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oil on panel 18 x 18" This painting is a plein air painting done on location. Cottage Garden, was painted in my father's garden in Alameda, California and won the Island Award of Merit during the Frank Bette Plein Air. My father's garden holds a sense of childhood fascination and magic for me. He is the gardener and he enjoys nurturing the plants and watching them grow. The place is filled with the wildness of the plants, the beauty of their blooms and the greens of their leaves.
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oil on canvas 40 x 30" Summer 2022, I spent time in Roussillon, France. Roussillon has been the major source of ochre pigment for thousands of years. I walked the ochre quarry paths and filled a sketchbook with drawings. These colorful paintings reflect the excitement I felt.
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mixed media on canvas 36 x 46" Karlene explores memories and perceptions of the natural world through her colorful, gestural paintings. She uses shapes and lines to mimic organic forms found in nature, playing with positive and negative space and layers of paint to build up a sense of atmosphere on a flat plane. Her work is also fueled by bursts of color. While not true to life, her palette creates a conversation between cool and warm tones and serves to energize her compositions. “McConnell uses her experiences of the real world to recreate the joy, excitement and even the magic of a walk in the woods. When she is “in the zone” she is exploring the interaction of vibrant colors or making simple marks that mimic nature and are pleasing to look at. Harking back to Matisse, we hear a similar theme: Composition is the art of arranging in a decorative manner the diverse elements at the painter’s command to express his feelings. This is about as close to a manifesto that we can imagine for the wild beasts (Les Fauves never wrote one) and it applies to McConnell as well. This kind of painter makes no effort to desaturate or blend but allows pure color, even discordant ones, to ring out at a maximum intensity.” - Dr. James Murphy - original Art Director Atlantic Center for the Arts & former Art Professor Florida State University.
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acrylic, oil pastel, graphite on canvas 35 x 36 x 2" It is the space between things that I find fascinating; the space between thoughts, between moments, between physical things. I have read that we are mostly the space between the atoms that make up our physical beings.; not solid at all, it turns out, but primarily the gap, the void, the opening between the atoms. I ask myself what lies in that space? Is this where we find spirit? or consciousness? I believe it is in the space between what we see that Life actually exists and that is where the focus of my art lies.
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acrylic & latex on canvas 30 x 40 x 2" After living in Los Angeles for years, I moved to Northern California. The pristine beauty inspired me to paint the landscape - motivated in part by the fear that I would wake up one day and it would all be gone! The Wildfires of 2017 were traumatic, we (my husband and I) experienced three on our land that year. Lower Ridge and Cow Mountain Under Smoke were both painted during the 2020 fire season, I felt as if I had to bear witness to this vanishing landscape. Later that year, largely due to the sudden death of my youngest sibling and ensuing California wildfires, we chose to sell our 195 acre place and move back to the East Coast to be near family. In my quiet rural town we are creating a new life and farm. I am still witnessing and interpreting the landscape. October Garden is about the excitement of connecting to and observing my new environment.
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ink on paper 10 x 8" I’m interested in notions of landscape that focus on shallow water systems in both natural and man-made environments. This work combines representational and abstract approaches for a dialogue that addresses structural complexity and metaphor and which celebrates the intuitive response across painting, sculpture, drawing and print media. The monoprint/monotype process that I explored in early 2023 became a way to expand my drawing practice and still convey a natural water system where familiar color, structure, and perspective are replaced and re-ordered.
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oil on panel 16 x 16 x 1.5" "Soliloquy" is the 5th in a series of 16" square paintings using the coastal Pacific province of Guanacaste as its setting. Mounded isles covered in hairy, gnarly trees dot the coastline. The sky is loosely based on a photograph I took sailing into the sunset. I often reference birds in my work, and in this piece I painted flying flamingos. The flamboyance of the flamingos is echoed in the costume of the figure in the foreground. The patterns and history of harlequin costumes suit my tattooed model and this exotic landscape to a "T".
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acrylic, collage on canvas 24 x 24 x 2" My Portals are acrylic, mixed media on canvas. They represent openings to opportunities, the unknown, which seem promising, beautiful, enticing. Like Native American "dream catcher," portals offer a landscape of positive energies surrounded by edges that can snag and encumber the viewer as they reach for the magic in the center. Portals reflect opportunities for a quiet, meditative, and peaceful space encumbered by unknown obstacles, dangers, and barriers. One must focus on the safety and quietness in the portal's center, while also navigating the broken, seen and unseen impediments that may interfere with the journey forward.
