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yarn, excavated doll shards, black porcelain paint 30 x 28" On this hand knitted tapestry representing childhood and innocence is the tragic theme of brokenness and loss. Gun violence is the leading cause of childhood death. For every hundred thousand children, five are lost to gun violence as recorded by the CDC. As a therapist, I’ve seen their pain, fear, and the silent screams for help. In my art I seek to make their voices heard. I created Our Lost Children from raw wool, excavated doll shards, paint and tears, hoping all who see it will act to keep our children safe and break the cycle of childhood deaths by gun violence.
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welded steel scraps 30 x 12 x 12" This figure is the first in a series of ten that I started in 2021. I am concerned about families in flight - cloaked in dignity and hope under impossible conditions. Garments in tatters are implied by steel scraps, long legs bowed head indicate a will to continue. I believe art may give the viewer a chance to pause and consider stories in the world that are difficult, that it helps us see through the cracks of the world we live in, and instills empathy.
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onyx 10 x 16 x 15" The Invasive is a sculpture, in onyx, based on a two inch black seed of an invasive plant in the Hudson River. The sculptural forms of the seed are amazing and look a little like a devil"s head. Hence the nickname.
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watercolor, ink on paper 30 x 24" The painting depicts love and passion, often portrayed through the intimate interaction of the men and women in the piece. Using lines combined with watercolor and ink adds a sense of movement, life, and vitality to the figures as if they are in a passionate embrace. The composition suggests that the images are not only passionate lovers but also close friends, their connection goes beyond physical, and it is a deep and meaningful bond. Abstract elements add depth and complexity to the composition. The lines create a sense of life and energy, while the red adds emotion and intensity. I use abstract elements to create a sense of emotion and to convey a deeper meaning beyond the symbolic image
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recycled paper 19 x 9 x 9" I am inspired by organic shapes found in nature, and the structures I create are made with organic materials, paper & wood, they more or less dictate the shapes I decide to build around, which in turn become organic looking. I create coral pieces because I was always drawn to the ocean and loved snorkeling. Neither the use of paper, nor the love of nature and the ocean are unique in any way, I am but one artist in a million inspired by nature, I have a bit less competition with the material chosen; paper. What sets me apart in my work is my ability to manipulate it in the way I do.
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oil 18 x 24 x .5" Entanglements is a plein air painting of cypress trees on the rocky cliffs overlooking the blustering sea at Pescadero Point in Pebble Beach, California. The trees are entwined with one another as if in a comforting embrace, shaped by the wind coming off the water. It is late afternoon and the sun is slowly setting, shining a soft, warm light, casting shadows on the land and reflections on the sea.
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oil 30 x 30 x 1.5" My collection of paintings entitled, Where The Lemon Trees Bloom are imagined landscapes with an emphasis on the concept that the contour of the land is timeless, the vision eternal. I use the landscape to highlight color-filled shapes, depth and texture.
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ceramics and acrylic paint 15.5 x 10 x 11.5" The sculpture "Untitled (Head), is a work in clay, painted in layers of acrylic and gesso. It depicts an African American man, in state of suffering from racial abuse. It was inspired by a friend of mine, a guitar player, who came to practice one evening and told the band of the prejudice he endures on a daily basis in his workplace...
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clay 2 x 3 x 5" How can someone shoot a child? This is a young boy shielding a little girl in her classroom. I envision these two huddling next to a wall displaying preschool art, by an overturned desk, and away from a door. As much as he tries to protect her, he cannot. Wearing her favorite dress and he, his favorite hat and hoodie, their day began as any other. Unlike my other work, sculpting this was an emotional challenge that brought tears to my eyes until I had to stop. How do we make it stop?
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acrylic on cradled wood panel 30 x 30 x 2.5" The descriptive and passionately written poem, "The Sea", by Ralph Waldo Emerson, was my inspiration for this painting. I strived to create a visual image that is as sweeping as his words! I chose to paint on natural wood and kept the sides of my painting natural, to coordinate with the organic subject matter. An integrate part of this piece is my calligraphy on all 4 sides of Emerson's words in brushstrokes of paint., harmonious with my impressionistic scene's colors, brushstrokes and mark making.
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oil on paper 30 x 24" I love Central Park. I've come to know it rather intimately during the last three "Covid" years. I wanted to try and capture the feeling of a fleeting season in my painting. I used simplicity and abbreviated line and color to evoke the scene. The duck happily paddling along was the icing on the cake. I have painted similar scenes at this spot in spring and winter. No matter what else happens, it's a comfort to know it all will return again the following year.
