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alcohol ink 7 x 5 in. Carrie Cornils is a professional artist based in Eagle, Idaho, whose vibrant, joyful creations are inspired by a lifelong journey with autoimmune conditions. Based on years of living in Virginia and Idaho, her art is a personal and emotional response to healing—designed to uplift, energize, and soothe. Carrie believes that color, if used intentionally, can heal both body and soul. Carrie’s artistic path continues to evolve alongside her life experiences. Nature is a constant muse, and her work often features colorful, whimsical landscapes that radiate positivity. She is currently focused on developing a cohesive body of work that reflects a distinctive and deeply personal style. Carrie has been passionate about art for as long as she can remember. She pursued her creative education through school and earned a Bachelor of Arts degree from Marymount University in Arlington, Virginia. While there, she studied under John Chapman Lewis, a well-known Washington D.C. artist and member of the Washington School. Committed to lifelong learning, Carrie continues to explore new mediums and techniques through ongoing mentorships with acclaimed artists such as Shawn Dell Joyce, Alain Picard, and Karen Margulis. Before fully dedicating herself to fine art, Carrie built a successful career in commercial interior design in the Washington D.C. area. Her creative expression expanded into graphic design, landscape design, and furniture design. Today, her artwork is included in private collections across the United States and in eight other countries. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Dance 02printmaking22 x 30Solarplate Etching printmaking technique was the medium used to create this piece. Through repetition and mirroring of a quick drawing depicting a dancing figure, the intention was to portray a movement, a dance. Women dancing in a circle, joyfully supporting each other, celebrating life. I utilized thread, a material traditionally used by women to mend or embroider, to emphasize the connections between the dancers.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999 Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Our Desert Skinprintmaking30 x 22My skin monotypes are realized “coats of skin” that are initially molded over bodies of human collaborators and then flattened under a press. The flattened forms become templates that communicate skin patterns and uniqueness. I made them because from birth to death every human weaves a thread around herself-- a story, a shield, a chronicle of injury, trauma, vibration and pain as well as the belief of the existence of a spiritual entity, or astral soul, living within.Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999
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Weedsprintmaking12 x 12This summer I started making acetate stencils in an attempt to loosen up, and take a break from oil painting. I cut them freehand with a scissor, and without drawing a design first. It was fun exercise, spontaneous and surprising. I used these stencils for a series of acrylic monoprints, such as this one. When I look at them, I I can see the strong visual influence of botanicals and North African art, both of which dominate my summer surroundings.Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999
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Marshideprintmaking12 x 12My work investigates loss, memory and the fragility of human connection: Absence and presence, the invisible but indelible record of experience, the prismatic nature of memory. I create work to make visible what is intangible.Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999
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Midnight Ride Midnight Ride was inspired by the black horse I grew up with, whose presence and spirit left a lasting impression on me. She was strong, intuitive, and deeply expressive, and this monoprint grew out of my desire to capture not a literal portrait, but the feeling of being with her—the quiet intensity, movement, and emotional connection we shared. I approached the image through mood and atmosphere, using expressive mark-making and layered textures to evoke memory rather than description. Working with oil paint and a variety of tools, I allowed the surface to build intuitively, letting the physical process guide the emergence of form and emotion. The resulting print is both a tribute and an exploration of how memory, gesture, and material can hold presence long after the moment has passed.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999 Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Islanderprintmaking5.75 x 7.75This is a non traditional silkscreen process. The screen itself becomes the canvas on which I create the image directly. I flood the screen with a printmaking medium and pull a squeegee from top to bottom to force all the pigments through the screen. The total image appears all at once on paper.Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999
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Island Man >printmaking7.75 x 5.75I was creating a demo for my printmaking students on chine collé and decided to keep going on this tangent in my own practice. It can be very simple, but effective, as seen here in the monkey's face. Adding a piece of paper for a more detailed section and extending the paper to create a hard hat over the top of his head eliminated the need to carve another block, and made his face stand out from his body. Also, deciding to keep the space behind his face white, but include typeface in the hat area is a decision to consider when making choices for chine collé materials. The AP card was a real document that I added a paw print and signature to, and the camera was a Xerox collaged on, as well. A lesson for my students that I enjoyed learning from, too.Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.Contact to Purchase: Sales are through Center for Contemporary Printmaking:Phone Number: 203-899-7999
Cappy, Photographer at Large
printmaking
15 x 12
I was creating a demo for my printmaking students on chine collé and decided to keep going on this tangent in my own practice. It can be very simple, but effective, as seen here in the monkey's face. Adding a piece of paper for a more detailed section and extending the paper to create a hard hat over the top of his head eliminated the need to carve another block, and made his face stand out from his body. Also, deciding to keep the space behind his face white, but include typeface in the hat area is a decision to consider when making choices for chine collé materials. The AP card was a real document that I added a paw print and signature to, and the camera was a Xerox collaged on, as well. A lesson for my students that I enjoyed learning from, too.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
On the Dock
printmaking
27 x 21
The Rowing Prints are a series of photo screenprints created to explore the sport of crew from the point of view of a rower and coach. They are derived from normal mundane images of regular practice sessions, mostly on the Hudson River at Poughkeepsie. The photos are then manipulated to create screenprints, and hand colored on the screen itself. When printed with a sheer black ink, I create images that are at once both realistic and nostalgic, which is the aligned with the experience of rowers who ply the waters of the historic Hudson River rowing venue at Poughkeepsie today.
Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
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Remnant of the Past II
intaglio
11.25 x 7.5
Remnants of the Past is a series rooted in historical fragments, where photo etching becomes a vessel for memory and quiet testimony. Using archival imagery as a guide, I rework moments from the past that might otherwise fade into obscurity. Figures appear suspended in time, rendered in sepia tones and softened edges, evoking the way history lingers not as a fixed record but as an emotional residue.
The recurring train setting functions as both a literal and symbolic passage. It speaks to movement, migration, labor, and the unseen lives that sustained systems yet remained uncelebrated. This imagery was inspired by photographs I took of the historic Skunk Train, itself a remnant of a bygone era. Its weathered presence, worn surfaces, and lingering stillness became a visual and emotional catalyst for the series. Uniformed bodies, bowed heads, and intimate gestures suggest dignity carried under the weight of routine and restraint. These are not heroic poses, but honest ones.
Through the etching process, I embrace texture, erosion, and tonal restraint, allowing marks to echo the wear of time itself. Each image functions as a visual remnant, inviting viewers to slow down and witness the humanity embedded within everyday historical moments.
This series is an act of honoring. It asks us to sit with what remains, to acknowledge those who came before, and to recognize how their presence continues to shape our collective now.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
Janus Moon
photograph
10 x 8
The bare trees with the rising moon became my first photograph for the new year. The title comes from the first month named In the ancient Roman Calendar.
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Arches and Bars, Henry Hudson Parkway
oil on canvas paper
12 x 9
As a contemporary realist painter, my work presents urban landscapes and artifacts from unusual points of view and in striking lighting conditions that draw attention to overlooked elements of the environment. In addition, I seek out elements of the urban environment where nature and man interact -- neglected corners where nature has reasserted itself among the steel and stone of the city. This is a painting of a section of the Henry Hudson Parkway in New York City as seen through an iron fence. It is off the beaten path, and partly obscured by tall weeds. I loved the contrasts of the shapes - curves and lines - and of the organic and man-made structures. With the mysterious background light, the parkway arches evoke those of a cathedral. I used multiple glazes to create a sense of depth in the background light, in contrast to the rougher, more gestural strokes for the foreground leaves.
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The Manhattan Project
acrylic on cradled birchwood panel
10 x 8
Part of a series of cocktail art that evokes cheerful happy memories of times shared with friends and family
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Run
mixed media collage
4.5 x 6.5 in.
This collage highlights color, motion, and line. The muted grayscale house suggests stability and memory, while loose washes of color introduce emotion and disruption. The rigid lines of the building are surrounded by ragged edges and fluid color, creating visual tension.
The girl, frozen mid-run, brings urgency and motion to the scene. Her bright dress stands apart from the darker ground, guiding the viewer’s eye and raising a central question: Why is the girl running?
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With Beauty Before Me My I Walk
collected natural elements from the southwest desert mounted on canvas and shadowboxed
12 x 12 x 1.5
I live in the southwest desert and take walks picking up dried out devils claw, pods, ocotillo branches and other elements. This assemblage is from my walks in the desert.
The title is from a Navajo prayer:
In Beauty may I walk.
All day long may I walk.
Through the returning seasons may I walk.
Beautifully will I possess again.
