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colored pencil on illustration board 33 x 24" "New Beginnings," was completed using Prismacolor, Polychromos and Holbein colored pencils on Strathmore 500 series cold pressed illustration board, using my own photo references, imagination and actual live Luna moths that my son and I raised and studied. This piece used 600 hours of layering pencils with no solvents; all hand drawn.
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mixed media on stitched textile 40 x 35" As a visual learner, I see art in everything. My morning walks are consumed with taking smartphone photos of shapes, textures, patterns; many of which have inspired my textiles. Additionally collaged images are posted to my social media. Often others respond that these images cause them to look more closely at their surroundings as they move about in their daily lives. Whether pattern, shape, movement or color, the natural world provides endless inspiration.
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pastel on mounted UArt board 20 x 25.5 x 2" The ice formations on Mendenhall Glacier in Alaska were awe inspiring. The various values in colors and the intensities of the ice and water when the came crashing together was something that had to be captured as a painting. This abstract version I believe captures the visual image.
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oil on panel 18 x 18" This painting is a plein air painting done on location. Cottage Garden, was painted in my father's garden in Alameda, California and won the Island Award of Merit during the Frank Bette Plein Air. My father's garden holds a sense of childhood fascination and magic for me. He is the gardener and he enjoys nurturing the plants and watching them grow. The place is filled with the wildness of the plants, the beauty of their blooms and the greens of their leaves.
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oil on canvas 40 x 30" Summer 2022, I spent time in Roussillon, France. Roussillon has been the major source of ochre pigment for thousands of years. I walked the ochre quarry paths and filled a sketchbook with drawings. These colorful paintings reflect the excitement I felt.
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mixed media on canvas 36 x 46" Karlene explores memories and perceptions of the natural world through her colorful, gestural paintings. She uses shapes and lines to mimic organic forms found in nature, playing with positive and negative space and layers of paint to build up a sense of atmosphere on a flat plane. Her work is also fueled by bursts of color. While not true to life, her palette creates a conversation between cool and warm tones and serves to energize her compositions. “McConnell uses her experiences of the real world to recreate the joy, excitement and even the magic of a walk in the woods. When she is “in the zone” she is exploring the interaction of vibrant colors or making simple marks that mimic nature and are pleasing to look at. Harking back to Matisse, we hear a similar theme: Composition is the art of arranging in a decorative manner the diverse elements at the painter’s command to express his feelings. This is about as close to a manifesto that we can imagine for the wild beasts (Les Fauves never wrote one) and it applies to McConnell as well. This kind of painter makes no effort to desaturate or blend but allows pure color, even discordant ones, to ring out at a maximum intensity.” - Dr. James Murphy - original Art Director Atlantic Center for the Arts & former Art Professor Florida State University.
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acrylic, oil pastel, graphite on canvas 35 x 36 x 2" It is the space between things that I find fascinating; the space between thoughts, between moments, between physical things. I have read that we are mostly the space between the atoms that make up our physical beings.; not solid at all, it turns out, but primarily the gap, the void, the opening between the atoms. I ask myself what lies in that space? Is this where we find spirit? or consciousness? I believe it is in the space between what we see that Life actually exists and that is where the focus of my art lies.
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acrylic & latex on canvas 30 x 40 x 2" After living in Los Angeles for years, I moved to Northern California. The pristine beauty inspired me to paint the landscape - motivated in part by the fear that I would wake up one day and it would all be gone! The Wildfires of 2017 were traumatic, we (my husband and I) experienced three on our land that year. Lower Ridge and Cow Mountain Under Smoke were both painted during the 2020 fire season, I felt as if I had to bear witness to this vanishing landscape. Later that year, largely due to the sudden death of my youngest sibling and ensuing California wildfires, we chose to sell our 195 acre place and move back to the East Coast to be near family. In my quiet rural town we are creating a new life and farm. I am still witnessing and interpreting the landscape. October Garden is about the excitement of connecting to and observing my new environment.
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ink on paper 10 x 8" I’m interested in notions of landscape that focus on shallow water systems in both natural and man-made environments. This work combines representational and abstract approaches for a dialogue that addresses structural complexity and metaphor and which celebrates the intuitive response across painting, sculpture, drawing and print media. The monoprint/monotype process that I explored in early 2023 became a way to expand my drawing practice and still convey a natural water system where familiar color, structure, and perspective are replaced and re-ordered.
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oil on panel 16 x 16 x 1.5" "Soliloquy" is the 5th in a series of 16" square paintings using the coastal Pacific province of Guanacaste as its setting. Mounded isles covered in hairy, gnarly trees dot the coastline. The sky is loosely based on a photograph I took sailing into the sunset. I often reference birds in my work, and in this piece I painted flying flamingos. The flamboyance of the flamingos is echoed in the costume of the figure in the foreground. The patterns and history of harlequin costumes suit my tattooed model and this exotic landscape to a "T".
