace reminds us that life is rich, beauty is everywhere, every personal connection has meaning, and that laughter is life's sweetest creations. My work has always been an expression of my core self. Whatever is happening in my life expresses itself in my work. The drawing is from a series titled "Beauty in a Broken World", which was/is inspired by my granddaughter Oriana, my model and my muse, who teaches me to live life on life's terms and be grateful, happy, joyous and free. The hummingbird's delicate grace reminds us that life is rich, beauty is everywhere, every personal connection has meaning, even in the midst of adversity.
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acrylic on canvas 17 x 21" I like painting fish. I have always enjoyed painting fish in a still life. Done from life, I arranged the objects in the painting for their contrasting colors and shapes.
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watercolor with ink and collage 12 x 16 x 1" My intent is to make visual my inner world of feelings and dreams. The creatures that inhabit this world appear during the process of creation and are not planned but embellished later. I am inspired by artists such as Klee and Kandinsky, Outsider art, and children's drawings. I am especially drawn to the element of whimsy and the directness I see in the work of these influences.
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watercolor 21 x 28 x 1" I am inspired by the mystery, magic and beauty of Mother Nature. Watermedia allows me to explore and interpret this theme intuitively. Layered with patterns and symbols, metaphor and archetypes, I unite often disparate worlds into new relationships-compositions and artworks that reveal the interconnectedness of nature, life spirit and time.
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acrylic paint 24.25 x 30 x 1.5" Some things so pure will never be destroyed, no matter how vulnerable they may seem. They persist, they learn, they grow and thrive. We can grow with them.
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thread, rice paper, maps: McNally's System of Geography, 1868 16 x 20 x 3" In Wanderlust I, maps from geography books published in 1868 are cut and recombined. The carefully charted topographies, geographies, boundaries and coordinates are physically sliced, sewn, woven and layered - ultimately transformed and inviting new explorations. Layering the paper intuitively, responding to the existing cartographic renderings, allows for new territories to form. A unique perspective of mapping the world is depicted utilizing the antique materials. In the geography books from the 1800's the observations of the world provides a record of our long held fascination and curiosity for lands beyond. That drive to search for understanding continues to capture our imaginations.
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painted collage 8 x 10" The world feels like a labyrinth . . . and I feel like Alice!
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screen-printed 20 x 20" After five years of persistent statewide drought, rampant wildfires seemed to consume much of the formerly spectacular California landscape. Shortly thereafter the rains came, and formerly barren areas could not absorb the water. Such a paradox… too little water, too much water, in just three months’ time. Climate change is real.
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watercolor 30 x 37" I wanted to show the various people and poses one encounters at the beach, as well as the perspective of distance in terms of the size if the people.
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pastel, ink, acrylic on paper 14.5 x 13.5 x 1" I wonder what it means to make art at a time when it seems we humans are not up to maintaining the health of our beautiful planet and its creatures. What I know is that for me, making art is like being a Therapist, and is like living life. Everything has a way of falling apart and then gathering together, making form out of the unformulated, continually layering and digging beneath the layers. The complexities of abstraction, color, line, and texture are the tools I employ in my passionate reach for exploration of the not yet imagined.
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acrylic & mica on canvas 30 x 24" My current work is about the collective unconscious, the evolution of language and the urge to write. Over time I have invented a symbolic language that borrows from ancient symbols but represents no language system but my own, hybrid, created one, that continues to evolve with each new piece I make. The work is meant to be read as language that has no signified meaning other than the viewers interpretation.
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yarn, excavated doll shards, black porcelain paint 30 x 28" On this hand knitted tapestry representing childhood and innocence is the tragic theme of brokenness and loss. Gun violence is the leading cause of childhood death. For every hundred thousand children, five are lost to gun violence as recorded by the CDC. As a therapist, I’ve seen their pain, fear, and the silent screams for help. In my art I seek to make their voices heard. I created Our Lost Children from raw wool, excavated doll shards, paint and tears, hoping all who see it will act to keep our children safe and break the cycle of childhood deaths by gun violence.