Beautifully birds. Beautifully joyful birds
On the trail marked with pollen may I walk again
With Grasshoppers about my feet may I walk
With beauty may I walk
With beauty before me may I walk
With beauty above me may I walk
With beauty behind me may I walk
With beauty all around me may I walk
In old age, wandering on a trail of beauty, living again, may I walk.
It is finished in beauty
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The Dinsmoor Family (Lucas, KS, 1932)
digital manipulation/ collage of historical photograph (C) 2026
12 x 12
Samuel P. Dinsmoor married his second wife, Emilie Brozek, on August 24, 1870, when he was 81 years old and she was 22 at the time. They had two children -- a son named John and a daughter named Emily Jane. Dinsmoor was a teacher and an eccentric sculptor who built the Garden of Eden (built 1905-1907) in Lucas, KS, a 12-room log cabin. The site was put on the National Register of Historic Places on April 28, 1977. The Garden of Eden is still open for tours with seasonal hours. Known as the "Grassroots Art Capital of Kansas," Lucas is home to folk art and unique galleries.
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Sweet Khaos
pastel on paper
12 x 12
My work is guided by a deep love of color and a desire to capture the fleeting beauty of everyday life. Growing up in Beijing with artist parents, I was immersed in art from an early age before continuing my formal education at the School of Visual Arts in New York. These experiences shaped my approach, allowing me to bridge the principles of classical Impressionism with a contemporary sensibility.
I perceive color in a distinctive way—often noticing hidden hues and bringing them forward through an expressive, broken-color technique. Working primarily in soft pastel and oil, I value the immediacy and richness of these mediums, which allow me to respond intuitively to atmosphere, light, and the subtle shifts of emotion that animate a moment.
My pastel painting Sweet Khaos captures a beautiful white horse whose personality is as gentle as it is strong. True to her name, Khaos is resilient and powerful, yet it is her sweetness and calm presence that truly captured my heart. I was drawn to expressing this balance between strength and gentleness through her pose and expression.
I especially enjoyed capturing the subtle sunlit hues across her fur. Using soft pastel allowed me to layer delicate warm tones into the white, revealing texture, light, and warmth without losing softness. Sweet Khaos is a portrait of quiet strength and tenderness, celebrating the gentle spirit within a powerful form.
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Night Vision
watercolor
6 x 4
I rarely start out a painting with an idea of what I am going to paint. I am often inspired by shapes that interest me, starting with a mark on the paper and seeing where my intuition leads, often arriving at a very different composition than the one I began with. Some themes do resurface time and time again - the moon, portals, day and night, clouds and the seasons. Once the painting is complete (and sometimes many months after), I begin to get an idea of what it was trying to express, and title it accordingly.
I use Arches 300lb. watercolor paper and archival watercolor pigments. Many transparent washes are applied to each painting in order to intensify and vary the color palette - a process I have arrived at over many years that often isn’t recognized as watercolor.
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Po Paia
clay, wood, acrylic, bone, twine, enamel
10 x 6
As an artist, my work often explores themes of life, death, and the intersection of nature and humanity. In my latest piece, a mixed media creation that combines clay, wood, acrylic, bone, twine, and enamel, I aim to evoke a sense of contemplation and connection to ancient cultural practices and their poignant representations of the afterlife.
The simple face, eyes closed in serene reflection, invites viewers to ponder the quiet stillness that accompanies the passage from life to death. Adorning the forehead is a catfish skull, a symbol of resilience and adaptation in the natural world, while the vertebrae from a large bird protrude from the chin. This juxtaposition emphasizes the blend of life forms and the continuous cycle of existence, suggesting a dialogue between the earthly and the ethereal.
Framing the face is twine, which serves as a reminder of the interconnectedness of all beings and the bonds that tie them together. This piece is not just a representation of a face but a meditation on the narratives we share and the remnants we leave behind. Through this work, I invite the audience to engage with the themes of identity, memory, and transformation that resonate across cultures and time.
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Ice Melt
acrylic, ink on board
12 x 12
In the abstract painting “Ice Melt" we are left with a feeling of peace and calm. The brilliant blue color is like that of a glacier melting while looking into the ice droplets as the snow moves through the painting.
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Cades Cove Treasure
pen & ink
10.5 x 8.5
I loved seeing this beautiful old mill in Cade's Cove, Tennessee, wondering about the lives of the people who built and used it many years ago. Drawing it was a pleasure!
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Mexican Dancer
inkjet print photograph
11.5 x 8.5
This photo was taken in Cabo San Lucas,k Mexico, where we were watching dancers on the beach. When this dancer paused for applause, I managed to get this shot.
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Flowers for Sargent 11
oil on canvas paper mounted on wood primed board
12 x 9
took multiple photos of flowers in a setting with black paper backdrop and bright light. Interested in the beauty and detail of flowers as well as light/texture of glass and water. layering of color creating shadow texture light for the water and the glass...seeing the flowers , water and glass come to life day by day stroke by stroke.
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Intersections
gouache acrylic paint on stretched canvas. The image continues over the 1.5 inch side.
6 x 6
A dynamic composition with intricate patterns executed with precision, using fine brushes and acrylic gouache paint on canvas. This meticulous approach captives visually and invites viewers to explore new space relations, graphic flow and visual rhythm.
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The Path Taken
photography on metal
10 x 15
While out for a walk, I was mesmerized by the play of light and shadows on this pathway. I lingered in this light, not wanting to move for the fear of it changing. I set up my tripod and began to work on the best angle to capture this beautiful light show. I chose to print it on metal to maintain the shine of the mist on the trees.
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Wisps
unique platinum/palladium photograph
5 x 7
I capture the simple beauty in everyday life, the commonplace or ordinary scenes in the
natural environment. This image offers a pristine beach for quiet reflection.
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Mission Creek
soft pastel on luxarchival
8 x 10
This is a well-loved barn in my area. The ranch it's located on is home to lots of wildlife..... deer, elk, bear and more. It always gives me a sense of peace and serenity.
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Midnight Mouse Heist
assemblage: taxidermized mouse- acrylic paint on clock components
9 x 5 x 5
Who can steal time for me, and make this day last longer?
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M'm! M'm! Good!
sculpture: found objects, vintage kitchen/cooking objects
12 x 8.5 x 3.5
This work is from my Cooking Is Love Series. I am reflecting on ways we using cooking to show our love for family and friends.
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Through the Hollow Wood
acrylic gel print on paper with acrylic gel printed YUPO (a plastic "paper") mask used as the collage element.
5.5. x 5.5
Working with different color layers, when creating my monotypes (the substrate for this piece) results in interesting colors and abstract patterns on the stencils and masks I may use in the process. I often use them as college elements in the final artwork to add greater depth and visual effects.
The chair is a frequent motif in my work. I use it as a metaphor for our memories and the stories we tell ourselves.
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Needle and Thread
soft pastel on Uart paper
8 x 6
I used to love to sew and don’t have time anymore. I have many of these old wooden spools of thread and I liked how the needle was stick into the spool, wit quilt batting in the background.
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Lavender Blue
oil on canvas
10 x 8
The pastel lavenders and blues, create a subdued, soft sense of emotion and solitude. I intended to show an emotional sensitivity of contemplation and fragility.
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Herculeus
sculpture
5 x 10.5 x 10.5
My love for nature and respect for its different moods began in Coastal Georgia where I was born. Feeling the need to capture it in another form, my creative journey began. My style reflects my belief that life needs to be celebrated with whimsy and attitude. I use the flow of lines and surface patterns to create positive and negative spaces in my sculpture. This creates movement and balance between the parts. I create with the hope that my work will bring a smile to the viewer- happiness is a very strong positive force. I believe that sculpture in general reaches out to people on an emotional level. It addresses two of our senses without even trying- sight and the sense of touch. It is also possible to evoke our other senses- even makes us feel like dancing.
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Sisterhood
acrylic painting on stretched canvas
12 x 12
My paintings draw inspiration from the patchwork embroidery of western India, especially the vibrant palette, bold contrasts, and geometric, abstract forms. I build layered shapes and repeating patterns into a single, cohesive composition that carries a story and a sense of place. I usually start with only a loose idea of the subject, then let the work evolve as it’s made, allowing the colors, shapes, and forms to lead the way.
The painting shows four women standing together, their heads gently inclined toward one another, creating a sense of intimacy. The surface feels textile-like, almost embroidered, with repeated marks that feel like folk traditions. Despite the complexity, the patterns flow together into a cohesive whole rather than competing for attention.