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acrylic, collage on canvas 24 x 24 x 2" My Portals are acrylic, mixed media on canvas. They represent openings to opportunities, the unknown, which seem promising, beautiful, enticing. Like Native American "dream catcher," portals offer a landscape of positive energies surrounded by edges that can snag and encumber the viewer as they reach for the magic in the center. Portals reflect opportunities for a quiet, meditative, and peaceful space encumbered by unknown obstacles, dangers, and barriers. One must focus on the safety and quietness in the portal's center, while also navigating the broken, seen and unseen impediments that may interfere with the journey forward.
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platinum/palladium photograph 11 x 14" In my art work, I capture the simple beauty in everyday life, the commonplace or ordinary scenes in the natural environment. These images offer us rare moments of solitude, time to slow down and observe the world around us, and to enjoy quiet beauty and serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. In these images, I combined infrared film negatives with the platinum/palladium printing process to capture a softer, mystical effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the images.
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watercolor 17 x 22 x 1" I try to use watercolor, to paint abstractions. Landscape is perfect for this: there are so many shapes and colors from which to choose.
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acrylic on canvas 24 x 36 x 1.5" In "Territory Unknown", I use abstraction to convey the notion and emotion of displacement. Given the pandemic, political acrimony and the ever-present refugee and immigrant experience, we can all relate to the sense of feeling displaced. This painting attempts to capture and evoke such feelings.
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mixed media on linen 36 x 36 x 1" My painting series is inspired by the elements of Earth and beyond and its organic depth of color. I see inspiration in landforms from above, water’s transparency and movement, rocks and minerals and their multiple layers of colors. Many of the materials used in painting are derived from elements of the earth and I use these elements to build something abstract and yet symbolic of what our planet is made of. Circles also have a symbolic meaning of infinity, balance, returning cycles, and the cosmos. I am creating a story of our planet but most importantly a dialogue about climate change and what is infinite or finite.
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oil & cold wax on canvas 18 x 24" My goal is to capture unique landscapes and bring the viewer into the place I have visited. In both paintings I worked to capture the feeling of cold and vastness; and how the animals find resolve in harsh the environments.
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acrylic on canvas 36 x 36 x 2" The 36 x 36-inch panels are part of a series that begin with fall and winter, and as the images progress, a pregnant female form emerges from her leafy environment, and ends with new life being nurtured in summer. They speak to the intimacy of our relationship with nature, and perhaps a larger cosmic vision of the wisdom of embracing the feminine energy that birthed us all.
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pastel on paper 11 x 11" I love capturing the essence of life with my art. Using distinctive coloring technique and imaginative approach, I depict the subtle lights, reflections and hidden hues on the subjects. The subjects are either close to my heart, telling a story, or from a memorable moment. Storm tree is based on my travels to the Irish countryside. I saw this tree wrapped by another. The tree branches are completely intertwined and formed this dreamlike shape, almost look like they are moving in a storm.
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acrylic on wood 24 x 20 x 1.5" This painting was begun experimentally by dripping paint, which I then slashed through. I had the idea of making some sort of dense floral, decorative abstraction, but it evolved into the painting of a hedge. Adding the doorway transformed it from a landscape into a mindscape, as we are invited to explore unseen depths.
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watercolor and ink on paper 12 x 12" I dream of landscapes, lush and tropical, or watery and luminescent. My dreams insert themselves into my paintings whether I plan this or not. My process involves many layers of transparent and opaque color to create a vibrant painting. My images often include imagined planets, blue suns, red palm trees, and purple waters.
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acrylic, oil, wax, metal leaf on cradled wood panel 24 x 24 x 1.5" In my work I tend to pare down visual impressions, which is a refinement my senses enjoy. The result is abstraction. Elements of landscape are usually the springboard -- and spaciousness is where I play. Lively pockets of activity speak to the viewer within layers of painted history, much of it rich with life and possibility. And there is always the 'space' which remains, somehow present, comfortable and embracing. The mindful awareness of Space is the stage upon which all else lives and moves -- vast, recognizable, within the reach of our imaginations, but just beyond what we can fully grasp. I am energized by this notion and by inner landscapes -- the places I visit when I close my eyes.
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gold painted marble heads on wood stand 7 x 18 x 12" Two lines of thought influence my work: The prehistoric Neolithic Period and Buddhist figures. I used leftover stone and reclaimed wood to create both landscapes. Gold paint is the latest addition to my work. One landscape tells the story of Venus of Willendorf, whom I imagine being a female direct carver standing tall among her self-made stone sculptures. In the other piece, I created the burial ground of four parts that make up a whole: the self, the person, the living soul, and the being reunited in their resting place. The four selves are a recurrent theme in my work.
