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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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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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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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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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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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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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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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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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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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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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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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pastel on mounted UArt board 20 x 25.5 x 2" The ice formations on Mendenhall Glacier in Alaska were awe inspiring. The various values in colors and the intensities of the ice and water when the came crashing together was something that had to be captured as a painting. This abstract version I believe captures the visual image.
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mixed media on stitched textile 40 x 35" As a visual learner, I see art in everything. My morning walks are consumed with taking smartphone photos of shapes, textures, patterns; many of which have inspired my textiles. Additionally collaged images are posted to my social media. Often others respond that these images cause them to look more closely at their surroundings as they move about in their daily lives. Whether pattern, shape, movement or color, the natural world provides endless inspiration.
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colored pencil on illustration board 33 x 24" "New Beginnings," was completed using Prismacolor, Polychromos and Holbein colored pencils on Strathmore 500 series cold pressed illustration board, using my own photo references, imagination and actual live Luna moths that my son and I raised and studied. This piece used 600 hours of layering pencils with no solvents; all hand drawn.
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oil, charcoal, graphite on paper 26 x 21" For three years I have lived and worked in Dutchess County/Upstate New York. Here I cannot escape--the landscape. The natural environment of the Hudson Valley are triggers: rivers, ponds, mountains, trails, farmland, forests. I look for my own underlying order amid nature's chaos. Using drawing and mark making with charcoal and graphite and painting with layered oils, I generate an imagined reality. Draw/erase. Paint/scrape. Again. And again. A ghost remains. I work toward a bilateral glimpse of interconnectedness between what we can see and what we imagine we can see--a superficial and subterranean geography. The resulting blend of drawing and painting awakens the unknown and casts the familiar in new light.
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solar plate etching 8 x 10" Marian has a BA in Studio Art, emphasis in printmaking, from UCSB. She continues adding to her printmaking pallet of knowledge with classes and workshops, and currently works at her home studio, and with a group of other printmakers in an Open Studio in the San Francisco Bay Area. Marian shows her prints locally and nationally, and has won awards in juried shows throughout the United States. These current works are explorations of the Solar Plate technique of etching, creating the images on grained glass plates and exposing them to photo sensitive polymer plates. Looking for the spirit within!
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acrylic on canvas 36 x 36 x 1.75" The squish under my brush, the excitement of creating a color, the rhythm of the music I'm hearing as I work... take me to that place of MINDSCAPE. A mind escape...from the chaos of everyday life. There is no stress in my studio. I am free and oh so happy to fly into the mindset of nothing but my dancing brush.
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collage including painting, drawing, hand & machine stitchery 18 x 38 x 1.5" The interior landscape is never at rest. It chatters, argues, soothes, creates images, film reels, but is rarely, if ever, quiet. These pieces are an acceptance of the complexity of my own interior landscape, in its abundance, my voices and images create a complex beauty.
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acrylic on paper 16 x 16" The Southwest US national parks never fail to inspire me. Having recently spent time in Arches, Canyonlands, and Capital Reef National Parks, I was entranced. Their magnificent sandstone arches, natural bridges and other geologic formations, set against intense blue skies, captivated my imagination. Powerful forces of nature fashioned these breath-taking landscapes over millions and millions of years. I am reminded there that we humans are new to the earth; this perspective gives me pause and centers my spirit, as does the act of painting them.
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acrylic on paper 6 x 4" Working primarily with acrylic, one of my passions is to explore different surfaces, media and techniques creating new challenging endeavors. I love the experimentation and the inspiring dynamics. Besides the exuberant energy of colors, material and texture I also get a lot of inspiration by the ambiance and my personal emotions. What an extraordinary sensation it is to experience the energy we all are surrounded by and then to translate it into a painting! This is a continuing, intimate process. Listening to my inner voice has become a very important part of my creativity; yet, it is never an easy task to do. Last but not least, there is the always-possible element of surprise adding a unique, special effect to my abstract artwork. The combination and interaction of all these factors affect my work deeply by making it strong and powerful. There are no boundaries in art. To me, this synthesis is my art.