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Beatrice and Dante Watch TV
Paper, Plaster, Gouache 3D Puppets on Silkscreen background
12 x 11
I'm a fan of the Divine Comedy and have Florentine ancestry. When Beatrice died, Dante realized "only through love for his Beatrice would he be able to reach the divine." I thought if I, as an artist, could resurrect their relationship to the present time, I would place them cosily side-by-side on a sofa watching TV. Beatrice chooses the film. Dante holds the remote.
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Black-bellied Plover
oil on cotton canvas panel
10 x 8
After a long career as a graphic designer in NYC, I wanted to return to pursuing the fine arts. I began by painting everyday objects. The object taking center stage. Portrait of a pear.
One day, I just decided to paint a bird. Spending time away from the city and in nature opened my eyes to the beauty and delight of viewing, listening and learning more about these miracles of nature. Watching them makes me smile.
I want the bird to be the focus of my painting, devoid of distracting busy backgrounds. My goal is not to create exact scientific renderings, but to capture something of the uniqueness and personality of individual birds. A portrait.
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Bella
oil on linen panel
9 x 12
This painting encapsulates the soft, maternal strength of a heifer. Emphasizing the gentle curve of her neck and the bell she carries, I invite viewers to consider the quiet character of this noble animal.
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Icicle Eve
digitally manipulated photograph
10 x 8
I was drawn to the sight of these extraordinary icicles, backlit and glistening, in line with the vertical paneling of the building. The dark window frames added a dramatic element, while the billowy rooftop snow capped the scene.
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Looming Clouds Over Brazil Coast
print on wrapped canvas
12 x 15
Nature's most compelling moments often arrive in contradiction—darkness approaching while light persists, calm before the storm, beauty amid threat. This photograph captures such a moment on Brazil's South Atlantic coast, where I spent over a decade working for several weeks each year with a regional healthcare education institute. The Ceará coastline near Beberibe offers dramatic geological formations: golden sandstone cliffs carved by wind and water over millennia. On this afternoon, storm clouds gathered overhead, their weight and darkness dominating the sky. Yet brilliant sunlight continued to bathe the cliffs and beach below, creating a stark juxtaposition that called to me. My creative process relies on observation and anticipation. I don't manipulate scenes but rather position myself where nature's drama might unfold. Here, the contrast between impending darkness and persistent illumination created visual tension—a metaphor for life's constant interplay between challenge and possibility, shadow and light.
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Seek
Watercolor and Gouache on Paper
5 x 7
This monochromatic piece came at a moment of low inspiration. I had been facing personal challenges that had me seeking solace in my paintbrush, but left me staring at blank pages. Somehow, I pushed myself to just begin and wound up staring into these soulful eyes. I sought a creative outlet and created a child who seemed to be seeking something of their own. Even still, I wonder what that is.
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Gotham - Darkness and Light
digital photography
8 x 10.7
Experimental Photography - A Study in Light Motion
There are streaks of colorful electric light running through the dark skein of the city at night. My photography unravels and exposes this conceptual light art. At times the movement captured is linear, at others a tangled interwoven abstraction; each marvelously expressive and evocative.
My primary vocation is medicine, logic, my first love. Experimental light photography is passion, connection. The experiment started in isolation, during the height of COVID. I was trying to connect with the city around me. The neighborhood lights became a sign of life, something I needed to hang on to. There was joy and sorrow in the serendipitous finding of the images I created, some of which is reflected in the titles of my photo-painting prints.
The experiment continues to date. Alchemic manipulation of camera shutter speed, aperture and ISO, creating painterly photo prints -“Photo-Paintings”. Look through my camera with me to discover New York, New York and Photography in a novel light.
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The Pathway
photograph
12 x 8
A sense of adventure and opportunity - a new path for discovery.
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No Cuckoos Here
bronze/wood sculpture
9 x 9 x 10
Birds are frequently the inspiriation for my work. In this piece I was thinking about the cuckoo's habit of depositing their eggs in the nests of other birds. Considering the size ratio of wrens and cuckoos a wren would find it relatively easy to spot an intruder in her nest. I often use beautifully turned wood for my bases and this exceptional Gamble Oak bowl is perfect for this piece.
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Salt, Pepper, Sugar
watercolor on paper
7 x 8
I love incorporating old family heirlooms in my still life’s. In this case I was capturing the delicate light on porcelain and the fanciful designs on prosaic seasoning containers - everyday items infused with delight.
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Hands On
acrylic and paper on canvas board
14 x 11
There is a tension between the nonchalant act of a womxn skinning an apple, the red crescents of apple skin falling towards a fish, a once living creature, being sliced open seemingly like a sacrifice upon an altar. A womxn's hand appears to hesitate near the fish as though an attempt at saving it was unsuccessful. The black and white figure conflicts with the bright red apple skins falling from her knife. Red represents both the fruit and the life force. The iconographic use of gold implies a spiritual aspect to the piece as do the hands with palm reading diagrams indicating that fate is unyielding.
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Road to the Vineyard
oil on panel
10 x 10
Always a lover of the natural environment, I became an avid hiker. This translated to studying, and then teaching, environmental science and engineering classes. My love of the outdoors is reflected in my paintings as I study color and nature's subtleties while painting outdoors!
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Portal I
oil and cold wax on cradled panel
15 x 12
While creating Portal I & II, I was thinking about a transformative passage guiding me from the past into the future. It begins with remnants of memory: fragments of places, moments, and emotions that linger in the shadows of my mind. These intangible echoes become the seeds for exploration, calling me to engage with materials and textures that carry traces of the natural world I cherish.
Through a layered process, I move across time. First, I gather elements—colors, shapes, lines—that respond to memories rooted in shifting seasons and landscapes. Then, using oils and waxes, I press and pull the elements onto the surface. The act of painting becomes a ritual, where the familiar past folds into the present moment, revealing hidden stories.
This evolving process is not predetermined. I follow intuition, letting the work unfold and choose its own direction. Contrasts in texture, color, and form become signposts along the way, marking transitions between emotional states and ideas.
Emerging from this threshold, the artwork holds a passage forward—a glimpse into possibilities and transformations yet to come. It is a dialogue between what was and what might be, a space where healing and discovery converge.
Through this portal, I invite viewers to step into their own journeys of renewal, embracing change as a vital force that connects past, present, and future in continuous motion.
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The Clothesline
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sculpture: double sided cast bronze art medal
4.5 x 4.5 x 0.375
The practice of medallic art allows me to create smaller, more intimate works. It also lends itself well to create a series of medals. “The Clothesline” is a first in a series I am calling "Mundane Medals," to celebrate all the beauty I find daily in the little details of our busy life. I'm one who loves to hang dry my laundry, and during the winter I string my clothesline up in my bedroom, (adds humidity and saves energy!) When I wake up in the early morning, with the first dim glimpses of sunlight, I see this rhythmic hanging of shapes of my shirts with such great shadows and texture. I am reminded of the early black and white photos of tenement apartments with clotheslines strung about and I think of my well being, the clothes I have, and the quiet comfortable room I choice to dry them in. A feeling of peace and comfort comes over me. On the reverse of the medal is a haiku that I wrote in support of the image on the front of the medal. A double sided medal begins as two separate pieces, each modeled carefully in clay or plaster. Then molds are made, lettering is refined, and waxes are poured of each side. After melding the two waxes together, it is shipped to the foundry to be cast in bronze.
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Five Plums
pastel
8.5 x 11.5
The colors purple and blue always evoke an emotion in me. I found the way the plums, nestled in a blue and white china bowl, were arresting.
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February in Forest Hills
egg-tempera painting on prepared panel
12 x 12
One fine morning I stepped out for a walk and was stunned by the beauty of blue shadows on the snow cast by lumonous February sun and the turquiose skies promising arrival of the spring. I made a quick plein air sketch, which was a base for this scrupulous egg-tempera painting.
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#1788 Stargazer Lily
porcelain
12 x 11 x 7
My hand-formed sculptures are nature-themed and this particular one is an abstract form meant to recall the Stargazer Lily. It is finished in high gloss white glaze.
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Petunias Noir
monoprint on rives BFK (Oil-based ink)
8 x 10
Flowers always inspire me. Working from life on a solid black inked plate, i lifted out details in the focal area, and then gently massaged the surrounding leaves in a subtle way. Calligraphy brought out the expressive quality of the flowers and leaves. Flowers are rarely painted in black. It seems the antithesis to the riot of color flowers bless us with. These are petunias seen at night glowing in the brightness of a flashlight.