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oil on paper 22 x 30" This painting reflects my long love of mountains. I lived for years in Geneva, skied and hiked in the Alps and the Jura. From the Green Mountains and White Mountains of New England to the Tetons of Wyoming, I retain vivid memories. In my imagination these impressions are transformed, reworked with many techniques, and imbued with emotions. Mountains represent many sentiments.
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acrylic on canvas with mixed media 32 x 12 x 2" Mabel Dodge Luhan was an American patron of the arts who was associated with the Taos art colony. After her marriage to Native Tony Luhan in 1923 she purchased Kiowa Ranch near the Lobo Mts. The couple hosted influential artists and poets in New Mexico, where she experienced a spiritual awakening.
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cut & painted paper, wire, tissue paper on canvs 24 x 18 x 1.5" One of three different works, but all collage paintings, that are puzzles of design construction done layer by layer. I cut and paint each piece of the puzzle then assemble it then glue onto canvas or masonite. When I am doing each piece I do not know where it will take me. This piece is part of an on going series of works. I have selected one work from each of my series: Evil Eye Protection & #13 -Tissue paper, recycled fruit crates, wire, paint on canvas.
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sculpture installation 48 x 84 x 72" I create staged environments defined by human presence. I sculpt fibers to extremes with textures, scale and forced perspective. I challenge the audience enter my world of illusions, entertaining contemporary issues and calling for consciousness.
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acrylic on canvas board 18 x 24" It started in 2013 as a mountain landscape, and it never felt exciting or finished until this year when I realized what image was hidden in it. I traveled in the Himalayas for the first time in 2008 and realized right away that any photos taken of them are just facades. The energy there was palpable, transformative; it was in everything and everyone, crystal, intense. Charged place. Trees, hills were engaged with each other and humans intensely. I am sure we all feel that when we are spending time in nature, but this intensity was very new. It was as if all colors became more vibrant, all emotions (especially bliss) became strong. Nothing ever returned to the feelings I had before the trip, which I know perceived as a bit muted experience. Meeting Gods changes you.
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serigraph (silkscreen) 10 x 8" Landscape series is composed of two serigraphs that deal with private and public worlds. Inner Landscape demonstrates how little we really know about another living being's inner life. It can be healthy and growing like a forest, as in this artwork, or something entirely different. Outer Landscape demonstrates how much we can guess about another living being just from their outer appearances. That being said, appearances can be deceiving and there may be important aspects of personality that are hidden from view.
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oil on canvas 24 x 18 x 0.7" I am a contemporary artist, whose style could be described as a blend of symbolism and surrealism. My goal is to bring dreams and creativity into physical reality. My artworks are characterized by vibrant colors, a balance between light and darkness and neat brushstrokes. I take my time to accurately compose the characters, so they could elegantly express their emotional experience. I am influenced by the old masters like Thomas Gainsborough and his remarkably delicate feminine characters, and by surrealists like Frida Kahlo, and her expression of pain and passion. My main medium is oil on canvas. I am experimenting with watercolors and ink pen as well.
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pencil and colored pencil on pages of an old cookbook 17.5 x 21.5" The work is a drawing of my mother in her WWII Royal Air Force Bomber Command uniform. Instead of drawing paper, I used pages from 'The Settlement Cookbook,' a guide she was given to teach her how to be a 'good American housewife' upon arriving in the U.S as a war bride. I drew her military logo with its words "strike shard and strike sure' floating to the right of her portrait. On the left, an old-fashioned stocking clip hangs like a war medal. Red stitches are drawn to represent the "woman's work" of her new assigned role in America.
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print on paper 14.5 x 6" When I turned 50 and was forced to spend a lot of time in doctor’s offices and hospital waiting rooms, I began cutting images out of magazines – that was the beginning of becoming a serious artist. I took classes and created intricate collages. Eventually I began experimenting with other materials and techniques. I also began studying with instructors who encouraged me to be creative and follow my own ideas. The images in this show were inspired by family and friends -- my Aunt Mary who loved butterflies and nature, my friend Stephanie who encouraged me to fight for women's rights, and my teacher Martha who helped me explore new materials and techniques.
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oil on canvas 26 x 22 x 2" Part of my Conversation Pieces series, this is a piece about the expressiveness of our hands as we converse with one another. I made up the green rings, because I liked the sound of it for the title. The Conversation, painting suggests a conversation as one sits across the table from someone, implying a relationship between viewer and figure. There is also a connection with the viewer in the familiar habit of shared coffee. When I have my coffee, experiencing warmth on my hands, how many others are doing the same thing? What is familiar are gestures of hands--as stories are told--there is an underlying drama in the human exchange.
