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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. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Reverie Oil 20 x 16 x .5
Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.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 -
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. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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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. Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Remnant of the Past IIintaglio11.25 x 7.5Remnants 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.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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On the Dockprintmaking27 x 21The 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 Additional shipping/delivery charges will be handled between the artist and buyer after the purchase.
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Cappy, Photographer at Largeprintmaking15 x 12I 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
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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
Islander
printmaking
5.75 x 7.75
This 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.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
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
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Marshide
printmaking
12 x 12
My 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.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
Weeds
printmaking
12 x 12
This 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.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
Our Desert Skin
printmaking
30 x 22
My 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.
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Contact to Purchase:
Sales are through Center for Contemporary Printmaking:
Phone Number: 203-899-7999
Dance 02
printmaking
22 x 30
Solarplate 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
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Posing
bronze on marble base
12 x 3 x 5
I saw a photo of a model posing - self assured, and confident in her image. Posing, the sculpture, reflects how we want to be seen, even if it is only in our imagination. The piece was created in clay, then a rubber mold was poured over the clay. the mold goes to a casting foundry where a wax is created and a bronze poured.
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Sima
oil on Wood Panel
4 x 4
Portraits are immeasurably fascinating to me for their breadth of expression. They can articulate an expansive language of mood and atmosphere. They can convey intent, brashness or delicacy, anxiety or hesitation. A viewer can vicariously venture into the realm of a face to invent a story about a person.
I wanted to make these portraits in a miniature scale, so to bring a viewer close in proximity to the individual moods of each woman. They are intimate in scale yet vigorously alive with thick paint. Each portrait is 4" X 4", oil on wood panel.
Painted with tiny brushes, the portraits of these women nevertheless remain hugely present. They reflect an unshakable vitality immersed in atmospheric spaces.
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Wash Day
oil
16 x 20
My grandmother was a very important person in my life, encouraging me in my careers of music and art. She loved the sunshine and fresh air, and worked hard as a nurturer for the whole family. I try to follow her lead.
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Standing Firm, After Tuck Langland (sculpture)
watercolor on paper
30 x 22
Visiting Brookgreen Gardens in Murrell's Inlet, in South Carolina is always special. I found the sculptures of "Tuck" Langland and this one spoke to me, as I have done yoga all my adult life, and this figure is in the well-known tree pose. The harmony of the sculpture with the live oak and Spanish moss backdrop spoke to me, and I portrayed it in watercolor on paper.
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Summer In The City, 1944
collage and mixed media on panel
14 x 14
My aunt, Aspasia, born in Albania, came to America in 1933 with my then ten-year-old father, his sister and his older brother. She married into my father's large family was loved and respected by us all. She is seen here, in her younger years, taking her infant daughter out for a walk in NYC.
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Grandmother, Granddaughter
digital archival photograph sublimated to aluminum
11 x 14
I am passionate about photography as an art form. In a world overfull with images, ideas, and messages streaming at us at warp speed, there is profound value in the thoughtfulness, the provocation, the silent aesthetic, the power of a single image made with the vision and ever evolving techniques of fine art photography.
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Wonder Woman
gouache on watercolor paper
22 x 15
In this piece, the inhibitions loosen and seem to disappear. This portrait projects the forces that lie beneath what we observe on the surface, revealing power, conviction, and role-play emanating from within. I wanted to explore their divergent emotions, projecting power, strength, vulnerability, joy, and women's power in multiple ways. We all want to be as powerful as Wonder Woman.
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Breaking Loose
fired stoneware with an applied patina
9 x 9 x 11
She started in a block of clay. As material is carved away the figure emerges. Her message is of being contained, finding her self worth, and then breaking loose of her confines to freedom.
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golden glow
oil on canvas
24 x 18
Golden Glow was created with a stunning model. Her exceptionally long neck and elegant facial features against the golden background create a dramatic scene reminiscent of an Egyptian goddess. Through my color choices and her upright posture, I aimed to capture her strong personality and commanding presence.
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Self
digital manipulation of a photo with tracing paper sewn over one eye
10 x 8
Sāji ga hassei suru (a surge occurs) II refers to the place of change, the great spirit, the believer's heart, seen as the creator and sustainer of all things. As artists, we are the creators and sustainers of our creations, representing yin and yang—a surge of positive and negative energies fused by one's attitude and stance.
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Woven in Sunshine
acrylic on canvas
24 x 18
I am a NYer who has lived in the greater Charleston, SC area for almost eight years. While living here, I have come to know and be inspired by the living history and culture of the Gullah Geechee people and their extraordinary skills in sweetgrass basketweaving, a skill brought from Africa and highly valued and collected to this day. I wanted to honor their joy in the process and the art they share with us.