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acrylic 24 x 24 x 1.5" "I Wanna Scream" for those who cannot. For the women whose right to speak up for themselves is constantly suppressed. For the journalists who cannot speak about a government's corruptions and/or atrocities without threat of imprisonment or physical retaliation against those they love. For the physically and emotionally abused who cannot cry for help for fear of what might happen to them. For the doctors who are threatened by their own government if they administer the care that their female patients so desperately seek. Art has always been an echo of the artist's world and of his time. And our present world has too many voices being muted. Too much silence when we need to scream!
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acrylic on canvas 19 x 25 x 1" The urban landscape of New York is my primary subject matter. I have always been fascinated by how socio-economic forces have transformed neighborhoods over the decades, but I try to capture a sense of permanence amidst the flux. The Limelight is a Chelsea landmark, and as such it is a symbol of permanence, but it also encapsulates the ever-changing demographics of the city: In the mid-nineteenth century, the building was an Episcopalian church; in the 1960's, it was deconsecrated and transformed into a rehab facility; then in the eighties, it was turned into a nightclub. More recently, the building has housed a mall and a gym.
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mixed media 20 x 16 x 1.5"
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digital painting 14 x 28 x 1" I have always loved creating landscapes, and whether I am painting with actual paint or with my computer, I quickly and happily become lost in the process. Also, always evident with either method is my intense love of color. Catskill Morning is born of my memories of family journeys through the beautiful Catskill mountains when I was a child.
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bronze 6 x 8 x 6" In 2017 a man opened fire upon a crowd that were attending an outdoor concert in Las Vegas, Nevada. The people ran to escape but were caged in by the barriers that were installed to prevent non paying customers from entrance - they were basically sardines in a can, unable to escape the onslaught of gun fire. "Child Proof? was created with the Las Vegas shooting in mind; although not carried out by a child our country has since experienced far too many gun killings.... and now even by children.
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acrylic, latex, graphite on art board 16 x 20 x .5" I moved from California just three years ago, largely due to wildfires, and found myself in a quiet rural New England town. Objects and photographs from years ago when I lived on the East Coast, that had been stored away for many years, when rediscovered, triggered an avalanche of memories and emotions. This piece is one of many that I refer to as Envisioning Emotional Connections Between Objects, Time, Memory and Experience.
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photography 22 x 18 x 1" This photo brought home to me the importance of timing. While sitting outdoors near Madison Square, I glanced up to spot the MetLife Building casting a perfect shadow of itself on a nearby office building. Minutes earlier, or later, the sun would have shifted and the shadow would have changed. An unexpected find captured at that perfect moment!
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oil on canvas 22 x 28" When I first saw Hudson Valley's landscape, I was stunned. It was picturesque, friendly, and colorful! It had incredible richness of nature - wild flowers in fields, abundance of trees and bushes, green grass around houses... Nature in Hudson Valley is so powerful that it could easily overcome human-made structures. But at the same time, nature and people their live in harmony with each other., and human habitats in Hudson Valley look so different in compare to disturbing life in big American cities. All that make this area unique and magical. In my painting I tried to express this harmony and promising way of living.
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oil on panel 7 x 7 x 2" Books, as well as objects, tell a story and have a history. This painting celebrates the typewriter with a nod toward the nostalgia for things in the past we still hold dear. Virginia Woolf said, “Happiness is in the quiet, ordinary things.” I hope this work reflects that sentiment.
SOLD
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watermedia 23 x 30" My paintings use symbols reflecting my personal experiences and Hispanic heritage. Paintings are started with a line drawing of sub-conscience images developed as I meditate. The earthy primal colors echo primitive emotions evoked by ancient art and rituals.
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terracotta 7 x 18 x 9" I’ve been working in water based clay which gets fired in a kiln, rather than plastilina on a metal armature which requires a mold, casting and patination to produce a finished piece. I love the color of the natural clay, and although it requires hollowing to avoid air bubbles which can explode in the kiln and destroy everything. The work produced is able to be offered at considerably lower price points. This piece was inspired by the model’s musculature, bulked up by recent physical training, and a joke about his male anatomy. He got “another sword” which then required a protective shield! The piece is named for the play by George Bernard Shaw, and the opening words of Virgil’s Aeneid.