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watercolor 11 x 10 x 2" My watercolor paintings and graphite drawings celebrate the beauty I find in the world. I work in the tradition of the great British watercolorists, layering layer upon layer with pigment and or graphite to build depth and dimension in each composition. First Snow captures a moment in time in the relationship between owner and pet linked together in the quiet of the snow.
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archival digital photograph on paper 16 x 22" These days I find myself exploring life's choices. I see another's world in this their moment in time and reflect on the choices, the dreams, the desires that have lead them here. These moments capture my imagination leaving me wanting to know more, moments I hope to share along the way.
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acrylic on stretched canvas 30 x 24 x 1.5" My artwork features a vibrant color palette, body language, and movement in abstract scenes of women. As I apply layers of charcoal and acrylic paint, figures are revealed and their stories emerge. My inspiration is rooted in my work as a somatic psychotherapist. It was a privilege to co-create healing spaces with women. as their narratives unfolded and we processed them together. These deeply personal moments and rich interior worlds, theirs and mine, are an ongoing theme in my paintings.
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oil on canvas 30 x 24" The painting Light in Darkness is a picture of my premonition of great trials that were awaited me ahead. The picture was painted in 2014 and it is my prediction for myself of great challenges in the future associated with saving a child from the inhuman Russian state machine and war.
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mixed media: collage with beads, tassels, string, and other found objects 12 x 12 x 1" My portraits and figurative collages (some with mixed media) of women are formed out of patterned and hand-painted papers, magazine pictures, acrylic paint, and ink, and may include found objects. They are colorful and have an element of whimsy and suggest attitudes and other aspects of personality that tell a visual story. I'm passionate about Folk/Outsider art and children's drawings, and they are my primary influences.
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egg tempera on wood 14 x 11" A portrait in traditional egg tempera of a young art student connects the contemporary urban aestetic with the idealized portraiture of the High Rennaissance, commissioned to decorate lavish palazzos’ chambers of the nobility. The sword earring indicates the rebellious loyalty to the virtues of the humanistic ideals.
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applique and embroidery on denim 12 x 9"
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acrylic and paper on canvas 48 x 24 x 1.5" March 2020 is the artist's story of her emotional response to the Pandemic that began in March of 2020. The subtitle is Don't Look Down It's a Long, Long Way to Fall. The title and subtitle as well as the four figures clinging to the sides of a crevice are intended to convey the instability and helplessness she experienced during the initial lockdown in New York City.
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oil on canvas 16 x 20 x 2" Caring for Children: Bernadette hugs little Hugh with one arm, while holding on to Madison with the other. I am drawn to the physicality of this scene. The grandmother buries her face in the boy's hair. You can sense her joy in being so close. The older sister, sticking her finger in her mouth smiles delightedly. Jerry, and I are feeling so lucky! Stopping, over for a visit, they made this afternoon in July, truly wonderful.
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photography 20 x 15 x 1" A tale of roaming freely through experiences, the landscapes of memory are recalled. Bits and pieces of dreams long ago nicknamed - a pencil cup of dreams. A release occurs unexpectedly. A letting go of all the things a restless soul moved from, and instead, moves toward. A presence is found that is within us - after all is said and done.
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acrylic on canvas 20 x 16" I have been working on a Strong Women series, searching for images of women, writers and artists from the past, who have inspired me through their talent, resilience against various forms of cultural adversity and their singular vision. I find there is an intuitive vitality in approaching each subject--a kind of creative sisterhood if you will, that connects us from the first brushstroke to the finish.
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mixed media, relief print, pencil, collage 14 x 14 x 1" Combining vintage photos of older women from the 1960’s, old maps, and other paper ephemera under a matrix of relief printed houses communicate an imagined history of the Cold War, and who the unsung prime movers might have been.“Women of a certain age” have the misfortune of becoming invisible in society, but what if they used that to their advantage? A good spy is unremarkable looking, able to move freely and unnoticed, and in this case, thwarting Communism after WWII. There are cut away areas, windows to another layer, a suggestion that there is more to be revealed, and, that a house may seem simple on the surface, but hide secrets inside. The simple house shape reinforces the notion that these ladies are just typical housewives, nothing to worry about.
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Clay, ink 10 x 6 x 4.5"For several years now, news media reports have been showing the destruction that is happening to our planet. Daily, there are more catastrophic meteorological events, as well as alarming statistics regarding glacial melting rates, wildfires, years-long droughts, disappearing habitats, and much more. Our safe food and water supply is imperiled on many fronts through pollution, poor infrastructure, war, politics, over consumption. The list is endless. So many humans have contributed to the crisis either actively or through ignorance, not knowing or caring about how their daily habits contribute to the current and immanent crisis. In choosing elements of nature as a theme, my sculptures reflect a concern regarding the effects of climate change. Trees expresses a possible future of desiccation, decay, and destruction. The future is colorless, hard, harsh, and lifeless. Hopefully, viewers of my work will have a visual reference that will influence individual and collective action against climate change.