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The Enchanted Forest
oil on panel
7 x 5
Most of my work is fantasy or Magic realism and one of the continuing themes in my works have been paths, whether its paths along forests or mountains. It is one of my metaphors for life in general. In addition, this piece was done in the grisaille method of oil painting which I love to do. It is the most effective method of conveying depth and atmosphere for me.
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Winter Night, Facing Northeast
watercolor and ink pen on paper
5.5 x 8
This is the house of one of my neighbor's on a cold winter's day at dusk. I was moved by the cold the warmth of the windows and taken with the beautiful near monochrome of the scene. Taps into a universal emotion that this winter scene of a home triggers.
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The Readers
oil on canvas
11 x 14
On my travels across Asia I was taken by scenes of everyday life in which figures demonstrated a type of visual poetry. These women, quietly reading newspapers in the park demonstrated a sort of energetic intimacy while in the midst of a busy, noisy environment. I hope to demonstrate the simplistic beauty of figures in action while drawing the viewer into the story of others' lives.
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Earth Angel
acrylic on canvas
6 x 4
Since childhood, I have had vivid dreams, movie-like visits to places and with figures that tell me of things to come, good and bad together. Who or what shares this is not clear - perhaps it is just the by-product of creativity. Colorful swirls present the living world, and the angelic figure brings hope and joy.
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Built to Last
monoprint, charcoal, graphite on archivaln ujabi paper
8.5 x 8.5
Built to Last honors the foundations we build for ourselves. Inspired by Ireland’s enduring stacked stone walls, the work reflects how layers of experience, relationships, and place form the base upon which we grow.
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Legend
fabric on board, acrylic paint, graphite, stabilo
15 x 15
My intention with this piece was to communicate feeling through its layered technique and color palette. My muse was a young girl who radiated mystery in her eyes. I blended abstract and representational style. I wanted to evoke the feeling of contemplative mood of my muse and used instinctual blending of styles. The overall effect I hope invites the viewer to linger on the muses’ expression and gesture
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T Square
paper, acrylic paint, and objects on birch panel
12 x 12
I blend a preoccupation with art of the past with a love of paper, objects, paint and design. I hope the resulting image engages the viewer in conversation with the work.
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Torso on Armature
sculpture: cast bronze on stone base
15 x 3 x 3
In this piece, I was thinking about the weight and strength of being female. I focus on the female form as I can feel its connectedness to everything. At one time, we were all both male and female, embedded and nurtured in the female torso.
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Whispers of Tradition
encaustic
12 x 12
Art embodies a dialogue between cultures, and my work serves as a bridge connecting diverse traditions through the lens of Japanese techniques. In this encaustic painting, I explore the intricate interplay of color, texture, and pattern, revealing narratives that resonate deeply with my love for Japan.
What excites me most is the opportunity to share the rich cultural influences that inspire my creations. Each piece reflects a journey, inviting viewers to engage with the stories woven into the fabric of our shared human experience. I aim to evoke a sense of nostalgia and warmth, encouraging conversations about the beauty of cultural fusion.
Through my artistic process, I strive to create works that not only adorn walls but also spark reflection and connection. By blending traditional Japanese techniques with contemporary motifs, I hope to inspire others to see art as a means of personal expression and cultural appreciation. My philosophy is simple: when I create, I want the emotional resonance of my work to endure, fostering a lasting impact on those who encounter it.
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Winter Walk
oil on panel
12 x 12
My work is rooted in direct observation and an interest in subtle shifts of light and temperature within the landscape. In Winter Walk, the primary focus is the contrast between the cool, blue-toned planes of snow and the muted yellow-ochre warmth of the distant trees. These temperature relationships create depth and guide the viewer’s eye through the composition.
I aim to suggest form rather than describe it fully, allowing atmosphere and color relationships to carry the painting. The simplified handling of the trees and snow supports a sense of quiet and clarity, inviting the viewer to engage with the scene without distraction. Through restraint and observation, I seek to convey the stillness of a winter landscape.
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Around the Bend
soft pastel on sanded paper
8 x 8
The light as evening beckons creates a sense of wonder. Who knows what possibility awaits just around the bend!
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Provencal Home in Lavender Field
pigment print on canvas
8 x 10
I was in Provence and spotted this home in this amazing lavender field in early evening light. I was drawn to the composition and had to capture it for posterity.
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Near B.Y.
acrylic on wood
11 x 12
It is dark walking to a closed off area called Ben Yehuda. I hear the music. I follow the lights and smell the aroma of cappuccino and mid eastern delights.
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Frog Splash
airbrush on smooth paper
9.5 x 9
I love using airbrush to paint wildlife, including insects, birds, reptiles, anything with fur. I started out doing biological illustration many years ago but discovered the airbrush and its versatility. The frog was a fun challenge.
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Windowsill Geraniums
Oil on gesso panel
12 x 6
It’s the light! Backlighting is the best. Love painting reds and the glow that light creates.
Ala prima painting.
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Palm Forest
watercolor and gouache on paper
10.5 x 14.25
This was painted on-site at Wave Hill Gardens. I was inspired by the depth of the palm layers in the Brazilian garden. The different sizes of the palms, whether it be wide, tall, or arching with diagonal stems interjecting motion, were fun to contrast with each other with abstract strokes and color.
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The Magic Lantern
printmaking
10 x 8 in.
This piece imagines a magic lantern show, a form of entertainment that was wildly popular before cinema. Magic lantern shows featured pictures on glass slides, often about travel and exotic lands, with live narration and music. Here the showman projects images about ancient Egypt to an audience, including one with a Theda Bara-like vamp as Cleopatra. The print combines multiple techniques: etching, aquatint, soft ground, dry point, and marbelizing in the lantern smoke.
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Persistence and Sisterhood
oil on cradled board
14 x 11
For their Graduation, my granddaughters wore white, along with the faculty and students. This tradition originated in 1909 to honor the Suffragettes. I used the concept to show the difficult climb that lies ahead, but, as both NAWA sisters and triplet sisters know, it is easier together.
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Winter's Heart
acrylic on canvas
12 x 12
"Don’t judge by the frost on the surface; true warmth is found when we look within".
A young woman stands alone in a snow-covered forest, her figure against the vast, quiet landscape. From a distance, she appears reserved, even melancholy, blending with the cold of winter. Yet upon closer observation, her eyes and posture reveal a soft strength and warmth within. This painting invites viewers to reflect on the contrast between outer appearances and inner life, reminding us that beneath the surface, resilience and tenderness endure. The warmth is not found in the season, but within the soul. My painting speaks of inner light, the quiet strength of gentleness - where even the coldest winter cannot touch a heart that remains warm. I am drawn to the contrast between the external and the internal: the frozen branches against a golden glow of the sky. The woman's calm gaze and protective layers symbolize a soft and warm heart - one that remains open and compassionate even when surrounded by cold.
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Hand in Hand
encaustic with toner transfer on board
8 x 10
I often use black and white toner transfers from my photographs to create encaustic paintings. I was struck by the love emanating from this elderly couple, on a warm summer day, on the streets of Manhattan. Two lucky people to have each other, and more precious than a newlywed couple.
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Psychedelic Lulu
paper and printouts on gator board
14 x 14
I read Little Lulu comic books when I was a kid. I decided to update her with some cool shades. The dorky hairdo stays the same, though.
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Interference Field
digital art
13 x 10
“Interference Field” explores perception as a dynamic system shaped by repetition, disruption, and visual density. Layered bands and wave-like forms—reminiscent of fingerprint ridges—interact to produce moiré effects, creating moments of alignment and distortion that reference optical and signal interference phenomena. As these elements overlap, the eye oscillates between order and instability.
Constructed through iterative digital processes, repetition establishes structure while subtle interruptions introduce tension and movement across the surface. The work invites sustained looking, encouraging viewers to slow down and recalibrate perception. In doing so, “Interference Field” frames seeing as an active process—one that emerges through engagement rather than resolution.
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Sumiko Inoue
collage, acrylic, charcoal on panel
12 x 12
Sumiko Inoue is a portrait shaped by absence, displacement, and the quiet resilience demanded by war. During World War II, thousands of Japanese American families were forcibly removed from their homes and interned, their identities reduced to numbers, their lives abruptly suspended. This work does not attempt to document that history literally; instead, it seeks to convey its emotional weight.
The figure emerges and recedes simultaneously, layered with erasure, abrasion, and fragile color. Her expression is restrained—neither confrontational nor submissive—reflecting the emotional containment required for survival. I use muted, weathered tones interrupted by sharp passages of color to suggest both vulnerability and endurance. Scratched surfaces, veils of paint, and partially obscured marks echo the experience of being seen yet unheard, present yet displaced.