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oil on panel 14.25 x 14.25 x .75" I love to paint little vignettes of everyday life. I have a bookshelf in my home studio that has my art books and little items that I love. One day as I was walking by it caught my eye and I took a some photos. This is one of 2 paintings that I have done of my book shelf. They feature "cameos" of favorite artists.
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photograph 18 x 24 x 2" I'm an artist-photographer interested in people in places. Some interact and some are alone in a crowd. The Metropolitan Rooftop is a beautiful environment to watch people in a setting that is unfamiliar but provides a space to be who they are.
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digital archival photograph sublimated to aluminum 16 x 24 x 1" Tibet first captured my imagination many years ago when I was in art school. I was finally able to make the journey to Tibet on a photographic odyssey as part of a life celebration for my 50th birthday. Even though there are very few elements in this picture, I see a complex emotional range. It is a fleeting moment that somehow has permanence and an endurance, even in a religion based on impermanence. The scene that is about to unfold might be almost exactly as it would have been six hundred years ago. But will it be the same six hundred years from now? The folded robes are silent. They contain both presence and absence. The answer is unknown.
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silverpoint drawing on an illustration board prepared with a tinted blue ground 8 x 8"
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archival pigment print 22 x 28" It's a joy for me to see children so freely engaged with the magic of bubbles. This image reminds me to take hold of that feeling of wonder however expressed and share it my way.
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oil on wood panel 30 x 24 x 1" Part of a series that focus on the way reflections of the landscape on water look like calligraphy- like another language. I am trying to both represent and share that language, deleting most of the information about the land and vegetation that makes up the reflection, which results in an abstracted presentation.
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acrylic, oil, glass 12 x 12 x 2" My work is experimental. I used the left overs in my studio such as dried acrylic skins, seed beads, and a remnant of a bespoke glass piece gone wrong. I threw done the initial paint and let it dry. I stayed in a state of being open as I layered the skins, seed beads and glass pieces on the board. I added more paint and then finished the pieces using fat oil sticks in white or black.
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glazed terracotta 15 x 11 x 9" Faith that nature will always rebound after devastation is my inspiration. In the throes of current natural phenoma: fires along the West Coast and miles of forest destroyed, floods, landslides, late season snowstorms paralyzing the Midwest, tornadoes... but with the conviction that all the negative is surely cyclical, I pursue my art -- aware, and hopeful that although the work may document the times I can convey the spirit of hope that golden days await ahead ---
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digital archive photograph 20 x 16 x 1" From my observation point, the staircase seemed to have a feminine, curvaceous presence. The interplay of the lines, shapes and twists was fascinating. It's not a subject that I usually photograph but the perspective was unique and appealing. The colors were muted in an almost dreamlike way, giving the whole scene a surreal feeling.
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oil on canvas 30 x 29 x 1.5" Whale Watching is an oil painting on canvas and was inspired by a trip across the Pacific in a small ship. For thirteen days there was nothing but blue! It was marvelous and inspired a series of all blue paintings. The somewhat monochromatic palette is bright and bold ultramarine blue in all shades, light to dark, with some turquoise and white as well. Lots of movement and depth have been created by layers of paint and bold brushwork. Packs a punch for its size.
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fused glass 14 x 14" Glass is a very technical medium and my journey has been to learn different glass kiln-forming techniques to intertwine them together. My intention with new glass artwork is to start using glass sheets, crushed glass, glass stringers, glass powders and enamels to create images that go beyond the definition of fused glass (kiln-forming glass). Combining my artistic ability of drawing/painting to the glass elements allows the glass to appear as if I am painting with glass and giving it a magical flow.
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wood-fired stoneware 16 x 16" What lies beneath surfaces? In this work, The Hidden Thorn, viewers are confronted with the possibility of something hidden within the gentle folds of this sensuous sculpture. Is it dangerous?
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ink on paper 16 x 16" This drawing explores the feelings and process of mourning. This is part of a continuing series as I explore my feelings around loss.
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cut canvas, acrylic, collage mounted on panel 29 x 17 x 2" My Off the Wall series are experimental, dimensional, sculptural works that hang on the wall. These pieces reflect my aim to breakaway from traditional 2D canvas and paper surfaces. I like to "destroy" or "violate" these traditional surfaces in order to discover new working platforms that stimulate my way of seeing and interacting with each unexpected outcome.