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Assemblage, mixed media 52 x 28 x 32"My artwork has evolved over time from colorful whimsical often sculptural pieces to something a bit darker. Telling a story is my goal and I have always been interested in irony and pointing out the foibles of humans going way back to my discovery of Medieval Flemish artists Hieronymus Bosch and Pieter Bruegal. I believe travel to other countries, particularly third world countries opened my eyes to conditions in the world. It took a number of years for my art and activism to merge, but my observation of nature and the nature of the human condition remain. My artwork now has a focus on environmental and climate issues. The process has become a cathartic experience for me and hopefully gives the viewer a different perspective.
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Formed and Welded Steel 61 x 36 x 19"I engage our human and environmental predicament at the meeting place between serendipity and intention; where the beauty of the sacred found is enriched by fabrication. My art responds to crises in order to be a force for healing – on both individual and community levels. What we pay attention to, and how that affects what we choose to keep or throw away, be they materials, ideas, people, or specifics of the natural environment, can change the stories we tell and the potentials we allow. Materials picked up in the forest and desert, old things, everyday things – long used, or used and discarded – possess a resonance of memory and time; they are rich with meaning, nostalgia and reference. I make use of these references, enhancing, enlarging, and redefining their meanings through combining the unexpected. This process allows me to see how we might deflect a disheartening and destructive trajectory and generate different possibilities for our story.
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Ceramic - stoneware 17 x 12 x 12"I loved Kipling's "The Jungle Book". It was an interesting challenge to include elements of the story in a round format as if you were on a trail watching the story unfold.
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Marble 26 x 13 x 23"I work on the stone directly. Memories feed my inspiration. Those of past and present studies and travels around the world. Direct carving means letting the stone guide you. It is an act of faith that aims to bring balance to my mind and body as I look forward to satisfying my insatiable curiosity. The Universe, I see, reveals itself by expressing itself and knows itself through every bit of experience, and so is my work as a female sculptor, only limited in the process by the material circumstances I encounter: the quality, size, and veins of the marble.
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Mixed media, painted cloth, found objects on wood 72 x 24 x 12"A nkisi is a container for spirits that was widely used by healers in the 19th and early part of the 20th century in the Congo area of Africa. Nkisi for Remembrance is a contemporary and vernacular interpretation of those ritualistic sculptures created by the healer of a village to protect clients who had been wronged. This nkisi draws from those African sculptures some of their aesthetic elements such as the use of reflective surfaces which reflect both the spirit world and the natural world.
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Clay, Metal 12 x 7 x 11"These sculptures incorporate found objects (metal, shells, plastic toys) along with my hand made clay figures and address family dysfunction.
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Clay, Metal 15 x 10 x 40"These sculptures incorporate found objects (metal, shells, plastic toys) along with my hand made clay figures and address family dysfunction.
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Bronze on Greek Marble 24.5 x 20.5 x 15.5"This work is prompted by the clean and efficient movement of the completely developed physique of an Olympic speed skater. It seeks to capture the smooth flowing, seemingly effortless, rhythmic motion which is the essence of the sport. Even the shape of the “ice” base suggests the forward powerful thrust.
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Resin and Steel 49 x 16 x 6"My work is mainly figurative or semi-figurative. I use positions and body lines in my sculptures to share my emotions and my understandings about life. Steel is a very interesting material, I like bending and rounding rods using my strength only (no heat, no hammer !). Let your eyes follow the lines of this positive spiral, and feel what part of your journey relates to this. The figurative character suspended gives you a key to relate. Concentration like an internal introspection before jumping in projects, social life, new steps, this is up to you. But definitely my work intend to highlight the fact that we should concentrate on ourself before engaging with the world.
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Stoneware 14 x 11 x 6"This entry contains a union of opposites of organic and non-organic nature, growth and rigidity, biomorphic shape and rough texture, presence and absence of color, fragility and visual sturdiness of the material. Bounded, the inflexible, colorless, yet intricate organic form resembles a crouched figure from the classical era.