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R.B.J:Justice
stains, foils, lashes, stitching, Elizabethan ruffle on cartapesta
12 x 7 x 6
During the COVID-19 pandemic I made masks--not for health protective reasons or to distribute to health care workers but to record what was happening during that regime changing era. In September 2020, our honorable Supreme Court justice Ruth Baden Ginsburg died. Like many women and men, I looked up to her and admired her accomplishments, particularly appreciating her advocacy for gender equality and women's rights, and for encouraging women to speak up about their experiences with sexual harassment. I honored her life with a cool-blue mask, stitched on her eyeglasses so she could continue to look over us and our lives, and amplified her signature collar with an Elizabethan ruffle.
The mask is part of my "The Future Has an Ancient Face" series of 24 masks that chronicle political, cultural and medical events during the 2 years of the 2020-2022 pandemic.
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Esther
acrylic on paper
30 x 24
My mother's birth name was Estera. When she arrived in the United States, her name was changed to Esther and so began her transformation into the American male culture of the 1950's. This image on paper is a portrait of myself, with soulful eyes, and my mom Esther, relaxing in her yellow chair (her favorite color). The painting "Esther" is an homage to my mom, a woman who had an artistic gift that was never realized.
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When My Daughters Were Mermaids-Frolicking
woodblock print, ink on rice paper
16 x 16
"When My Daughters Were Mermaids" series is about the fraught, complicated relationships between mothers and daughters.
"Frolicking" is about my daughters coming into their own personhood.
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Figurines for Marija Gimbutas
stains and metallic paint on cartapesta
8.5 x 2.5 x 1.5
If I hadn't been an artist I would have been an archeologist. The woman I would have bowed to and chased on every dig was Gimbutas. Marija Gimbutas was archaeologist and anthropologist known for her research into the Neolithic and Bronze Age cultures. She theorized that the arrival of the Kurgs—the original Proto-Indo-Europeans-- shows how cultures of domination and patriarchy took over the Old European civilization which was centered around the worship of the Earth, The Great Goddess.
To make the figurines, I first made small clay sculptures and wrapped them in paper, like 'mummies.' When paper and hardening agents dried, I pulled out the clay sculpture, repaired the wound, and then painted neolithic patterns, similar to the patterns Gimbutas found on pottery from her digs in Eastern Europe, on the figurines.
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Tribute
acrylic, Photos printed on vellum collaged on cradled birch board
18 x 24
I’m half-Japanese, half-white. My father’s Japanese-American family was unjustly held in the concentration camp in Minidoka, ID during WWII only because of their ancestry. Around 120,000 Japanese-Americans were rounded up on the West Coast and imprisoned. Over half of them were American citizens but were deprived of their constitutional right to habeas corpus--the right to defend themselves in court.
I created "Tribute" to honor my relative Geri Takahashi who was put into concentration camp, along with two of her brothers, a sister and her mother, at the age of 21. She was born in the USA so was an American citizen. She had never even been to Japan yet was treated as if she was a war criminal. Being unjustly incarcerated at a young age affected her self esteem and she never dated or married, she just worked 6 days a week and volunteered in her Protestant church. Like many of her generation who were in camp, she would never speak of her time there. My hope is that "Tribute" tells the story that she could not.
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Celtic Bond | A Daughter and Her Mother
Mixed media on canvas with wood panel backing, digitally printed background with hand applied oil pen, paint, textured
30 x 30
This work presents a mother and daughter as children, drawn from the artist’s own life. Their figures stand together within a wooded place that recalls years shaped by hardship imposed by those nearest to them. The mother, having grown up without protection, became a steady presence for her child during a time marked by fear, control, and emotional strain. Through attention and resolve, she remained beside her daughter and guided her through what could not be avoided.
The forest holds the memory of enclosure and of passage. It marks a period when remaining alert was necessary and when leaving together required courage. The bond between the two figures reflects a decision made and upheld. It speaks to protection given where none had been received, and to the endurance carried from one generation to the next.
This work stands as a record of maternal devotion and shared survival. It honors the strength of women who persist, protect, and carry their children forward, shaped by experience and sustained through responsibility.
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Nicki
digital photography, inkjet archival print
13 x 19
I was inspired by this woman's beautiful smile and her love of the pigeons. Human kindness is a beautiful thing to witness. Nicki was happy to pose for a few photos. It was a pleasure to meet her and exhibit her photos.
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Ghost Story, Chapter 3 _ visiting with her memories
pored watercolors and fluid acrylics on paper
17 x 18
Painting , for me, is an opportunity to retreat into my imagination and tell a "story”. As I paint, I work to cultivate artwork that tells a narrative about an experience from the point of view of the protagonist.
In this painting, I worked with water-media to create an image that is inspired by the life of an elderly woman’s experiences. In “ghost story, chapter 3 _Visiting with her memories” my central character is living for today while she considers her past, in terms of her memories.