The portrait exists in a state of in-between: between cultures, between belonging and exclusion, between visibility and invisibility. The surface carries its own scars—intentional marks that mirror the psychological toll of confinement and loss of agency. This is not a single individual’s story, but a composite presence shaped by collective memory.
Sumiko Inoue honors those whose dignity endured despite injustice. It asks viewers to slow down, to look beyond surface beauty, and to consider how history imprints itself quietly—through posture, restraint, and what remains unspoken. The work stands as both witness and memorial, insisting on remembrance through empathy rather than spectacle.
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Red Hat, Winter Night
pastel on pastelmat surface
9.5 x 12.5
I am captivated by vintage photos, spending hours on end looking at photographs of people whose day-to-day lives happened long ago. I guess you could say I have a fascination for the past. Pastel on pastelmat paper. Unframed.
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Crab Cakes?
ceramics
7 x 8 x 8
Walking along the beach in Costa Rica with its most colorful crabs, I observed a dog who was extremely interested in them! I enjoyed sprinkling a bit of humor and whimsy in the scene!
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Fungus (Orange)
colored pencil
6 x 6
Drawing has always been, more or less, part of my life. My great grandmother was an artist, as was my mother, and they influenced (and, in the case of my mother, supported) my affinity for realistic art. I focus mostly on detailed, realistic drawings, including magnified images of woodland landscapes based on photographs I have taken while walking in the woods and on the beach near where I live in Essex County, MA, using both graphite and colored pencil. I find the magnified images of the woodland floor compelling landscapes not only because of the varied shapes, but the myriad of colors. In this case, the orange and dark reddish purples are compelling. This particular image is a portion of a larger image that I intend to draw in the future, perhaps on a larger scale.
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Between Breaths
watercolor on paper
10 x 14
Between Breaths grew out of my interest in moments of pause within the landscape — those brief intervals where light, air, and space seem to suspend movement rather than describe a specific place. I was drawn less to depicting a recognizable scene and more to capturing a felt experience of stillness and renewal. I work in watercolor with an emphasis on layering transparent washes and allowing edges to soften or dissolve. Rather than correcting or tightening every passage, I let the painting develop through controlled wet-in-wet areas and intuitive color shifts, responding to what emerges on the paper. The goal is to create a sense of quiet immersion, where the viewer can linger in a moment that feels both grounded and fleeting.
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Stability
Collage: Linen, paper, acrylic paint, and archival glue
8 x 9
Black/Linen Collages, 2024-2025
I gave myself a challenge in this series: Use a minimum of color. Always include black. And leave areas of the linen background unpainted. To create a variety of images under these restrictions of color and space is an exercise in minimalism.
These works are small and almost square. They are primarily organic shapes but often play against others that are geometric. Some are very still and a bit architectural. Others are more dynamic and can refer to movements found in landscapes.
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Insomnia
Mixed Media: Sculpted frame with glass, dichroic glass cabochon and 24k gold
7 x 8
I am inspired by nature, dreams, spirit and antique treasure bindings. My work starts in clay and I cast, paint, mosaic and gild each piece, adding my handmade cabochons as the final ornamentation.
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Winter Moose
scratchboard
8 x 8
I took this photo in Jackson, Wyoming on a cross country trip with my daughter. It was lightly snowing and a herd of male moose were wrestling over a female near by. It was one of the coolest experiences I've ever had watching them together. I had to capture it in my new favorite medium!
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Cordgrass in Fall
photography
11 x 14
I came upon this scene in Acadia National Park, in a brackish salt marsh, I found color and texture etching into the water. The unusual deep red grass was mesmerizing!
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Winter Sky
acrylic on canvas
12 x 12
There is a barn that sits in a meadow near my house where I take my dog to stretch her legs, and in the winter I tromp around in snowshoes. I enjoy taking in this view of the barn through each season, from bluebird sky to approaching snowstorm.
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Farewell party
acrylic on canvas
12 x 12
To see a group of people always inspired me to paint or sketch the scene. Here a group of women are celebrating a young girl going to study abroad. The main character is in front, the others are part of the celebration. Always very important too.
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My Happy Place
oil on canvas
12 x 12
This painting was started as a plein air and completed in the studio. I am intrigued by trees and how they seem to hide from each other. Having been a textile designer I look for the patterns as I start my process manipulate what I see to create a mystery.
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Campus Point Lagoon II
Acrylic on cradled birch board
11 x 14
My kid is a student at UCSB, which is not far from where we live. Early one November morning, before it was even light, I got a slightly panicked text that he needed his spare key and would I be at all willing to drive it out to him. I was still in bed, but I could see the marine layer was starting to break up, and I had been meaning to get out to the lagoon on the campus and photograph it in the morning light, so with a raised eyebrow and a bit of snark, I hauled myself upright and took the key and my camera out to the lagoon. It was still a dreamy sort of half-light when I got there, and the sky was reflecting quietly in the water.
This piece is a little dreamlike because I was just barely out of bed in that moment. It feels like it is still carrying something of the night with it.
I paint in acrylics, largely because I like the fast drying time, but I have to contend with it by building up many translucent layers to blend and soften the clouds and reflections.
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Lingering at Dusk
3.25 x 4.25 in.
Painted with a credit card, this abstract acrylic work reflects the gentle drift of end-of-day thoughts - fragmented yet unhurried - as they move through the mind in haphazard succession.
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Purple Mts
acrylic / cradled wood panel
8 x 8
Our mountain trails take us up and into the valleys above Albuquerque. From a distance what looks purple or blue/green is actually quite different when amongst the sage and cacti.
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Activated Pocket Idols
sculpture
2 x 6 x 2
With this project, I created a hand-held idol form to explore the relationship between physical touch and spiritual connection through material manifestation. Each idol will hold the same conceptual meaning, no matter materials or processes used. The historical idea of idols being vessels that project or contain something intangible but with a more personal significance. I wanted to create an object that might offer an immediacy in comfort by being on their person. If it is believed to hold this comfort in its physical form and activated all the personal would have to do is touch it for reassurance. The form I created to be a maternal-like roundness and gentle form that abstracts figure into just a head and body. A crucial element that I think promotes the pocketed ability of the idol is the nail or screw at the center: the idol is not activated until the owner drives a nail or screw personally into their idol. Making this physical connection and experience the idol is then able to release and fulfill what it embodies.
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The Slipper
oil on linen panel
10 x 8
Sitting in my bathroom, just after a shower, I tried to reach my other slipper, keep the towel on my head, while holding my robe closed. A fleeting sense of vulnerability and tenderness came over me. These are the moments I look to capture in my work.
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Kailua Garden
acrylic on canvas, with 3D painted canvas elements added
16 x 12
My work is about joy. It is about the practice of intentionally noticing and connecting with the beauty all around us. I feel a deep and soulful response to the energy, colors and the intoxicating scents of the tropics. It is exhilarating to attempt to capture it. The volume is turned up. The palette is unapologetically wild.
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Pacific Seaviews
poured watercolors, fluid acrylics and paper collage on 300lb CP paper
17 x 22
My creative goal for “Pacific Sea-views” was to create a fusion of painterly representation and abstraction as I layer paint and paper to create an inspired landscape. In this painting, I have chosen to paint not just what I see in my photograph of the Pacific Ocean, but to use my mind’s eye; as I work to cultivate a story about weather and location.
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Change of Plans
acrylic, graphite, charcoal, oil pastel on gallery wrapped canvas
40 x 30
This composition encourages reflection on how unforeseen changes can reveal new directions and possibilities. It embraces fluidity in form and emotion, suggesting that balance often arises from openness to transformation. Through its careful layering and thoughtful contrasts, the artwork invites a quiet confidence in navigating life’s evolving paths with curiosity and grace.
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Empress Dowager Cixi (Summer Palace)
collage w/ hand-cut found paper, decorative rice paper, historical elements, NY Times, ink
13 x 10
Empress Dowager Cixi served as the de facto ruler of the Quing Dynasty, the last imperial dynasty of China, from 1861 until her death in 1908. In China, she evolved into a prominent female figure who protects the suffering, particularly women and sailors. The Iron Lady enjoyed dressing up, even taking on the persona of Guanyin, an East Asian Buddhist bodhisattva known for her compassion, mercy, kindness, and love. A Lotus Sutra manuscript read, "We shall walk in the footsteps of ghosts".