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Wood 36 x 36 x 9" Tree Totem/All That Is Left/Pollution Series is about the dark side of pollutions effects on the natural world, and if left unchecked, would leave our world unlivable. Created using gathered branches and twigs, compounds, and paint on a plywood base. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Stoneware 12 x 26 x 10" The natural world and the life around us have always been the center of my work. They are the sparks that start the process. I'm always searching for new ways to look at nature and Cloudspinner is my interpretation of the could formations on our planet. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Stoneware 23 x 17 x 5" The natural world and the life around us have always been the center of my work. They are the sparks that start the process. Pirouette In Eddy is an interpretation of the eddies that occur in our oceans, seas, rivers and streams. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Limestone 19 x 12 x 6" My sculpting is done as direct carving in stone -- meaning that the work is not meticulously preplanned, but proceeds as a collaboration between the artist and the medium. The stone evokes an initial image in the imagination of the artist who proceeds to chip away letting that image emerge. My style can be called realism, tinged with a touch of fantasy. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Stoneware 30 x 20" I use pictorial imagery of various cultures, throughout history, by utilizing myths, religious and secular symbols in my work. The images are not literal, but symbolic expressions of prevailing ideas and thoughts about current issues in the world. I am recently exploring Global Warming and mass extinctions of flora and fauna across the world. Looking through the window of history and comparing current social issues with the past, I strive to provoke thoughtful consideration and awareness of diverse cultures in the world today. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Colorado Yule Marble 36 x 12 x 7" Stalwart is one of my many horses produced in the land of horses -- Lexington, Kentucky. My horses are nor literal interpretations of the horse, but suggest an abstract interpretation. Stalwart represents strength, stability and as I finished him, I felt as if I were actually grooming my horse for the next race. He became very personal. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Portuguese Marble Sculpture 52 x 18 x 12" Freyr is a large vertical sculptures where forms criss-cross and stack to give volume without extreme weight. It is more easily moved and would work well in an entryway or large interior. A huge drawback to working in stone is dealing with the weight and the movability of the pieces. This was designed with that in mind. The interior form of Freyr (a protective force) actually moves within the outer form. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Clay 30 x 8 x 8" Clay as a medium allows a wealth of options as to color, texture, and form. In my sculpting journey I originally focused on figurative work, then became captivated by the natural forms of corals and their fragility because of climate change, and now occasionally morph a combination of these two forms. Exploring form and texture, and creating movement and strength, has led to a wide range of outcomes. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Clay 8 x 35 x 5" Clay as a medium allows a wealth of options as to color, texture, and form. In my sculpting journey I originally focused on figurative work, then became captivated by the natural forms of corals and their fragility because of climate change, and now occasionally morph a combination of these two forms. Exploring form and texture, and creating movement and strength, has led to a wide range of outcomes. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.
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Hand-formed porcelain 11 x 8 x 6" This work best exemplifies my ability to take porcelain to its thinnest walls and create objects that are intimate views of nature: Cove Tide, being a detail of the sea in motion.
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Stone 22 x 12 x 8"I always had a love for creating sculptures out of alabaster stone. I worked with direct carving, finding inspiration in the coloration and the flow of the stone itself. My sculptures reveal the female form conveying a sense of movement with the subtle details of flowing fabric. My visions emerge from the stone as I delve deeper into its core and only truly know what will appear with the final polishing. I enjoy sharing my art and insist that people touch ans caress them as they learn what can be created from within a stone.
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Bronze 24 x 24 x 24"This is a seated figure of Francis in meditation The peace and love that flows off of him causes animals that would normally prey upon one another to abide together.
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Collage on deep wood panel 15.75 x 20 x 2.75"Symbiotic is part of a series called “Lessons From The Trees.“ It was inspired by Suzanne Simard and her research into North American forests. In her book titled “Finding The Mother Tree,” she explains that she discovered forest life is interconnected through an underground network of tree roots and fungi feeding and healing each other. This symbiotic relationship reminds us that we as a species have also survived throughout history in a similar interdependent manner—families and societies nurturing one another. This work of collage on board includes original photographs, hand-tinted papers, acrylic paint, pencil and ink.
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Cold wax oil on Birch panel 14 x 11 x .875"“The absence that defined it became the presence that defined them.” (Everything is Illuminated by Johnathan Safran Foer) I keep a copy of this quote on my studio wall because it tweaks my imagination. In the novel it refers to a shared hole between two bedrooms. The recent unforeseen pandemic years have done much to remind me of our uncertain human condition within the energetic flux of life. This painting is my abstract vision of passing through dynamic energy into an unknowable future.
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Oil on Aluminum 21.5 x 31.5 x 1"I love watching the waves rush toward me when I stand at the water’s edge. I love to feel their cold hit my feet and pull the sand from my wiggling toes. On a hot summer day, I love laying on my back in the ocean and riding the swell of a broken wave. The water is a balm for my fiery skin. When the waves recede, I see the sparkle of sunlight on my body and feel like a child again. With a sense of playfulness and lightness, I am transformed.
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Acrylic on Canvas 24 x 48 x 2"West Wind is a long distance perspective, spontaneously executed using lyrical brush marks & bold push and pull color.
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Acrylic on Canvas 24 x 48 x 2"Blustery’s patterns, individual brush marks, shapes & vibrant color build a broad, grandiose viewpoint.