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acrylic on canvas 30 x 30 x 7/8" My passion for abstract and semi-abstract painting and mixed media stems from decades of looking at modern and contemporary art in museums and galleries throughout the U.S. and Europe. Mixed media and abstract painting allow an artist the freedom to interpret their reality and meet the challenges of expressing their reactions to that reality through the use of colors, shapes, textures, and composition.
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acrylic, paper, & ink on panel 16 x 32 x 2" My artwork merges the precision of geometric shapes and structures with the organic forms of botanical elements. My abstract and colorful compositions represent the harmony that can be achieved when nature and science are combined. My art reflects my belief that beauty can be found in the balance between chaos and order and the ability of art to bring them together. Using my engineering background and artistic sensibility, I strive to create joyful, dynamic, and captivating artwork that reflects the complexity of nature coexisting in our manufactured world.
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drypoint print with embossing 8 x 6" The dry point “My Eumenides” was inspired by the haunting visions described in the memoirs of Thomas De Quincey "Confessions of an English Opium-Eater." Opium was De Quincey’s escape ticket out of the wretched reality of early 19th century London. In his nightmares, we can see a parallel to the confusion and angst humankind experiences in post-modern times and our dangerous need to sedate ourselves from pain. A series of wondrous and terrifying scenes, "Confessions" compels the reader to visualize the spectacular architecture of De Quincey’s dream world. By making solid the nightmares of societal and personal failings, this book continues to illuminate human suffering.
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oil on canvas 36 x 24 x 1.75" My personal story continues to drive my artistic life. A citizen of two countries, I am in debt to both, and battle against feelings of disloyalty, so, always a parent, I try to give attention to both, at the same time coping with the frequent crises of family life. Sometimes, I am Alice down the hole, baffled, surrounded by crazy creatures, questioning my sanity and the reality of things, then I focus on the beauty and structure of nature, and wisdom returns. This is the essence of my work.
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mixed media 20 x 28" This painting is based in the co-dependence of natural fibers found in plants and the human need to wear and flaunt fashion. This has had a profound the effect on our mother planet.
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oil on canvas 54 x 48 x 1.25" Immersing myself in my painting process, leaving no room for thinking, I work spontaneously in an intuitive moment-to-moment way without knowing what the end result will be. Then comes a moment when the whole thing comes together and an inner voice shouts, "YES!". It is done. Stepping back and fully taking in what has emerged, my deep response suggests a title that is surprising, something I never would have "thought" of, yet feels so right. My title for this painting is a phrase that the Japanese Zen Master Dogen (1200-1253) uses as a metaphor in his "Mountains and Rivers Sutra" to refer to the whole network of interdependent origination in which we are all constantly coming and going. The whole universe is continually changing and we are one with this movement.
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oil on canvas 24 x 20 x .7" When I was little, I thought that all people and animals are friends. I still think, that we are all together on this Earth moving somewhere. In my painting I wanted to show the beauty and power of a rhino, and a human, who completely trusts his rhino companion. I created a night sky background, to emphasize two characters. The road, that they are taking is foggy and radiant, to maintain a mystical experience. This artwork is one of a kind. Made with high-quality professional oil paint on a gallery wrapped canvas. Painting is signed / dated on both front and back. Painted sides, unframed and ready to hang.
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intaglio/charcoal print on paper 21 x 21 x 1" Balance, from my Pair Series, was inspired by Leonardo da Vinci's ink drawing, Vitruvian Man, and my desire to include the other half of humanity into the conversation. In my intaglio/charcoal print, I add a female figure, to express the equality, and complementary nature of the sexes. While Leonardo's circle is implied, it is not shown but replaced by a star to symbolize the connection between everything in the Universe. FYI: It maybe of it interest to others that Leonardo had been inspired by the writings of Vitruvius, an ancient Roman architect.