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Mother Nature in Control
oil on canvas with seed beads
16 x 16
Mother Nature controls the natural world. She nurtures, but she has the power to destroy. Mother Nature represents the interconnection of the living. My piece was inspired by this power and the fact that this power, throughout time, has been personified as being female. My Mother Nature in within the wings of a dove and she is wrapped in floral growth. She is within the darkness of night. She is powerful. She is with what is good. She is our story.
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Help Us!
digital, archival photograph
10 x 8
My photography portfolios deal with beauty that I find in simple places. I search for art in places often overlooked by people rushing by: street abstractions formed by the effects of traffic and the erosion of painted lines; art in the visible layers of torn papers restructured by random anonymous participants; torn ads; changes from weathering; oxidized rusted surfaces creating patterns and vistas; reflections in puddles; ponds, or store windows; ice patterns; simple arrangements of flowers and fruit at markets.
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Sisters
watercolor and gouache on 300-lb cold-press Aquarelle paper
30 x 22
"Sisters" is about the sisterhood of friends. It's how we lean on other for comfort and wisdom, how we stick by each other through hardship and even joy. The bonds that women form as chosen friends are sometimes stronger than those we form with family. We know each other in special way that's to be celebrated.
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She Spoke Up XXIII, Ayanna Elizabeth Johnson
charcoal on arches paper
22.5 x 30
The ‘She Spoke Up’ series began as a reaction to the destructive and inflamed political and social climates. With the cascading revelations of the Me Too movement, centennial anniversary of the adoption of the 19th Amendment, surreal landscape of the Covid pandemic unfolding, and the incessant assault on democracy by our elected politicians, I chose to elevate the work and words of women who have spoken truth to power, pursued freedom and equity, and transformed the broader world. Collectively the series stands as a response to so much misogyny, ill intent, sexism and obstruction.
Parrot fish, symbolizing adaptability, possibility and freedom, are potent symbols of creative potential, and the world’s intricacies and healing mechanisms. I integrated specific bird and natural imagery into each work in the series, finding their symbolism often uncannily mirrored the characteristics of each woman.
The series reflects on the struggles and inequities of the past, underscores the fundamental challenges that still exist, highlights the transformative achievements of intelligent, courageous women, and suggests possible tomorrows.
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Vanguard
archival pigment print on canson edition etching rag
22 x 17
Throughout history there have always been women who pushed back against
stifling cultural constraints. These photos are my attempt to portray strong
and powerful women as secure in their bodies and minds. In these images I
endeavor to show my subjects as full and complex beings and honor their
dedication and achievements in a manner that does not trivialize, sexualize
or demean. It is my hope that you as viewers instead of punishing those who
challenge feminine stereotypes will be champions of their strength.
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We Came So Far
oil, pastel, acrylic goache, and charcoal on arches oil paper mounted on panel
33 x 24
We're born into our specific time and location- with its own set of cultural norms and realities. I've found myself trying to untangle these. Faced with nostalgia and engaged in personal reckoning, my paintings use broken color and line to create and then break the very figures I render. The surface becomes rich with layered marks as I scratch and draw into the paper. Slowly building the surface, I question more of my own understandings and those driving change. This forms a dialog between myself, those who have come before me, and those who will come. The women are never fully rendered or depicted as smooth and perfect; nostalgia lies- it was never perfect. Each painting also asks the overarching question "What would they say?"
These women, standing near but not too close to a house, seem to say, "We came so far." And then, "But where are we going?"
Those who came before us demand that we not forget or succumb to nostalgia; nostalgia for a past that was never designed with women's full potential in mind, that seems to be sweeping our country again.
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Linnea
oil on Wood Panel
4 x 4
Portraits are immeasurably fascinating to me for their breadth of expression. They can articulate an expansive language of mood and atmosphere. They can convey intent, brashness or delicacy, anxiety or hesitation. A viewer can vicariously venture into the realm of a face to invent a story about a person.
I wanted to make these portraits in a miniature scale, so to bring a viewer close in proximity to the individual moods of each woman. They are intimate in scale yet vigorously alive with thick paint. Each portrait is 4" X 4", oil on wood panel.
Painted with tiny brushes, my portraits of these women nevertheless remain hugely present. They reflect an unshakable vitality immersed in atmospheric spaces.
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Presence and The Past
acrylic
24 x 24
My work explores the intersection of individual presence and collective history, navigating the nuanced complexities of the feminine perspective. I paint women engaged in introspection, inhabiting a space where reflection intersects with lived experience. Through a process of layering and refinement, an interplay between color, form, and surface depth is revealed. This physical history serves as a metaphor, honoring the influence of women whose stories weave the fabric of shared legacy. By prioritizing the female gaze, I visualize the 'seen and unseen' — embodying the resonance between the external world and the internal life of the figure.