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welded steel scraps 30 x 12 x 12" This figure is the first in a series of ten that I started in 2021. I am concerned about families in flight - cloaked in dignity and hope under impossible conditions. Garments in tatters are implied by steel scraps, long legs bowed head indicate a will to continue. I believe art may give the viewer a chance to pause and consider stories in the world that are difficult, that it helps us see through the cracks of the world we live in, and instills empathy.
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onyx 10 x 16 x 15" The Invasive is a sculpture, in onyx, based on a two inch black seed of an invasive plant in the Hudson River. The sculptural forms of the seed are amazing and look a little like a devil"s head. Hence the nickname.
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watercolor, ink on paper 30 x 24" The painting depicts love and passion, often portrayed through the intimate interaction of the men and women in the piece. Using lines combined with watercolor and ink adds a sense of movement, life, and vitality to the figures as if they are in a passionate embrace. The composition suggests that the images are not only passionate lovers but also close friends, their connection goes beyond physical, and it is a deep and meaningful bond. Abstract elements add depth and complexity to the composition. The lines create a sense of life and energy, while the red adds emotion and intensity. I use abstract elements to create a sense of emotion and to convey a deeper meaning beyond the symbolic image
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recycled paper 19 x 9 x 9" I am inspired by organic shapes found in nature, and the structures I create are made with organic materials, paper & wood, they more or less dictate the shapes I decide to build around, which in turn become organic looking. I create coral pieces because I was always drawn to the ocean and loved snorkeling. Neither the use of paper, nor the love of nature and the ocean are unique in any way, I am but one artist in a million inspired by nature, I have a bit less competition with the material chosen; paper. What sets me apart in my work is my ability to manipulate it in the way I do.
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oil 18 x 24 x .5" Entanglements is a plein air painting of cypress trees on the rocky cliffs overlooking the blustering sea at Pescadero Point in Pebble Beach, California. The trees are entwined with one another as if in a comforting embrace, shaped by the wind coming off the water. It is late afternoon and the sun is slowly setting, shining a soft, warm light, casting shadows on the land and reflections on the sea.
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oil 30 x 30 x 1.5" My collection of paintings entitled, Where The Lemon Trees Bloom are imagined landscapes with an emphasis on the concept that the contour of the land is timeless, the vision eternal. I use the landscape to highlight color-filled shapes, depth and texture.
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ceramics and acrylic paint 15.5 x 10 x 11.5" The sculpture "Untitled (Head), is a work in clay, painted in layers of acrylic and gesso. It depicts an African American man, in state of suffering from racial abuse. It was inspired by a friend of mine, a guitar player, who came to practice one evening and told the band of the prejudice he endures on a daily basis in his workplace...
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clay 2 x 3 x 5" How can someone shoot a child? This is a young boy shielding a little girl in her classroom. I envision these two huddling next to a wall displaying preschool art, by an overturned desk, and away from a door. As much as he tries to protect her, he cannot. Wearing her favorite dress and he, his favorite hat and hoodie, their day began as any other. Unlike my other work, sculpting this was an emotional challenge that brought tears to my eyes until I had to stop. How do we make it stop?
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acrylic on cradled wood panel 30 x 30 x 2.5" The descriptive and passionately written poem, "The Sea", by Ralph Waldo Emerson, was my inspiration for this painting. I strived to create a visual image that is as sweeping as his words! I chose to paint on natural wood and kept the sides of my painting natural, to coordinate with the organic subject matter. An integrate part of this piece is my calligraphy on all 4 sides of Emerson's words in brushstrokes of paint., harmonious with my impressionistic scene's colors, brushstrokes and mark making.
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oil on paper 30 x 24" I love Central Park. I've come to know it rather intimately during the last three "Covid" years. I wanted to try and capture the feeling of a fleeting season in my painting. I used simplicity and abbreviated line and color to evoke the scene. The duck happily paddling along was the icing on the cake. I have painted similar scenes at this spot in spring and winter. No matter what else happens, it's a comfort to know it all will return again the following year.
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acrylic 24 x 24 x 1.5" "I Wanna Scream" for those who cannot. For the women whose right to speak up for themselves is constantly suppressed. For the journalists who cannot speak about a government's corruptions and/or atrocities without threat of imprisonment or physical retaliation against those they love. For the physically and emotionally abused who cannot cry for help for fear of what might happen to them. For the doctors who are threatened by their own government if they administer the care that their female patients so desperately seek. Art has always been an echo of the artist's world and of his time. And our present world has too many voices being muted. Too much silence when we need to scream!