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oil on gesso 24 x 18 x 1"
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mixed media 24 x 18" "Unheard" is a striking painting that features two female figures without faces on a bold red background. The absence of faces immediately draws the viewer's attention, emphasizing the idea that women's voices are often ignored and their identities are not fully represented in society. The red background adds to the intensity of the piece, conveying the passion and frustration felt by many women who are not listened to. The title "Unheard" encapsulates the central message of the painting - that women's voices are often silenced or disregarded, particularly those who identify with more traditional feminine roles. In a time where new identities and pronouns are celebrated.
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oil on canvas 28 x 22 x 1.5" My work is inspired by the vibrant colors of nature. I often use bright and rich colors in my paintings. I believe that inside every adult lives happy and carefree child and my idea is to enthuse the viewer desire for happiness and enjoyment.
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charcoal 28 x 18 x 1" I raced home after witnessing the total envelopment of a familiar coastline across Oyster Bay from West Neck Beach. I usually study from life for inspiration for my abstractions but this night I simply wanted to record and pay homage how uplifted and untethered I felt seeing hints of a familiar shore and knowing just where I was. I immediately made two pieces and this particular one bears mark like seagulls feet as we often see them in the sand but they (the marks) give the impression of waves softly crashing into the shore. The symbolic abstraction of the creatures who inhabit this place, being present in the marks was a surprise and a delight.
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photography/digitally enhanced 24 x 18 x .5" Inspiration for this art piece comes from the poetry of Lisa Hammond. Her poem, titled “Three Fish” is of three very different fish - a wood carving, a bream, and a necklace pendant. Her poetry speaks to the world of nature, which aligns with my wildlife photography. While still figurative, this is the first photo I have exhibited that is not a living, breathing subject. I purposely developed each fish at differing exposures to express their individuality.
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leather, silk, brass 14 x 8 x 22" Inspiration/intent: painting by Andes Zorn "Isabella Stewart Gardner in Venice", 1894. In the spirit of creative risk-taking, Isabella Gardner continues her mission by inspiring my sustainability project "Enigma of Footgear". I create 3-D works with outdated designer footwear, which can be perfect media for installations and sculptures with strong public statement or enigmatic silence. Enigma of Footgear is what grounds us, what connects us to the earth, and what carries us around. Isabella moves with grace and spontaneity: picks up her shoe, drapes with white silk and crowns with jewelry. She lets her swan out in the Fenway of Boston to swim in the Muddy River.
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ink and gouache 15 x 13.5 x 1.5" Art, like nature, reveals many delightful surprises, if we but stop and look.
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archival pigment print on Epson Hot Press Bright Paper 25.5 x 19.5 x .628" My camera gives me the ability to reveal to others the details I find in everyday subjects that often go unobserved. Exaggerated angles of view and juxtaposition of serendipitously placed elements combine with moody, sometimes dramatic light to leave the viewer with a sense of a presence unseen but felt. My photography is about hyper-focusing on the subject to solidify my own experience and provoke a memory to surface both for the viewer and me. The absence of color allows the viewer to become immersed in the place, mood and time depicted, but leaves room for personal interpretation and imagination as well. "The question is not what you look at, but what you see." - Henry David Thoreau
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oil on canvas 18 x 24 x 1" Although the viewpoint of this painting is at a slightly elevated angle, the title alludes to the need to consider the landscape from above, looking straight down. These are eyes that look at the human viewer askew but look up at the heavens with no distortion.
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collage / work on paper 20 x 16 x 1" Genji, in his poem, names the "murasaki" or purple gromwell, because its color resembles the colour of the wisteria (in Japanese, fuji) thereby obliquely referring to Fujitsubo, "the Lady of the Wisteria Court", a woman he is violently in love with for the first part of the novel. The Tale of Genji is a classic work of Japanese literature written in the early 11th century by the noblewoman and lady-in-waiting Murasaki Shikibu. The original manuscript, created around the peak of the Heian period, no longer exists.