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watercolor 25 x 20" The Library Lion in front of the 42nd street Library is cherished New York Icon. I have admired it since I was a little girl and could not wait to paint the image.
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photography 14 x 11" In my art work, I capture the simple beauty in the natural environment, providing moments of serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. After several overcast days on Amelia Island, the sun finally burst out for a beautiful sunset. I then rushed out to capture this particular image in the enchanting light about a half hour before sunset. I printed the image using the platinum/palladium printing process to capture a softer, painterly effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the image.
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watercolor, pencil 15 x 18"
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watercolor 13 x 17 x 1" During the Pandemic, I spent quite some time sketching my houseplants! I then abstracted the forms to achieve this painting. I like to use watercolor in a non-traditional sense-emphasizing the use of color.
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oil on canvas 30 x 24 x 1.5" My current interest is in the expression of emotional reactions to my environment -- the context of my experience of events or ideas. My vision of the world is pared down to its essence and the abstractions that emerge in this series inform my own understanding of the way in which I encounter the world. My personal milieu and my engagement within it form an organizing framework for explorations of evocative anecdotes – suggestions of being in a particular place and in a particular state of mind.
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oil on garments mounted to board 20 x 16 x 2" I create canvases of deconstructed garments that I enrich with paint application. My works regard the dressing table in metaphor reflecting qualities of the feminine, aspects of womanhood, and identity. This piece is from a series of vignettes about the depth of emotions a female may experience reflecting in the mirror; thoughts she may have about life. Addressing the vanity as a place where one creates one-self; a study of women’s practices acts as an investigation into self and personality. Often appearing as stage-sets, vanities become theatrical platforms to speak to the evolution of femininity and the way we tear ourselves to live within what is socially accepted as feminine.
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watercolor 18 x 25 x 1" "Watercolor Works" explore the relationship between nature and the built environment. Watercolor has been a favorite medium of Architects, prior to the advent of photography, and now as a means of recording the topology of places [i.e., the topographic study of a given place, especially the history of a region]. As an Architect and Urban Designer, Mary Elizabeth Rusz continues in this tradition, Her paintings explore the “genius loci” – the essential quality or special nature of each selected place. Ms. Rusz is a Fellow of the American Institute of Architects, a Resident Artist of the Salmagundi Club of New York, and a NAWA Signature Member since 2012.
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acrylic on canvas 9 x 11 x .5" This is one of a series of small paintings exploring the light and impact of Sunshine and Moonbeams in the South Florida Everglades, particularly in the Fakahatchee State Preserve. Each scene is abstracted, and a similar palette was used to give unity to the series with the goal of having each painting able to stand on its own.
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bronze with patina 17 x 22 x 20" Traces of our human existence is reflected in the shadows.
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oil on canvas with metal weights and angle bars 24 x 14 x 2.5" The figure walks with purpose through the storminess of life knowing that she is stronger for it. The gold and blue colors speak to a better day. Metal wires and weights wrap her environment in a manmade structure that reflects burdens and barriers by which her spirit will not be held captive.
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oil on linen 30 x 30" In the work titled 'Chapter One' a young child faces a group of animals. As I painted the colors became brighter and the subject matter representational rather than exacting. In the end I saw this to be a bit of an autobiographical piece as most of my work is. However, the narrative is open to interpretation.
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mixed 17 x 14" My Aunt May loved butterflies and asked me to create a collage for her with butterflies. When I finished this piece she inspired I could not part with it. I created another collage for her, which she cherished. I kept this one. My aunt passed away a number of years ago and in her memory I would like to share this collage with you and, I hope, have it find a new and welcome home.
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plexiglass/wood 12 x 12 x 2" Color and reflected light have long been my areas of interest. Creating abstract sculpture using Plexiglas offers a significant ability to produce work with unique colors. Each sculpture alters when viewed from different vantage points. My work explores the abstract interaction of individual colors overlapped or set next to each other to produce a variety of tones and hues. The composite of all the individual components creates a distinctive visual statement. The sculptures are sensitive and meditative. They celebratory and joyful.
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pastel/stonehenge paper 22 x 28" The sky is ever changing and because I spend a multitude of time at the edge of the Atlantic Ocean I am constantly inspired by the variations even from moment to moment. While, Red Sky, may seem an exaggeration, in reality it was a particularly magnificent and pervasive sunset that saturated not only the sky but everything under it, including the ocean with a deep red glow. A truly mystical moment.
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