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acrylic on canvas 19 x 25 x 1" The urban landscape of New York is my primary subject matter. I have always been fascinated by how socio-economic forces have transformed neighborhoods over the decades, but I try to capture a sense of permanence amidst the flux. The Limelight is a Chelsea landmark, and as such it is a symbol of permanence, but it also encapsulates the ever-changing demographics of the city: In the mid-nineteenth century, the building was an Episcopalian church; in the 1960's, it was deconsecrated and transformed into a rehab facility; then in the eighties, it was turned into a nightclub. More recently, the building has housed a mall and a gym.
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mixed media 20 x 16 x 1.5"
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digital painting 14 x 28 x 1" I have always loved creating landscapes, and whether I am painting with actual paint or with my computer, I quickly and happily become lost in the process. Also, always evident with either method is my intense love of color. Catskill Morning is born of my memories of family journeys through the beautiful Catskill mountains when I was a child.
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bronze 6 x 8 x 6" In 2017 a man opened fire upon a crowd that were attending an outdoor concert in Las Vegas, Nevada. The people ran to escape but were caged in by the barriers that were installed to prevent non paying customers from entrance - they were basically sardines in a can, unable to escape the onslaught of gun fire. "Child Proof? was created with the Las Vegas shooting in mind; although not carried out by a child our country has since experienced far too many gun killings.... and now even by children.
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acrylic, latex, graphite on art board 16 x 20 x .5" I moved from California just three years ago, largely due to wildfires, and found myself in a quiet rural New England town. Objects and photographs from years ago when I lived on the East Coast, that had been stored away for many years, when rediscovered, triggered an avalanche of memories and emotions. This piece is one of many that I refer to as Envisioning Emotional Connections Between Objects, Time, Memory and Experience.
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photography 22 x 18 x 1" This photo brought home to me the importance of timing. While sitting outdoors near Madison Square, I glanced up to spot the MetLife Building casting a perfect shadow of itself on a nearby office building. Minutes earlier, or later, the sun would have shifted and the shadow would have changed. An unexpected find captured at that perfect moment!
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oil on canvas 22 x 28" When I first saw Hudson Valley's landscape, I was stunned. It was picturesque, friendly, and colorful! It had incredible richness of nature - wild flowers in fields, abundance of trees and bushes, green grass around houses... Nature in Hudson Valley is so powerful that it could easily overcome human-made structures. But at the same time, nature and people their live in harmony with each other., and human habitats in Hudson Valley look so different in compare to disturbing life in big American cities. All that make this area unique and magical. In my painting I tried to express this harmony and promising way of living.
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oil on panel 7 x 7 x 2" Books, as well as objects, tell a story and have a history. This painting celebrates the typewriter with a nod toward the nostalgia for things in the past we still hold dear. Virginia Woolf said, “Happiness is in the quiet, ordinary things.” I hope this work reflects that sentiment.
SOLD
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watermedia 23 x 30" My paintings use symbols reflecting my personal experiences and Hispanic heritage. Paintings are started with a line drawing of sub-conscience images developed as I meditate. The earthy primal colors echo primitive emotions evoked by ancient art and rituals.
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terracotta 7 x 18 x 9" I’ve been working in water based clay which gets fired in a kiln, rather than plastilina on a metal armature which requires a mold, casting and patination to produce a finished piece. I love the color of the natural clay, and although it requires hollowing to avoid air bubbles which can explode in the kiln and destroy everything. The work produced is able to be offered at considerably lower price points. This piece was inspired by the model’s musculature, bulked up by recent physical training, and a joke about his male anatomy. He got “another sword” which then required a protective shield! The piece is named for the play by George Bernard Shaw, and the opening words of Virgil’s Aeneid.
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oil on panel 14.25 x 14.25 x .75" I love to paint little vignettes of everyday life. I have a bookshelf in my home studio that has my art books and little items that I love. One day as I was walking by it caught my eye and I took a some photos. This is one of 2 paintings that I have done of my book shelf. They feature "cameos" of favorite artists.