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Forest Inscape #35
acrylic on wood panel
24 x 20
The Forest Inscapes came about accidentally when I was experimenting with dripping acrylic paint on wood panels. I had used dripping extensively in my large Erosion paintings, in which the drips formed veils of colors. Dripped onto a smaller format, the columns of paint looked like trees instead of forming a veil. Thus were born the Forest Inscapes, explorations in color which have evolved to reflect the seasons in the forest around my studio.
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Olive Branch
mixed media
24 x 18
I'm a mixed-race Japanese-American. My main goal is to increase the visibility of Asian American artists after growing up in an environment where they were largely ignored. My hope is that young Asian American girls can study art today and see themselves as subjects of and as creators of contemporary art. World peace and bridging cultures are the themes behind this artwork.
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Searching for Answers
acrylic on canvas
36 x 36
I created this work at the end of a two-year collaboration with an ocean chemistry scientist. "Seeking Answers" immerses a transparent image of him within water patterns. It was a way to show how his important, grant-funded research required him to be “at one” with the ocean ecosystems he was studying.
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Because
acrylic on canvas
24 x 30
This Buddha from the Shaolin Temple in China symbolizes the strong Asian influence on the Pacific Coast. Early Asian immigrants mined and built railroads along the U.S. West Coast. The 1972 TV show Kung Fu featured the Shaolin Temple in its storyline. Today, Asian communities on the Pacific Coast are large and thriving.
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At a Glance
photographic transparency, fiberglass and foam, interwoven
14 x 11
This portrait embodies shifting colors and forms that result from overlapping multiple transparencies with screening material. When I made these works, I was inspired by Japanese printmaking and it’s influence on artists of the 20th century. I have worked with images from a vintage photo albums from that time that I acquired from a friend in Germany. The photos were faded and grainy at best. I was inspired to work with this image of an unknown woman, to bring her forward and have her seen in the light of today.
The colors reflected within the work change with time of day, light source and your viewing
position. This interaction enhances the mystery of the subject and how we perceive her.
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Two Cities
wood cradle, graphite, acrylic, mono prints, oil pastel
12 x 24
This piece is inspired by the desert accepting all who come. The need to wander in all, have adventures, enjoy the unexpected, but always return home to the love of the desert.
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Keyhole Rock Fog
acrylic glaze on gessoed paper
24 x 30
The Keyhole Rock series was inspired when on a sail to the Channel Islands, a sudden storm began to brew around us creating a variety of dramatic atmospheric effects.
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Glacier
oil on canvas
30 x 40
Glacier represents the peaceful scenery and transformative beauty of the Pacific region, where mountains and shifting atmosphere shape the land’s identity. The painting captures the sculptural elegance of a glacier, rendered in luminous, fluid blue. The layered waves of ice appear almost alive, echoing the slow yet powerful movement of nature. Behind the glacier, dark mountain silhouettes rise in contrast. Above them, a dramatic sky suggests the changing weather patterns. Through its expressive use of color and form, the painting invites us to understand the fragility and resilience of the landscapes shaped by the Pacific’s influence
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Stream of Light
oil on linen
30 x 30
Post War artists Richard Diebenkorn and Fairfield Porter working on opposite coastlines in like minded ways continue to inspire my own sensibilities for painting. Stream of Light in many ways pays homage them.
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The Open Gate
oil on canvas
16 x 20
I wanted it to be dreamlike. Like something you come across in a dream, in your dreams you don't usually see a lot of fine detail, it's the bigger picture that becomes clear. This painting was inspired by a ranch I visited on Smith Road in Oakdale. I had gone to a 4-H class with my granddaughter. The children were inside the barn taking a photography class. I was outside roaming around, when I came across this open gate. Something about it called to me. I felt a sense of longing--a loneliness-- if you will. Alone in this vast field.
In my painting, I wanted the gate to vibrate with color. The glow gives it a sense of importance. Red is such a passionate color. I took the liberty of giving it an almost surreal color. It could be a gateway to anywhere--someplace in your dreams and your inner landscape, or just an open field on the Smith Ranch in Oakdale California.
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Lisianthus
photo and pigmented beeswax combines on Kozo and wood panel
24 x 18
History comes to us incomplete, in fragments, half-remembered stories, and voices never fully recorded. I create fictional visual biographies that honor communities whose narratives have been marginalized or erased from official chronicles. Each portrait is an act of imaginative witnessing, making space for lives that might have been or should have been.
The imagery is a combination of abstraction and realism with a focus on metaphor and symbolism. Each of these mixed media works is composed of intricate layers of pigmented beeswax, photographs, and abstract drawings. The photographic elements are a fusion of reclaimed and reimagined vintage photographs, with my own digital photographs that I combine and repurpose to add narrative texture. This layered process mirrors how we access memory, peering through time with imperfect clarity, discovering how identity is constructed, concealed, and recovered across generations. These are deliberate fragments, not complete narratives: figures caught mid-turn, suspended between urgency and stillness, where personal experience meets collective history. I invite viewers to look through layers to recognize the rich tapestry of human experience that has always existed, waiting to be witnessed.
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Honoring the American West
found Objects, decorated boot, collage
16 x 16 x 2
This piece pays tribute to the spirit, resilience, and layered histories of the American West. The
weathered boot, adorned with beads, feathers, and the enduring symbol of the bison skull, reflects the blending of cultures, traditions, and landscapes that shaped the region. This work invites viewers to honor the legacy of the West: rugged, spiritual, and forever rooted in the rhythm of the earth and sky.
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Nothing is Permanent Except Change
oil on canvas, unframed
40 x 36
As I created these new works, I was keenly aware that every mark I made was made by one hand--my hand--and that the finished product would live and breathe as part of a world in which we all are tenants and that we all share. An expression is synonymous with Mother Earth, leading to our departure from the stations of life, our search for new noise and passion, and our empowerment and encouragement of change. In this conception, 'Nature' is not a source of material for production but the beginning and end of all life and culture. My work centers on the idea of being nowhere and everywhere, waltzing around cultural boundaries with beliefs and traveling through form and energy, attempting to incorporate conflict, balance, and harmony to shape the work's influences, thoughts, and hope for the same thing and shared moment.
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Where the Page Meets the Pacific
oil on panel
11 x 14
This painting was inspired by the years I spent living in California. Living near the ocean taught me to watch closely: the way light dissolves into water at dusk, how fog softens the edges of a city, and how waves carry stories even when no one is listening. These memories surface throughout my art, not as literal depictions, but as subtle washes of color and atmosphere inspired by the places I inhabited and the landscapes beyond them.
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Anastasia. The Firebird
oil on canvas
30 x 24
This is a portrait of a modern young girl, my daughter. Her appearance and style are shaped by the influence of various cultures. Her dress is reminiscent of the Firebird from Stravinsky's ballet. I tried to convey the dramatic blend of different cultures in her image, using the bright, contrasting colors of the dress and the cold blue colors depicting her face.
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Churning
acrylic on canvas
12 x 12
The ocean evokes a dynamic movement ever changing. The life like roots beneath the sea form a web of movement amd create an ever changing map. The rivers flow into the sea slowly or violently forcing change. My life on the west coast consists of the beach, mountains, streams amd forests that impress upom ones mind and mortal being.
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Haystack Rock
hand drawn sketch digitized w/ watercolor layers, oil-pen NeuroLines detail, matte finish, framed canvas, wood backing
20 x 16
I was raised in the Mount Hood wilderness, but the Oregon coast was close enough that Cannon Beach became a familiar place throughout my youth and early adulthood. Haystack Rock was the center of every visit. Its height and shape were steady markers along the shore, and it stood out more than anything else around it. In those years The Goonies held a strong place in the minds of many children. We repeated its lines, searched the sand for small objects we imagined as clues, and talked about pirates as if their stories might still be hidden along the rocks. Haystack Rock carried all of that for us. It was tied to a time when the world felt larger and full of things worth finding, and returning to it now brings back the same feeling.
This piece began as a hand drawn pencil sketch and was then inked and digitized so the background could be formed in quiet watercolor styled layers. After printing it on canvas with a wood backing, I added my NeuroLines work in oil pens to follow the structure of the rock and the movement of the water.
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Far from the Tree
pastel
16.5 x 14.5
I ran across these apples while I was wandering around under my friend's old fuji apple tree. They were way beyond the trunk and together they seemed to tell a story.
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Take a look down here
litho ink and watercolor on paper
18 x 26
I created a colorfield on YUPO paper using multiple watercolor media. I then created a litho background transferred to Rives BFK paper via my printing press. From there, I then created a collage from the colorfield by cutting it into shapes and placing it onto a plexiglass plate. From there, I soaked the paper and then transferred the collage images from the plate onto the paper, marrying the ink and litho into a completed image.