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platinum/palladium photograph 11 x 14" In my art work, I capture the simple beauty in everyday life, the commonplace or ordinary scenes in the natural environment. These images offer us rare moments of solitude, time to slow down and observe the world around us, and to enjoy quiet beauty and serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. In these images, I combined infrared film negatives with the platinum/palladium printing process to capture a softer, mystical effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the images.
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watercolor 17 x 22 x 1" I try to use watercolor, to paint abstractions. Landscape is perfect for this: there are so many shapes and colors from which to choose.
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acrylic on canvas 24 x 36 x 1.5" In "Territory Unknown", I use abstraction to convey the notion and emotion of displacement. Given the pandemic, political acrimony and the ever-present refugee and immigrant experience, we can all relate to the sense of feeling displaced. This painting attempts to capture and evoke such feelings.
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mixed media on linen 36 x 36 x 1" My painting series is inspired by the elements of Earth and beyond and its organic depth of color. I see inspiration in landforms from above, water’s transparency and movement, rocks and minerals and their multiple layers of colors. Many of the materials used in painting are derived from elements of the earth and I use these elements to build something abstract and yet symbolic of what our planet is made of. Circles also have a symbolic meaning of infinity, balance, returning cycles, and the cosmos. I am creating a story of our planet but most importantly a dialogue about climate change and what is infinite or finite.
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oil & cold wax on canvas 18 x 24" My goal is to capture unique landscapes and bring the viewer into the place I have visited. In both paintings I worked to capture the feeling of cold and vastness; and how the animals find resolve in harsh the environments.
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acrylic on canvas 36 x 36 x 2" The 36 x 36-inch panels are part of a series that begin with fall and winter, and as the images progress, a pregnant female form emerges from her leafy environment, and ends with new life being nurtured in summer. They speak to the intimacy of our relationship with nature, and perhaps a larger cosmic vision of the wisdom of embracing the feminine energy that birthed us all.
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pastel on paper 11 x 11" I love capturing the essence of life with my art. Using distinctive coloring technique and imaginative approach, I depict the subtle lights, reflections and hidden hues on the subjects. The subjects are either close to my heart, telling a story, or from a memorable moment. Storm tree is based on my travels to the Irish countryside. I saw this tree wrapped by another. The tree branches are completely intertwined and formed this dreamlike shape, almost look like they are moving in a storm.
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acrylic on wood 24 x 20 x 1.5" This painting was begun experimentally by dripping paint, which I then slashed through. I had the idea of making some sort of dense floral, decorative abstraction, but it evolved into the painting of a hedge. Adding the doorway transformed it from a landscape into a mindscape, as we are invited to explore unseen depths.
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watercolor and ink on paper 12 x 12" I dream of landscapes, lush and tropical, or watery and luminescent. My dreams insert themselves into my paintings whether I plan this or not. My process involves many layers of transparent and opaque color to create a vibrant painting. My images often include imagined planets, blue suns, red palm trees, and purple waters.
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acrylic, oil, wax, metal leaf on cradled wood panel 24 x 24 x 1.5" In my work I tend to pare down visual impressions, which is a refinement my senses enjoy. The result is abstraction. Elements of landscape are usually the springboard -- and spaciousness is where I play. Lively pockets of activity speak to the viewer within layers of painted history, much of it rich with life and possibility. And there is always the 'space' which remains, somehow present, comfortable and embracing. The mindful awareness of Space is the stage upon which all else lives and moves -- vast, recognizable, within the reach of our imaginations, but just beyond what we can fully grasp. I am energized by this notion and by inner landscapes -- the places I visit when I close my eyes.
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gold painted marble heads on wood stand 7 x 18 x 12" Two lines of thought influence my work: The prehistoric Neolithic Period and Buddhist figures. I used leftover stone and reclaimed wood to create both landscapes. Gold paint is the latest addition to my work. One landscape tells the story of Venus of Willendorf, whom I imagine being a female direct carver standing tall among her self-made stone sculptures. In the other piece, I created the burial ground of four parts that make up a whole: the self, the person, the living soul, and the being reunited in their resting place. The four selves are a recurrent theme in my work.