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photograph 18 x 24 x 2" I'm an artist-photographer interested in people in places. Some interact and some are alone in a crowd. The Metropolitan Rooftop is a beautiful environment to watch people in a setting that is unfamiliar but provides a space to be who they are.
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digital archival photograph sublimated to aluminum 16 x 24 x 1" Tibet first captured my imagination many years ago when I was in art school. I was finally able to make the journey to Tibet on a photographic odyssey as part of a life celebration for my 50th birthday. Even though there are very few elements in this picture, I see a complex emotional range. It is a fleeting moment that somehow has permanence and an endurance, even in a religion based on impermanence. The scene that is about to unfold might be almost exactly as it would have been six hundred years ago. But will it be the same six hundred years from now? The folded robes are silent. They contain both presence and absence. The answer is unknown.
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silverpoint drawing on an illustration board prepared with a tinted blue ground 8 x 8"
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archival pigment print 22 x 28" It's a joy for me to see children so freely engaged with the magic of bubbles. This image reminds me to take hold of that feeling of wonder however expressed and share it my way.
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oil on wood panel 30 x 24 x 1" Part of a series that focus on the way reflections of the landscape on water look like calligraphy- like another language. I am trying to both represent and share that language, deleting most of the information about the land and vegetation that makes up the reflection, which results in an abstracted presentation.
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acrylic, oil, glass 12 x 12 x 2" My work is experimental. I used the left overs in my studio such as dried acrylic skins, seed beads, and a remnant of a bespoke glass piece gone wrong. I threw done the initial paint and let it dry. I stayed in a state of being open as I layered the skins, seed beads and glass pieces on the board. I added more paint and then finished the pieces using fat oil sticks in white or black.
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glazed terracotta 15 x 11 x 9" Faith that nature will always rebound after devastation is my inspiration. In the throes of current natural phenoma: fires along the West Coast and miles of forest destroyed, floods, landslides, late season snowstorms paralyzing the Midwest, tornadoes... but with the conviction that all the negative is surely cyclical, I pursue my art -- aware, and hopeful that although the work may document the times I can convey the spirit of hope that golden days await ahead ---
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digital archive photograph 20 x 16 x 1" From my observation point, the staircase seemed to have a feminine, curvaceous presence. The interplay of the lines, shapes and twists was fascinating. It's not a subject that I usually photograph but the perspective was unique and appealing. The colors were muted in an almost dreamlike way, giving the whole scene a surreal feeling.
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oil on canvas 30 x 29 x 1.5" Whale Watching is an oil painting on canvas and was inspired by a trip across the Pacific in a small ship. For thirteen days there was nothing but blue! It was marvelous and inspired a series of all blue paintings. The somewhat monochromatic palette is bright and bold ultramarine blue in all shades, light to dark, with some turquoise and white as well. Lots of movement and depth have been created by layers of paint and bold brushwork. Packs a punch for its size.
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fused glass 14 x 14" Glass is a very technical medium and my journey has been to learn different glass kiln-forming techniques to intertwine them together. My intention with new glass artwork is to start using glass sheets, crushed glass, glass stringers, glass powders and enamels to create images that go beyond the definition of fused glass (kiln-forming glass). Combining my artistic ability of drawing/painting to the glass elements allows the glass to appear as if I am painting with glass and giving it a magical flow.
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wood-fired stoneware 16 x 16" What lies beneath surfaces? In this work, The Hidden Thorn, viewers are confronted with the possibility of something hidden within the gentle folds of this sensuous sculpture. Is it dangerous?
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ink on paper 16 x 16" This drawing explores the feelings and process of mourning. This is part of a continuing series as I explore my feelings around loss.
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cut canvas, acrylic, collage mounted on panel 29 x 17 x 2" My Off the Wall series are experimental, dimensional, sculptural works that hang on the wall. These pieces reflect my aim to breakaway from traditional 2D canvas and paper surfaces. I like to "destroy" or "violate" these traditional surfaces in order to discover new working platforms that stimulate my way of seeing and interacting with each unexpected outcome.
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watercolor 25 x 20" The Library Lion in front of the 42nd street Library is cherished New York Icon. I have admired it since I was a little girl and could not wait to paint the image.