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Pt. Cabrillo Lighthouse Sunset
digital photograph on archival velvet fine art paper
10 x 15
This is one of many photos that I recently took at the Pt. Cabrillo Lighthouse which is in a state park on the California north coast. I was fortunate to have the park mostly to myself in the evening and thoroughly enjoyed taking photos as the sunset.
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Study for Stress Series 16-1
charcoal, graphite, conte, & ink on hot pressed paper
18 x 18
Study for Stress Series 16-1 and 16-2 are an aesthetic presentation of a world-wide menace. These drawings magnify in a dark and light aura small patches of timeworn accumulations of detritus. It is evident that flotsam and jetsam, marine debris places stress on the ecosystems of coastlines and internal waterways. One portent is The Great Pacific Garbage Patch. When separated from this detriment, the cacophony of design variations in line, color, shapes, forms, and textures in shallow spaces become visually mesmerizing. Since these masses also bear witness to beneficial and adverse choices, they become a chaotically archived vestige left for future forethought.
Linda Williams McCune
lindawilliamsmccune.com
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Petriochor
acrylic/mixed media, collage on stretched canvas
24 x 24
The scent of the earth in the spring after the rain.
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Water World
watercolor
18 x 24
The movement, the turbulence, the danger of the ocean. Everyone and everything can disappear in it. It’s very abstract it’s deconstructed.
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Treasure from the Ocean's Depth
sculpture: steel armature, cellulose fibers, pigments, plastic, copper wire, wax, resin coating
24 x 17 x 6
This sculpture continues the narrative of ancient artifacts raised to the sea's surface, reminding us of ancient civilizations, and the plastic debris in the oceans, a mark left by our contemporaries.
The were plenty of shipwrecks along the pacific coastline.
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Not All Who Wander Are Lost
oil on linen panel
12 x 9
This painting was inspired by my son’s move to California for his medical residency. During a family visit to Big Sur, I watched him walk ahead on the cliffside trail, taking in the vastness of the Pacific and the rugged beauty around him. In that moment, the scene felt like a visual metaphor - a young man stepping into a new chapter, following a path filled with possibility.
I wanted to capture both the landscape and the feeling: the soft California light, the sweep of the coastline, and the quiet courage it takes to walk toward an unknown future. The warmth of the grasses and the glow on the path reflect the hope and pride I felt watching him begin this journey from Augusta to California.
This piece is both a memory and a blessing - an image of exploration, growth, and the beauty of moving forward.
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Crossing by Sealight
mixed media
37 x 18
My work focusses on themes of displacement, migration, and ocean voyages. Part of a series of work entitled ‘Crossings’, this wall-hung piece addresses the notion of a fraught crossing from one place to another. Physical gaps in these works, that appear to be filled with light or with stormy darkness, are spanned by delicate threads and illusions.
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Incursion
oil on canvas
20 x 24
This scene was inspired by a visit to Pt Reyes in Northern California with my sister who lives in San Francisco. The beauty and wildness of these beaches was something I hadn’t experienced before, living near Philadelphia. Not a beach for swimming. I also learned about the invasion of the ice plant in the foreground. It was a beautiful red color but very harmful to the local plant and animal life.
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LA Discs
acrylic on canvas
37 x 14
When painting with acrylics my interest is in exploring the boundaries between abstraction & representation. I reduce the subjects to bold, simplified forms & create excitement & tension on the canvases. What does our sky look like to us throughout the day? Daytime to night time. What affects are the accelerated rate of heating of the planet, depletion of the ozone layer, bleaching of coral reef & extreme weather shifts having on our skies, our sun, our planet? The impact of these significant global events inspired the acrylic triptych LA Discs (Environments).
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Shades of Gray
oil on linen canvas
12 x 12
It is a common practice to create artwork through tone by manipulating the lightness or darkness of colors and shades to create form, depth, and atmosphere. When creating this artwork, I was focusing more on tones than color and decided to only use only the shades of gray to define the horses. By adjusting the contrast between light and dark areas, I believed I could control the viewer's emotional response, guiding the eye to focal points, and establishing a sense of realism or drama.
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Lady Liberty
watercolor and graphite
4 x 6
I make art that highlights the resiliency and adaptability of people, nature, and New York City.
My 2D art focuses on transporting paintings in watercolor – e.g. bringing the viewer to moments in the city and our natural surroundings. I use vibrant, transparent colors, always thinking about where the light drives the image.
In contrast, when creating art sculptures, I focus on cuts to make shadows in alabaster, limestone, clay, and cement castings. The materials allow for elegant lines that highlight the changing fauna/flora as waters evolve.
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Shore Line Drive
watercolor
22 x 30
I make art that highlights the resiliency and adaptability of people, nature, and New York City.
My 2D art focuses on transporting paintings in watercolor – e.g. bringing the viewer to moments in the city and our natural surroundings. I use vibrant, transparent colors, always thinking about where the light drives the image.
In contrast, when creating art sculptures, I focus on cuts to make shadows in alabaster, limestone, clay, and cement castings. The materials allow for elegant lines that highlight the changing fauna/flora as waters evolve.
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She Moves in Blue
oil on gallery wrapped canvas
36 x 36
My series ‘Coming up for Air’, marks the time between my former life and my current one as an artist. When I left my career, there was a long moment between deciding to, and leaving. It was glorious knowing a new world was coming but I was unsure of what that actually meant. I simply knew that it felt like I could finally breathe.
That sensation, the liminal space between letting go and moving forward, is always the moment in ‘Coming Up for Air’. I return to the idea over and over, painting moments of suspension and relief.
‘She Moves in Blue’ is the newest in the series. The surface light feels soft, highlighting that idea of being held in water. The blue-on-blue palette creates subtle movement, reminding me just because something seems still doesn’t mean the current isn’t moving.
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A Bright Future Lies Ahead...
colored pencil: holbein colored pencil on illustration board
22 x 19.5
My composition intertwines the realistic and fantastical worlds. This piece portrays the magical blend of childlike innocence with the spiritual power of illumination and self-awareness. The orbuculum is an object utilized in seeing things that would otherwise be invisible, yet with the eyes of a child, the world can be seen with an unfiltered genuine endless open mind, filled with joy, purity and void of self-consciousness. The fireflies and pondering orbs surrounding the young boy symbolize hope, goals, inspiration, guidance, creativity, self-awareness, faith, self-pride, knowledge and encouragement. Be intentional in the light that you seek in others and let your light shine so that others have faith in you. The light within us is the power of life. Let it guide an illuminated path to a bright and promising future that lies ahead…
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Monterey Clown
Polymer Photogravure Etching printed à la poupée, on Hahnemühle Dürer Copperplate Etching Paper
7.5 x 10
My artwork explores themes of nature in the form of animals, lands, skies and waters, always looking for the spirit and joy within.
I am especially enthralled with the beauty and grandeur of the natural creatures on our earth and in our oceans, their unassuming existence in their environment, their graceful fluidity, their subtle and changing colors and shapes, and wondering about their level of awareness.
In my artistic exploration in printmaking, I also am fascinated with process, of making the images, the plates, and then the printing. This particular piece is made from a photo I took at the Monterey Bay Aquarium. I printed it with a Direct-to-Plate process onto a UV Sensitive Polymer plate using an Epson printer, processed it in a UV exposure unit and then in water, turning it into an etching plate. Now the fun begins as I explore the best way to print the plate. The à la poupée method of applying different color inks to different areas, and the blending of the inks is highly technical, creative and absorbing. I am lost in the zone and find great pleasure printing this way.
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Hippy Flower Power
acrylic on canvas
30 x 24
My inspiration for this painting was my memory of when California was the epicenter of hippies laden with flowers and love and peace. I remain a hippy at heart as those values have stayed with me since.
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Working the San Joaquin Valley
Watercolor Pencil, Neocolor ll, on Rives Bfk
30 x 22
The migrant community is the foundation of Fresno County’s agricultural success. Located in California’s San Joaquin Valley, Fresno is located in one of the most productive farming regions in the world, growing grapes, almonds, lettuce, and tomatoes. These crops depend on the skilled, dedicated labor of migrant workers—primarily from Mexico and Central America—whose efforts sustain billions of dollars in agricultural production each year. Beyond their labor, they enrich the region’s culture through language, tradition, and community life.