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oil on paper 22 x 30" This painting reflects my long love of mountains. I lived for years in Geneva, skied and hiked in the Alps and the Jura. From the Green Mountains and White Mountains of New England to the Tetons of Wyoming, I retain vivid memories. In my imagination these impressions are transformed, reworked with many techniques, and imbued with emotions. Mountains represent many sentiments.
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acrylic on canvas with mixed media 32 x 12 x 2" Mabel Dodge Luhan was an American patron of the arts who was associated with the Taos art colony. After her marriage to Native Tony Luhan in 1923 she purchased Kiowa Ranch near the Lobo Mts. The couple hosted influential artists and poets in New Mexico, where she experienced a spiritual awakening.
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cut & painted paper, wire, tissue paper on canvs 24 x 18 x 1.5" One of three different works, but all collage paintings, that are puzzles of design construction done layer by layer. I cut and paint each piece of the puzzle then assemble it then glue onto canvas or masonite. When I am doing each piece I do not know where it will take me. This piece is part of an on going series of works. I have selected one work from each of my series: Evil Eye Protection & #13 -Tissue paper, recycled fruit crates, wire, paint on canvas.
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sculpture installation 48 x 84 x 72" I create staged environments defined by human presence. I sculpt fibers to extremes with textures, scale and forced perspective. I challenge the audience enter my world of illusions, entertaining contemporary issues and calling for consciousness.
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acrylic on canvas board 18 x 24" It started in 2013 as a mountain landscape, and it never felt exciting or finished until this year when I realized what image was hidden in it. I traveled in the Himalayas for the first time in 2008 and realized right away that any photos taken of them are just facades. The energy there was palpable, transformative; it was in everything and everyone, crystal, intense. Charged place. Trees, hills were engaged with each other and humans intensely. I am sure we all feel that when we are spending time in nature, but this intensity was very new. It was as if all colors became more vibrant, all emotions (especially bliss) became strong. Nothing ever returned to the feelings I had before the trip, which I know perceived as a bit muted experience. Meeting Gods changes you.
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serigraph (silkscreen) 10 x 8" Landscape series is composed of two serigraphs that deal with private and public worlds. Inner Landscape demonstrates how little we really know about another living being's inner life. It can be healthy and growing like a forest, as in this artwork, or something entirely different. Outer Landscape demonstrates how much we can guess about another living being just from their outer appearances. That being said, appearances can be deceiving and there may be important aspects of personality that are hidden from view.
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oil on canvas 24 x 18 x 0.7" I am a contemporary artist, whose style could be described as a blend of symbolism and surrealism. My goal is to bring dreams and creativity into physical reality. My artworks are characterized by vibrant colors, a balance between light and darkness and neat brushstrokes. I take my time to accurately compose the characters, so they could elegantly express their emotional experience. I am influenced by the old masters like Thomas Gainsborough and his remarkably delicate feminine characters, and by surrealists like Frida Kahlo, and her expression of pain and passion. My main medium is oil on canvas. I am experimenting with watercolors and ink pen as well.
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pencil and colored pencil on pages of an old cookbook 17.5 x 21.5" The work is a drawing of my mother in her WWII Royal Air Force Bomber Command uniform. Instead of drawing paper, I used pages from 'The Settlement Cookbook,' a guide she was given to teach her how to be a 'good American housewife' upon arriving in the U.S as a war bride. I drew her military logo with its words "strike shard and strike sure' floating to the right of her portrait. On the left, an old-fashioned stocking clip hangs like a war medal. Red stitches are drawn to represent the "woman's work" of her new assigned role in America.
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print on paper 14.5 x 6" When I turned 50 and was forced to spend a lot of time in doctor’s offices and hospital waiting rooms, I began cutting images out of magazines – that was the beginning of becoming a serious artist. I took classes and created intricate collages. Eventually I began experimenting with other materials and techniques. I also began studying with instructors who encouraged me to be creative and follow my own ideas. The images in this show were inspired by family and friends -- my Aunt Mary who loved butterflies and nature, my friend Stephanie who encouraged me to fight for women's rights, and my teacher Martha who helped me explore new materials and techniques.