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acrylic & found objects 12 x 26 x 5" The intent is to represent man and what is man pr0duce in contract to what is nature created. To show the beauty of both but also the distinction between them.
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acrylic on cradleboard 13.25 x 13.25" Color and experimentation are my muses. The materials for this piece—principally palette skins with complementary abstractions—require a process of trial and error. A strong design is central to success! Anxiety caused by traversing real and imagined worlds is the burden of my process. Serendipity, its gift!
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oil on paper 30 x 22" Working in oil-based inks with handmade paper plates and an etching press, I created this monotype by passing the print through several iterations until I achieved the final image. When choosing a title, I read a lot of poetry while looking at the print. The selection, Music of the Spheres, is the title of a poem by Robert Morgan.
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stone 20 x 9 x 9" Bodhisattva embodies two defining aspects of my life. It reflects my earlier interest as a Buddhist scholar and my concern for the environment in our global effort to recycle and reuse unwanted materials. The piece is made out of an old building stone discarded during renovation and other salvaged items from Community Forklift, a non-profit reuse center in the DC area. Vowing to promote spiritual awakening and save all beings, the bodhisattva aspires to enlightenment for the good of others.
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brown bags, handmade paper & acrylic on canvas 17 x 21" I am taken aback by the beauty and intangible qualities of natural flora, the various textures, the amazing flowers and fruits and foliage, and most of all, the spectacular rejuvenation after what appears to be a most definite death in the bleakness of a cold dark winter. My artwork is made from simple materials and feature a pioneering collage application of acrylic paint, brown paper shopping bags and canvas. Inspired by nature’s beauty, my interest in this medium relates to the cycle of life and nature. The bags start out as trees, are made into paper bags, which I recycle, paint, tear, and collage into the image of the natural world which provided the original inspiration and energy.
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acrylic on wood panel 24 x 20 x 1.5" This painting was started experimentally by dripping paint and slashing through it to create decorative vines. A landscape was painted around these vines, and the painting was shown with this image. Later, I decided to weave more vines over the landscape, The weaving forms a thick veil through which the original landscape can be viewed, like a memory or mysterious fantasy.
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digital print, pastel, and crayon 11 x 8 x 1"
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acrylic 21.75 x 17.75 x 1" Sitting on the river bank on a sunny day, I tried to capture the movement of the river flowing over the rocks.
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soft pastel 12 x 12" 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. Apple in Winter is a concept born in the middle of winter. I was drawn to the beauty of tree trunk in the snow. I was also craving the vibrant colors of spring. Being an Irish fiddler, I remembered there is a traditional tune called "Apple in Winter". Then the idea of the painting was formed. It's based on my reference photos.
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watercolor 10 x 8 x .75" Sometimes I have a specific idea for a painting before I begin and sometimes I do not. "Night Whisper" is one where I had no idea when I began where it would end up. This rather surreal watercolor took off on its own. I had no idea the column with the creepy plant-like thing would become the focus of this painting. I also had not planned for daylight to appear in the darkness until I began to paint. My art is always an adventure even for me and I hope is enjoyed.
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acrylic on canvas 12 x 12 x 2" This painting is one of a series of 26 works that use the language of color, light and form to the boundaries between art and science and explore a holistic vision of the world. As both the daughter of a scientist and the mother of a scientist, I find the nexus art and science suggests possibilities of hope for protecting natural world. The painting teems with life and the beginnings of life: pods, whirlybirds from maple trees, and cells, interspersed with all manner of mark-making, including circles made of hatch-marks, wandering lines, spirals, and other symbols that reference prehistoric petroglyphs.
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acrylic on linen 30 x 24" The Garden is inspired by spring and regrowth. I have used a variety of acrylic mediums from ink, bronze powder and acrylic paint to create a translucent, layered interpretation of the landscape coming to life.
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