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photography 14 x 11" In my art work, I capture the simple beauty in the natural environment, providing moments of serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. After several overcast days on Amelia Island, the sun finally burst out for a beautiful sunset. I then rushed out to capture this particular image in the enchanting light about a half hour before sunset. I printed the image using the platinum/palladium printing process to capture a softer, painterly effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the image.
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watercolor, pencil 15 x 18"
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watercolor 13 x 17 x 1" During the Pandemic, I spent quite some time sketching my houseplants! I then abstracted the forms to achieve this painting. I like to use watercolor in a non-traditional sense-emphasizing the use of color.
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oil on canvas 30 x 24 x 1.5" My current interest is in the expression of emotional reactions to my environment -- the context of my experience of events or ideas. My vision of the world is pared down to its essence and the abstractions that emerge in this series inform my own understanding of the way in which I encounter the world. My personal milieu and my engagement within it form an organizing framework for explorations of evocative anecdotes – suggestions of being in a particular place and in a particular state of mind.
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oil on garments mounted to board 20 x 16 x 2" I create canvases of deconstructed garments that I enrich with paint application. My works regard the dressing table in metaphor reflecting qualities of the feminine, aspects of womanhood, and identity. This piece is from a series of vignettes about the depth of emotions a female may experience reflecting in the mirror; thoughts she may have about life. Addressing the vanity as a place where one creates one-self; a study of women’s practices acts as an investigation into self and personality. Often appearing as stage-sets, vanities become theatrical platforms to speak to the evolution of femininity and the way we tear ourselves to live within what is socially accepted as feminine.
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watercolor 18 x 25 x 1" "Watercolor Works" explore the relationship between nature and the built environment. Watercolor has been a favorite medium of Architects, prior to the advent of photography, and now as a means of recording the topology of places [i.e., the topographic study of a given place, especially the history of a region]. As an Architect and Urban Designer, Mary Elizabeth Rusz continues in this tradition, Her paintings explore the “genius loci” – the essential quality or special nature of each selected place. Ms. Rusz is a Fellow of the American Institute of Architects, a Resident Artist of the Salmagundi Club of New York, and a NAWA Signature Member since 2012.
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acrylic on canvas 9 x 11 x .5" This is one of a series of small paintings exploring the light and impact of Sunshine and Moonbeams in the South Florida Everglades, particularly in the Fakahatchee State Preserve. Each scene is abstracted, and a similar palette was used to give unity to the series with the goal of having each painting able to stand on its own.
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bronze with patina 17 x 22 x 20" Traces of our human existence is reflected in the shadows.
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oil on canvas with metal weights and angle bars 24 x 14 x 2.5" The figure walks with purpose through the storminess of life knowing that she is stronger for it. The gold and blue colors speak to a better day. Metal wires and weights wrap her environment in a manmade structure that reflects burdens and barriers by which her spirit will not be held captive.
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oil on linen 30 x 30" In the work titled 'Chapter One' a young child faces a group of animals. As I painted the colors became brighter and the subject matter representational rather than exacting. In the end I saw this to be a bit of an autobiographical piece as most of my work is. However, the narrative is open to interpretation.
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mixed 17 x 14" My Aunt May loved butterflies and asked me to create a collage for her with butterflies. When I finished this piece she inspired I could not part with it. I created another collage for her, which she cherished. I kept this one. My aunt passed away a number of years ago and in her memory I would like to share this collage with you and, I hope, have it find a new and welcome home.
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plexiglass/wood 12 x 12 x 2" Color and reflected light have long been my areas of interest. Creating abstract sculpture using Plexiglas offers a significant ability to produce work with unique colors. Each sculpture alters when viewed from different vantage points. My work explores the abstract interaction of individual colors overlapped or set next to each other to produce a variety of tones and hues. The composite of all the individual components creates a distinctive visual statement. The sculptures are sensitive and meditative. They celebratory and joyful.
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pastel/stonehenge paper 22 x 28" The sky is ever changing and because I spend a multitude of time at the edge of the Atlantic Ocean I am constantly inspired by the variations even from moment to moment. While, Red Sky, may seem an exaggeration, in reality it was a particularly magnificent and pervasive sunset that saturated not only the sky but everything under it, including the ocean with a deep red glow. A truly mystical moment.
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