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oil on canvas 26 x 22 x 2" Part of my Conversation Pieces series, this is a piece about the expressiveness of our hands as we converse with one another. I made up the green rings, because I liked the sound of it for the title. The Conversation, painting suggests a conversation as one sits across the table from someone, implying a relationship between viewer and figure. There is also a connection with the viewer in the familiar habit of shared coffee. When I have my coffee, experiencing warmth on my hands, how many others are doing the same thing? What is familiar are gestures of hands--as stories are told--there is an underlying drama in the human exchange.
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watercolor 11 x 10 x 2" My watercolor paintings and graphite drawings celebrate the beauty I find in the world. I work in the tradition of the great British watercolorists, layering layer upon layer with pigment and or graphite to build depth and dimension in each composition. First Snow captures a moment in time in the relationship between owner and pet linked together in the quiet of the snow.
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archival digital photograph on paper 16 x 22" These days I find myself exploring life's choices. I see another's world in this their moment in time and reflect on the choices, the dreams, the desires that have lead them here. These moments capture my imagination leaving me wanting to know more, moments I hope to share along the way.
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acrylic on stretched canvas 30 x 24 x 1.5" My artwork features a vibrant color palette, body language, and movement in abstract scenes of women. As I apply layers of charcoal and acrylic paint, figures are revealed and their stories emerge. My inspiration is rooted in my work as a somatic psychotherapist. It was a privilege to co-create healing spaces with women. as their narratives unfolded and we processed them together. These deeply personal moments and rich interior worlds, theirs and mine, are an ongoing theme in my paintings.
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oil on canvas 30 x 24" The painting Light in Darkness is a picture of my premonition of great trials that were awaited me ahead. The picture was painted in 2014 and it is my prediction for myself of great challenges in the future associated with saving a child from the inhuman Russian state machine and war.
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mixed media: collage with beads, tassels, string, and other found objects 12 x 12 x 1" My portraits and figurative collages (some with mixed media) of women are formed out of patterned and hand-painted papers, magazine pictures, acrylic paint, and ink, and may include found objects. They are colorful and have an element of whimsy and suggest attitudes and other aspects of personality that tell a visual story. I'm passionate about Folk/Outsider art and children's drawings, and they are my primary influences.
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egg tempera on wood 14 x 11" A portrait in traditional egg tempera of a young art student connects the contemporary urban aestetic with the idealized portraiture of the High Rennaissance, commissioned to decorate lavish palazzos’ chambers of the nobility. The sword earring indicates the rebellious loyalty to the virtues of the humanistic ideals.
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applique and embroidery on denim 12 x 9"
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acrylic and paper on canvas 48 x 24 x 1.5" March 2020 is the artist's story of her emotional response to the Pandemic that began in March of 2020. The subtitle is Don't Look Down It's a Long, Long Way to Fall. The title and subtitle as well as the four figures clinging to the sides of a crevice are intended to convey the instability and helplessness she experienced during the initial lockdown in New York City.
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oil on canvas 16 x 20 x 2" Caring for Children: Bernadette hugs little Hugh with one arm, while holding on to Madison with the other. I am drawn to the physicality of this scene. The grandmother buries her face in the boy's hair. You can sense her joy in being so close. The older sister, sticking her finger in her mouth smiles delightedly. Jerry, and I are feeling so lucky! Stopping, over for a visit, they made this afternoon in July, truly wonderful.
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photography 20 x 15 x 1" A tale of roaming freely through experiences, the landscapes of memory are recalled. Bits and pieces of dreams long ago nicknamed - a pencil cup of dreams. A release occurs unexpectedly. A letting go of all the things a restless soul moved from, and instead, moves toward. A presence is found that is within us - after all is said and done.
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acrylic on canvas 20 x 16" I have been working on a Strong Women series, searching for images of women, writers and artists from the past, who have inspired me through their talent, resilience against various forms of cultural adversity and their singular vision. I find there is an intuitive vitality in approaching each subject--a kind of creative sisterhood if you will, that connects us from the first brushstroke to the finish.
