To My Favorite G.I. collage, acrylic, charcoal on panel 24 x 24 During World War II, my father wrote more than 500 letters to my mother while fighting in the Pacific Theater. Two works from my Between the Lines series—"To My Favorite G.I." and "Left Behind"—focus on the women and girls whose lives unfolded in the shadow of those letters and events. "To My Favorite G.I." incorporates original correspondence and photographs my mother received from overseas. Her image became a lifeline—proof that love, beauty, and constancy still existed amid chaos. On the back of one small photograph she wrote, “To my favorite G.I.” The term “G.I.” was not anonymous to her; it was intimate. A coded declaration of belonging, resilience, and hope. This work honors the countless young women who stayed behind to wait, work, worry, and believe. "Left Behind" turns to the quieter, often overlooked experience of children shaped by war. Lorraine stands suspended between innocence and fear, forced into emotional adulthood by absence. Her story reflects generations of young girls whose lives were irrevocably altered by conflicts they did not choose. Together, these paintings bear witness to longing, faith, and endurance carried by the women and girls who held families, memories, and futures together while history unfolded around them. In creating these works, I sought to capture what could not always be spoken—the quiet strength, unresolved longing, and inner faith that sustained those at home. Through layered imagery, fragmented text, and partial concealment, the paintings mirror how memory, love, and absence coexist, shaping lives long after the war has ended. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

The Falconi Twins (Second Violin, Principal Viola) photo and pigmented beeswax combines on Kozo and wood panel 36 x 24 I create visual biographies honoring communities whose narratives have been marginalized, erased, or never recorded. "The Falconi Twins" portrays the resilience of two women from my childhood town who defied societal expectations in the 1970s. These women lived together, posed as twin sisters, and dressed identically to evade the scrutiny of the conservative community. In truth, they were a gay couple seeking refuge in a world that struggled to accept them for who they truly were. This portrait is a fusion of orphaned vintage photographs, my photographs, abstract drawings, and antique ephemera in subtle layers of pigmented beeswax on Kozo. I replicated a solitary figure to create a twin, etched intricate patterns and sgraffito onto the platform, balustrade, and figures to weave a narrative of secrets and shared experiences that remain unreadable to outsiders. This is a portrait of the power of love, resilience, and enduring bonds. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

Stiff acrylic monoprint on paper 12 x 9 From a series of prints exploring the condition of our physical bodies, women’s physical selves, and what they mean to our lives. Moving through life means continually adjusting to changes in our children’s bodies, ourselves, and the aging bodies of our parents. The range of emotions evoked from all of these phases run the gamut, and speak to who we are, both to ourselves and to others. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

False Guarded charcoal on birch Panel 30 x 20 False Guarded is part of a broader series examining generational trauma and the ways inherited pain can shape the emotional lives of women. The work focuses on a survival response born from repeated hurt: the decision to abandon vulnerability in favor of protection. What begins as a necessary coping mechanism gradually becomes a defining structure, allowing fear to dictate the terms of one’s life. The figure is held in a defensive posture, one arm raised and rigid, slowly transforming into a tree-like form. This stance reflects emotional petrification—the point at which self-guarding hardens into permanence. Shelf fungi grow along the raised arm, referencing their tendency to thrive on trees that appear healthy but are hollowing on the inside. The imagery becomes a metaphor for carrying pain quietly, maintaining strength and functionality while emotional pain remains unseen. The opposite arm lowers, exposing an open wrist to a snake winding upward along the body. The snake symbolizes fear, persistent, intimate, and increasingly influential when left unchallenged. Rather than confronting or releasing it, the figure allows it space, illustrating how fear can become familiar and inviting. Rendered in charcoal on wood, the work emphasizes time, resistance, and accumulation. The medium resists erasure, mirroring the emotional labor of women who survive by becoming immovable, rooted in endurance, shaped by inherited trauma, and suspended between protection and the possibility of transformation. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

Linnea oil on Wood Panel 4 x 4 Portraits are immeasurably fascinating to me for their breadth of expression. They can articulate an expansive language of mood and atmosphere. They can convey intent, brashness or delicacy, anxiety or hesitation. A viewer can vicariously venture into the realm of a face to invent a story about a person. I wanted to make these portraits in a miniature scale, so to bring a viewer close in proximity to the individual moods of each woman. They are intimate in scale yet vigorously alive with thick paint. Each portrait is 4" X 4", oil on wood panel. Painted with tiny brushes, my portraits of these women nevertheless remain hugely present. They reflect an unshakable vitality immersed in atmospheric spaces. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

She Spoke Up XXIII, Ayanna Elizabeth Johnson charcoal on arches paper 22.5 x 30 The ‘She Spoke Up’ series began as a reaction to the destructive and inflamed political and social climates. With the cascading revelations of the Me Too movement, centennial anniversary of the adoption of the 19th Amendment, surreal landscape of the Covid pandemic unfolding, and the incessant assault on democracy by our elected politicians, I chose to elevate the work and words of women who have spoken truth to power, pursued freedom and equity, and transformed the broader world. Collectively the series stands as a response to so much misogyny, ill intent, sexism and obstruction. Parrot fish, symbolizing adaptability, possibility and freedom, are potent symbols of creative potential, and the world’s intricacies and healing mechanisms. I integrated specific bird and natural imagery into each work in the series, finding their symbolism often uncannily mirrored the characteristics of each woman. The series reflects on the struggles and inequities of the past, underscores the fundamental challenges that still exist, highlights the transformative achievements of intelligent, courageous women, and suggests possible tomorrows. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

When My Daughters Were Mermaids-Frolicking woodblock print, ink on rice paper 16 x 16 "When My Daughters Were Mermaids" series is about the fraught, complicated relationships between mothers and daughters. "Frolicking" is about my daughters coming into their own personhood. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

Woven in Sunshine acrylic on canvas 24 x 18 I am a NYer who has lived in the greater Charleston, SC area for almost eight years. While living here, I have come to know and be inspired by the living history and culture of the Gullah Geechee people and their extraordinary skills in sweetgrass basketweaving, a skill brought from Africa and highly valued and collected to this day. I wanted to honor their joy in the process and the art they share with us. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

golden glow oil on canvas 24 x 18 Golden Glow was created with a stunning model. Her exceptionally long neck and elegant facial features against the golden background create a dramatic scene reminiscent of an Egyptian goddess. Through my color choices and her upright posture, I aimed to capture her strong personality and commanding presence. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

Summer In The City, 1944 collage and mixed media on panel 14 x 14 My aunt, Aspasia, born in Albania, came to America in 1933 with my then ten-year-old father, his sister and his older brother. She married into my father's large family was loved and respected by us all. She is seen here, in her younger years, taking her infant daughter out for a walk in NYC. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.    

Sima oil on Wood Panel 4 x 4 Portraits are immeasurably fascinating to me for their breadth of expression. They can articulate an expansive language of mood and atmosphere. They can convey intent, brashness or delicacy, anxiety or hesitation. A viewer can vicariously venture into the realm of a face to invent a story about a person. I wanted to make these portraits in a miniature scale, so to bring a viewer close in proximity to the individual moods of each woman. They are intimate in scale yet vigorously alive with thick paint. Each portrait is 4" X 4", oil on wood panel. Painted with tiny brushes, the portraits of these women nevertheless remain hugely present. They reflect an unshakable vitality immersed in atmospheric spaces. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.