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Intaglio/chine colle' print 17 x 15"In Cloud Nine, the dog and "cloud nine" float contentedly in front of an abstracted celestial imagery that can be seen as the sunrise/sunset, warm-red sky, or heaven above.
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Intaglio/chine colle' print 17 x 15"In Dreamscape, the dog and cloud symbolize a dreamer as she(he) perceives her(his) true nature, and her(his) desires in this surreal inner/outer landscape.
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Photography 24 x 18"Queen Anne’s Staircase, in my eye, is a perfect example of Depth Perception. As we climbed the staircase in this building, it was hard to see to the top and imagine how high it must be. The architect created a masterpiece of design, with just the right amount of height and width while embellishing it with a floral motif. As a photographer I tried to capture this beauty using a wide angle lens and removed all color tones to replicate the cold starkness that I felt as we ascended.
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Photography 18 x 24"Recently I had the privilege of visiting magnificent Wadi Rum desert in Jordan. This magical land features sweeping red sand dunes and towering sandstone and huge granite rock formations. In this World Heritage site, I was able to experience humanity’s earliest beginnings. By placing my camera as close to the earth as possible and using a small lens aperture, my depth of field was expansive. I was able to accomplish my goal: to bring the present and future together - to emphasize the dunes while still showing the vistas in the distance.
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Pastel on Paper 16 x 12 x 1"A stop on the bridge over the marsh at Sesuit Neck in East Dennis reveals a different outlook from day to day, season to season, tide to tide. On a memorable recent viewing, the water was rushing in a way I had never seen before. One could viscerally feel the motion and imagine being carried along to open sea.
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Pastel on Paper 11 x 14 x 1"Walking the beach near my home on Cape Cod was a saving grace during the seemingly endless days of the Covid era lockdown. I was so grateful to have fresh air and space to breathe freely despite the threat of darkness everywhere. One had to hold onto the hope that the clearing was coming if we only could walk far enough towards it.
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Oil on Canvas 48 x 24 x 1.5"Life Memories of A Tree is inspired by a tree in my neighborhood. The concept of all livings creatures somehow communicate with each other, and with us.. We must not only see them but also hear them. They communicate with us with every fresh branch, broken timber, and every strings in their body to tell us stories of their lifetime.
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Encaustic on board 5 x 7"One rainy summer morning I drove my mother to a doctor’s appointment in Manhattan and waited in the car. Between the swishing wiper blades I began taking photographs of people out on the street, navigating the rain and the traffic. I often use toner transfers of photographs I’ve taken, in my encaustic work.This image appealed to me because although there is no real danger, the perception is that the traffic is just waiting to rush forward, while the woman is hurrying to get across the street, before that happens.
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Encaustic on board 5 x 7"The Oculus is located by the World Trade Center and operates as a transportation hub designed by the Spanish architect Santiago Calatrava. While it is normally quite crowded I happened to be there when most people were wearing masks, avoiding crowds, and still social distancing. From the street level one enters to a platform two stories above, with a view of the entire concourse and soaring walls (if they can be called that), amid skylights to the ceiling. The building is stunning and the height and length of its interior, its depth, reduces those of us inside, to mere shadows of ourselves.
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Acrylic on paper mounted on canvas 10 x 10 x 1.5"Welcoming my inner child, a curly headed girl playing with the magic of color, freely exploring energetic worlds of my imagination connects me with my true spirit. Above and Below depicts sea creatures below with a vibrant sunset above the horizon. Depth perception is felt in the free form swirling deep blue line work adjacent to a white horizon line. Your eyes dive into the sea below and swirl up into the warmth above.
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Photograph 8 x 10"During this season of Thanksgiving and the coming New Year, I am so grateful that I am still alive creatively! In my glorious tree-house--my studio!
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Photograph 8 x 16"During this season of Thanksgiving and the coming New Year, I am so grateful that I am still alive creatively! In my glorious tree-house--my studio!
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Oil on Panel 12 x 24"Romantic Evening at Pebble Beach was painted "en plein air" on a deck overlooking the ocean, bluffs and cypress trees with Point Lobos in the distance. This is one of my favorite spots to paint. It offers something new every time depending on the time of day, the season, the clear or cloudy sky, the color of the sea, or the height of the waves. This rendition was done for the Carmel Art Festival on an evening in May. I started at about 5pm, working quickly to capture the light of the setting sun on the water.
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Oil on Panel 18 x 18"Springtime Seas was painted "en plein air" on the sand in Pacifica, California. The waves were high and the sea was reflecting the bluster of the clouds and wind of the brisk, Spring Day. It was fun to watch the waves rush in and crash, leaving tendrils of foam and wet sand on the shore. Gazing out to the horizon where the sea meets the sky, purples and pinks touched the clouds, shadows lengthened and the sun kissed the edges of the trees and the tops of the waves.