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False Guarded
charcoal on birch Panel
30 x 20
False Guarded is part of a broader series examining generational trauma and the ways inherited pain can shape the emotional lives of women. The work focuses on a survival response born from repeated hurt: the decision to abandon vulnerability in favor of protection. What begins as a necessary coping mechanism gradually becomes a defining structure, allowing fear to dictate the terms of one’s life.
The figure is held in a defensive posture, one arm raised and rigid, slowly transforming into a tree-like form. This stance reflects emotional petrification—the point at which self-guarding hardens into permanence. Shelf fungi grow along the raised arm, referencing their tendency to thrive on trees that appear healthy but are hollowing on the inside. The imagery becomes a metaphor for carrying pain quietly, maintaining strength and functionality while emotional pain remains unseen.
The opposite arm lowers, exposing an open wrist to a snake winding upward along the body. The snake symbolizes fear, persistent, intimate, and increasingly influential when left unchallenged. Rather than confronting or releasing it, the figure allows it space, illustrating how fear can become familiar and inviting.
Rendered in charcoal on wood, the work emphasizes time, resistance, and accumulation. The medium resists erasure, mirroring the emotional labor of women who survive by becoming immovable, rooted in endurance, shaped by inherited trauma, and suspended between protection and the possibility of transformation.
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Now and Then
acrylic with gold foil and modeling paste
18 x 22
The painting is a tribute to the importance of etiquette and self pride in the African-American Community. Debutante Balls and etiquette classes were started in the 1800s in Black Communities and continue to be an important part of the societal education of young women in the South. The girl on the left reflects modern times and the girl on the right reflects the same ideals in the 1800s.
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Remembering Degas
watercolor on paper
22 x 16.5
The contemplative stance of this dancer never fails to claim my attention. I always feel that she is remembering her creator, Degas.
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The Kvell
oil on canvas
36 x 30
Nana was my first mentor. Her delight in the family she had created and the artists among us gave her a shudder that she would hold tight.
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Stiff
acrylic monoprint on paper
12 x 9
From a series of prints exploring the condition of our physical bodies, women’s physical selves, and what they mean to our lives. Moving through life means continually adjusting to changes in our children’s bodies, ourselves, and the aging bodies of our parents. The range of emotions evoked from all of these phases run the gamut, and speak to who we are, both to ourselves and to others.
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Siberian Heritage
oil on canvas
24 x 18
This painting depicts a young girl with an intricate hairstyle, a lace collar, and a hat on which a wooden house, a tree, and domestic animals are depicted.
This painting symbolizes a person's difficult choice: the desire to free oneself from the difficult past, and at the same time the search for oneself, including in connection with one's ancestry.
The blue color in which this painting is executed symbolizes memory, the connection of times, and the metaphysical homeland of all artists - the Space of Art.
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4:30 at 535
oil on Panel
24 x 18
This is my mother who took us to the Met (and every other museum) as soon as we were old enough to walk and who bought me every art supply I ever wanted when I was a kid.
This was a moment in Provincetown, at my cousin's house. There were four of us (artists) sitting around.
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The Falconi Twins (Second Violin, Principal Viola)
photo and pigmented beeswax combines on Kozo and wood panel
36 x 24
I create visual biographies honoring communities whose narratives have been marginalized, erased, or never recorded. "The Falconi Twins" portrays the resilience of two women from my childhood town who defied societal expectations in the 1970s. These women lived together, posed as twin sisters, and dressed identically to evade the scrutiny of the conservative community. In truth, they were a gay couple seeking refuge in a world that struggled to accept them for who they truly were. This portrait is a fusion of orphaned vintage photographs, my photographs, abstract drawings, and antique ephemera in subtle layers of pigmented beeswax on Kozo. I replicated a solitary figure to create a twin, etched intricate patterns and sgraffito onto the platform, balustrade, and figures to weave a narrative of secrets and shared experiences that remain unreadable to outsiders. This is a portrait of the power of love, resilience, and enduring bonds.
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Sharing Stories
acrylic on canvas
24 x 36
This painting is a translation of a pencil drawing made from my imagination. ( I rarely draw from live models now, although for many years, I worked from nudes and from people sitting on the subway or in restaurants ). As I was drawing, I thought about how I want to portray this particular subject, Celebrating the Women Who Tell Our Stories.
My painting process here began with loosely drawing on canvas, and I used the basic composition I'd drawn on paper. As I was painting, I I made my color decisions slowly, as part of the process of moving the color over the canvas' surface. The figures on the left were not in the original drawing and when I first decided to add two figures there, they were much smaller and a man and a woman. I painted over them after deciding I wanted those figures bigger.
At this time, when I work from direct observation, it is of the landscape, and that continues to inform me.
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