During the four years we lived in Fresno, this community profoundly influenced my outlook and creative direction. It was my first experience living outside the East Coast and within a culture so different from my own. During that time I worked in a sheltered workshop training disabled adults from the migrant community to create slip-cast ceramics for sale at local farmers markets. Although I my job was to teach and supervise them, I learned far more from their strength, resilience, and quiet pride in their work.
WORKING THE SAN JOAQUIN VALLEY reflects that experience. Through rhythm, gesture, and color, I aim to honor the people whose unseen labor sustains both the land and those who depend on it. Their endurance and humanity continue to inform my art, shaping how I see connection, perseverance, and beauty in everyday work.
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Pike's Place
printmaking: monoprint with Chin Colle
16 x 12
Fish flying through the air in a lively market scene with sunlight shooting over the produce.
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Native Pottery
oil, charcoal, graphite on gessoed paper
24 x 18
Collecting pottery and ceramics and watching PBS
tv program "Antique Roadshow" are all influences. There was much paint application and amending to find the shape. I added pencil to enhance texture. Experimentation with color led me to choose a strong dark image. The influence of artist and potter Maria Martinez from the San Ildefonso Pueblo must be noted.
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Sway
soft pastel on sanded paper
12 x 12
I live in Massachusetts by the sea but savor my visits to the sea on the west coast in my frequents visits to my California family. Needless to say, we have no palm trees so their grace as they move with the breeze has long fascinated me and inspired a series of pastel paintings which attempt to capture their dance. My preferred medium is soft pastel as I love their vibrancy and immediacy in my landscape painting.
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Featherscape
colored pencil on paper
20 x 30
This piece entitled Featherscape emerged in a sudden rush of instinct, faster than I normally plan a composition. My Taino ancestry on my Puerto Rican side has always given me a deep pull toward Indigenous traditions, especially the spiritual relationship between ceremony, land, and sky. A family friend once gifted me an Indian headdress, and the symbolism of that offering stayed with me. When I created this piece, everything came together with an almost magical clarity. The feathers, the desert light, and the woven forms appeared as one vision. They reflect ancestral memory and the spiritual presence that moves through Pacific and Southwestern Native cultures.
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La Distance qui nous Unit
sculpture: pink Portugal marble
4.5 x 12.5 x 9.5
Distance was always thought as something that separated us, particularly the separation created by the seas and the oceans. It provided a sense of security.
Today, due to science and the enginery of man, we can think of the space that separated us as the one that units us. Our entire world is connected and can be reached in seconds.
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Sierra Daybreak
collage and acrylic on panel
12 x 16
I wanted to create an abstracted mountain landscape with expressive brushwork and a palette knife to suggest the feeling of snow, stone, and alpine foliage, using cool blues, soft violets, and mineral pinks, inviting the viewer to feel the mountain rather than merely seeing it.
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Skagit Farm
oil on linen panel
9 x 12
Traveling in Skagit County, Washington, this sign on a country road with its wonderfully understated way of selling berries struck me as rustic, charming, and clever. The farmstand it advertised stood across the road from the most amazing view of the Cascade mountains. Such a beautiful and memorable day.
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Driftwood
sculpture: acrylic paint, printed material on wood
6 x 4 x 4
My love of 3d work and patinas inspired me to create this piece. I enjoyed working with the surfaces to create a weathered look. Structural formality with the dynamic randomness of collage, reflects the natural construction of driftwood.
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Twisted Pine
oil on canvas
16 x 16
This painting of the Torrey Pine stands as a reflection of my own journey, a testament to endurance, transformation, and the quiet strength that grows from surviving life’s harshest landscapes. With its twisted trunk reaching toward a bright, open sky, the tree becomes a symbol of the power to prevail, echoing the resilience we cultivate through struggle.
The Torrey Pine is one of the rarest pines in North America, known for thriving in rugged coastal conditions where wind, salt, and shifting terrain shape its form. Its beauty is not born from ease but from challenge, and in that way, it mirrors the story of a life shaped by hardship, healing, and the determination to keep reaching upward. I see my own experiences reflected in its weathered limbs, each twist and curve an acknowledgment of the storms I’ve learned to withstand.
The clear sky above is not simply a backdrop but a promise. It represents the hope that guides me through difficult seasons and the calm that follows when clarity finally breaks through. Over time, I have learned to honor both the light and the struggle, understanding that the hard moments carve out the space for growth, depth, and compassion.
This piece celebrates the beauty that emerges from perseverance and the strength gained from surviving with an open heart. It invites viewers to see the grace in
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Splash
photography: digital
8 x 8
What is more west than water? A blessing and a burden, it can unleash fierce power or offer the gentle kiss of mist. A helpful healer or an overshadowing monster. In all its forms, water remains one of my favorite subjects to capture.
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Sunset Cliffs, San Diego
acrylic on canvas
24 x 16
I remain captivated by the stark colors and rugged terrain of the Pacific Coast at Sunset Cliffs in San Diego, where I visit frequently.
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Breathless
refractured watercolor on upcycled panel, gallery wrapped, with acrylic glaze
32 x 32
Dawn off my back porch looking east across the Salton Sea. Also contains the following Shakespearean sonnet I wrote for it:
Breathless
We oft forget the power in the air
until the moment that it is denied;
then we recall the instant we first cried
and know that our next gasp's without compare.
We often curse the wind that whips us clean
as blowing us and all our things away;
we fear trees that will fall instead of sway
and rarely stop to think this storm will mean
there is a reason behind the sky that raged
with passion, then left softness in its wake
with pastel colors reflected in the lake,
and recognize our lives are somehow changed.
At sunset or at dawn, then we can say
This was a day that took our breath away.
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Ocotilla and Mountains
Printmaking
8 x 10
Being a visitor to the west coast, the desert was a novelty, I wanted to remember the palette, the quiet vibe and simplicity, though schooling taught me there is a lot going on there that we don't see. Mountains are mysterious, and somewhat forboding- framing the horizon here, where the shrubs and shadows catch the heat of the day. It feels gritty and basic, dry, and yet spotted with color, conducive to the brushstroke. A monotype is a unique print obtained by painting, in this case, on plexiglas with printing ink, run through a press that yields only one product. It is a technique on its own- sort of a painter's printmaking method. You can't apply ink thickly, as it will just splat, but you can get interesting brushstroke effects. This is part of my Pacific memory.
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Reverie
Oil
20 x 16 x .5
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| Romm's art examines the divine intelligence permeating all existence, employing a visual language rich in light, color, and symbols that transcends the mundane and draws viewers into supernatural realms. Romm's creative process-guided by intuition and experimentation-blend influences from music, poetry, and personal dreamwork to explore themes of transformation, rebirth, and transcendence. She often employs nature's symbols—drawing from skies, trees, water, birds, and other elements—infused with dynamic color to depict emerging forms symbolizing the union of physical (earth) and spirit (aether). These compositions blur tangible-ethereal boundaries, transforming her paintings into portals that invite exploration of mystical landscapes where sacred and surreal converge. Romm’s paintings are not simply representations but invitations to connect with the deeper forces shaping existence. | |
| Waiver |
TopsyTurvy 3
acrylic paint & paper on board
16 x 16 x 1.5
My process as an artist is disciplined, intellectually challenging and inquisitive, much as it had been in architectural practice. I am not obliged however, to follow the many requirements that were once necessary to create functioning buildings. Works are now fantasy environments and constructions. I create vivid, colorful abstract compositions reinterpreted from actual building groupings or from shapes that come to my imagination.
The first step in the process is to sketch out ideas, which I often change as I move forward to completion. I focus on juxtaposed, overlapping shapes, receding and advancing in space. The use of acrylic paint and metallic paper lend well to sharp delineation of each element. Mounting paper on foam core board for selected portions, helps create a three dimensional illusion for the observer. I am energized and made joyful by the world I create.
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Still Life
optical clearance technology / tempera, oil, watercolor
14 x 16
I'm thrilled to be participating in my first virtual exhibition at NAWA.
I'm presenting two paintings created using a very interesting optical clearance technology.
I'm a little nervous, but I hope these works will be a positive experience.
I wish everyone creative inspiration!
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Own
optical clearance technology / tempera, oil, watercolor
11 x 14
I'm thrilled to be participating in my first virtual exhibition at NAWA.
I'm presenting two paintings created using a very interesting optical clearance technology.
I'm a little nervous, but I hope these works will be a positive experience.
I wish everyone creative inspiration!
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Swirl of the Sun Garden
acrylic
24 x 24 x .5
The artworks submitted are built slowly letting each mark settle before adding the next and the unexpected bursts of colors emerged intuitively throughout the process. Together they tell a story of growth happening quietly beneath the surface.
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