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Acrylic on Canvas 30 x 24 x .75"The mountains and ponds of Acadia National Park extend an invitation to the viewer to explore and make new discoveries. By looking to the horizon and taking steps toward the future, one can experience forward movement towards a new destination. In taking a bold step forward, one can discover the pathway to new experiences and opportunities.
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Acrylic on Canvas 30 x 24 x 1.5"The vast distance and rich smell of the lavender fields entice the viewer to become immersed in the beauty of Provence. It invites the viewer to move through the fields to a distant place of openings and new beginnings.
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Acrylic 50 x 38 x 2"West End was inspired as I gazed out the window on a flight back from Ft Lauderdale on a crystal-clear morning. Leaving the urban jungle, the Atlantic Ocean consumed the horizon with a palette of deep blues and greens, sparkling like gems. As the West End of Grand Bahama Island came into view, the push and pull of tonal range increased creating an amazing design of shallows and depths. Inspired and in awe of this natural, abstract vision, West End was destined to be painted.
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Oil on Canvas 36 x 36 x 1.5" I rely on the unconscious to paint meditations that are beyond my daily life, using paint to express what my language cannot. This painting reflects my sense of awe at the recognition that we are but tiny specks floating untethered enormous cosmos around us. I used an analogous color palette to create the misty, blurry sensations of my meditation on this vastness. These ideas are beyond my grasp and beyond my words. I recall Carl Sagan’s words that the Cosmos is “beyond ordinary human understanding. Lost somewhere between immensity and eternity is our tiny planetary home."
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Acrylic 40 X 30" Burnt Orange Woods was created as part of a series that I titled Perspective. The drawing elements and color fields in the negative spaces between the trees are used to create depth. The nontraditional colors create a dialogue when placed next to each other. I relied on my own experiences of hiking several trails throughout the United States to convey a universal sense of place.
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Acrylic 20 x 20" In my painting, Birches and Lace, I explore memories and perceptions of the natural world through the colorful, gestural use of shapes and lines to mimic organic forms found in nature. The negative spaces between the trees take on just as much importance as the positive subject matter. While not true to life, the palette creates a conversation between cool and warm tones.
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Digital Photography 24 x 35 x 1"I've been drawn to this space since the opening of new addition to Swartz Hall at Harvard University. It's an entryway connecting the existing Swartz Hall structure (built in 1911) and contemporary addition (built in 2021), which creates incredible flow of natural light. As I came to photograph this space for NAWA submission "Depth Perception", I encountered a permanent display of an ahkukq/cooking vessel, created by Artist and Mashpee Wampanoag member Nosapacket (Ramona Peters). Indigenous presence in clay provided an additional dimension of depth, so I reversed the image and it became "By the Well".
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Digital 12.5 x 15"
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Acrylic 6 x 6"Her mindful thoughts are marked by long, measured, quiet thinking. She rarely speaks, but when she does, her words are worthwhile and propitious.
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Watercolor 12.5 x 9.5" I am an abstract painter, and I work primarily in watercolors with mixed media elements. I’m inspired by the interplay of colors, shapes, and uneven lines, and I love the fluid, unpredictable nature of watercolor paints. I work very intuitively: I always have a starting point - a particular color combination or focal point - but then I just go wherever inspiration leads me, often surprising myself! Painting brings me peace, balance, and joy, and it helps me maintain an even keel in our uncertain times.
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Sculpture 8 x 13 x 6"
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Photography 11 x 14" Based in Hampton Bays on the East End of Long Island, I collect seashells and marine-life fragments from which I create small sculptures and abstract assemblies that form the basis of my photography. I am drawn to the soothing rhythms and repeating patterns of the design elements found in nature. I marvel at how their beauty endures, despite a tumultuous journey. My images try to capture that essence and share that feeling with others.
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Acrylic 13 x 13" I seek to express the intangible experience of spirit. It is the awareness of the big picture. It is about the meaning of life and connection to self and others. I am exploring and expressing an inner experience through abstract images. I paint images that feel solid and spacious which is how I feel when I am experiencing “presence”. I have always noticed the subtleties of life whether it was observing beauty in nature or man-made, overcoming difficult challenges, and the complexities of the human experience. I process these experiences through painting.
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Photography 14 x 11.75" Travelling into New York City, camera in hand, I leaned as far as possible out the passenger window to capture the incredible, repeating patterns in the Williamsburg Bridge as it skyrocketed over me like a giant erector set while the arched lampposts created a graceful dance-like rhythm along the edge. I used extreme angles, heightened contrast and an intuitive, geometric sense of composition to prompt the viewer to take a closer look and come away with a deeper appreciation of the "ordinary." In the words of Henry David Thoreau, "The question is not what you look at, but what you see."
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