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mixed media, relief print, pencil, collage 14 x 14 x 1" Combining vintage photos of older women from the 1960’s, old maps, and other paper ephemera under a matrix of relief printed houses communicate an imagined history of the Cold War, and who the unsung prime movers might have been.“Women of a certain age” have the misfortune of becoming invisible in society, but what if they used that to their advantage? A good spy is unremarkable looking, able to move freely and unnoticed, and in this case, thwarting Communism after WWII. There are cut away areas, windows to another layer, a suggestion that there is more to be revealed, and, that a house may seem simple on the surface, but hide secrets inside. The simple house shape reinforces the notion that these ladies are just typical housewives, nothing to worry about.
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Clay, ink 10 x 6 x 4.5"For several years now, news media reports have been showing the destruction that is happening to our planet. Daily, there are more catastrophic meteorological events, as well as alarming statistics regarding glacial melting rates, wildfires, years-long droughts, disappearing habitats, and much more. Our safe food and water supply is imperiled on many fronts through pollution, poor infrastructure, war, politics, over consumption. The list is endless. So many humans have contributed to the crisis either actively or through ignorance, not knowing or caring about how their daily habits contribute to the current and immanent crisis. In choosing elements of nature as a theme, my sculptures reflect a concern regarding the effects of climate change. Trees expresses a possible future of desiccation, decay, and destruction. The future is colorless, hard, harsh, and lifeless. Hopefully, viewers of my work will have a visual reference that will influence individual and collective action against climate change.
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Assemblage, mixed media 52 x 28 x 32"My artwork has evolved over time from colorful whimsical often sculptural pieces to something a bit darker. Telling a story is my goal and I have always been interested in irony and pointing out the foibles of humans going way back to my discovery of Medieval Flemish artists Hieronymus Bosch and Pieter Bruegal. I believe travel to other countries, particularly third world countries opened my eyes to conditions in the world. It took a number of years for my art and activism to merge, but my observation of nature and the nature of the human condition remain. My artwork now has a focus on environmental and climate issues. The process has become a cathartic experience for me and hopefully gives the viewer a different perspective.
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Formed and Welded Steel 61 x 36 x 19"I engage our human and environmental predicament at the meeting place between serendipity and intention; where the beauty of the sacred found is enriched by fabrication. My art responds to crises in order to be a force for healing – on both individual and community levels. What we pay attention to, and how that affects what we choose to keep or throw away, be they materials, ideas, people, or specifics of the natural environment, can change the stories we tell and the potentials we allow. Materials picked up in the forest and desert, old things, everyday things – long used, or used and discarded – possess a resonance of memory and time; they are rich with meaning, nostalgia and reference. I make use of these references, enhancing, enlarging, and redefining their meanings through combining the unexpected. This process allows me to see how we might deflect a disheartening and destructive trajectory and generate different possibilities for our story.
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Ceramic - stoneware 17 x 12 x 12"I loved Kipling's "The Jungle Book". It was an interesting challenge to include elements of the story in a round format as if you were on a trail watching the story unfold.
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Marble 26 x 13 x 23"I work on the stone directly. Memories feed my inspiration. Those of past and present studies and travels around the world. Direct carving means letting the stone guide you. It is an act of faith that aims to bring balance to my mind and body as I look forward to satisfying my insatiable curiosity. The Universe, I see, reveals itself by expressing itself and knows itself through every bit of experience, and so is my work as a female sculptor, only limited in the process by the material circumstances I encounter: the quality, size, and veins of the marble.
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Mixed media, painted cloth, found objects on wood 72 x 24 x 12"A nkisi is a container for spirits that was widely used by healers in the 19th and early part of the 20th century in the Congo area of Africa. Nkisi for Remembrance is a contemporary and vernacular interpretation of those ritualistic sculptures created by the healer of a village to protect clients who had been wronged. This nkisi draws from those African sculptures some of their aesthetic elements such as the use of reflective surfaces which reflect both the spirit world and the natural world.
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Clay, Metal 12 x 7 x 11"These sculptures incorporate found objects (metal, shells, plastic toys) along with my hand made clay figures and address family dysfunction.
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Clay, Metal 15 x 10 x 40"These sculptures incorporate found objects (metal, shells, plastic toys) along with my hand made clay figures and address family dysfunction.
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Bronze on Greek Marble 24.5 x 20.5 x 15.5"This work is prompted by the clean and efficient movement of the completely developed physique of an Olympic speed skater. It seeks to capture the smooth flowing, seemingly effortless, rhythmic motion which is the essence of the sport. Even the shape of the “ice” base suggests the forward powerful thrust.
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