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  • acrylic on canvas 10.6 x 10.6 x 1"
    Immediately responded to the coming Spring 2024. Because I also do some gardening and am so looking forward to enjoying it. The title came quick after I finished the painting and it fit with my mind frame and the coming of the new season.  
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  • bronze, wood 15 x 10 x 8"
    The Whirling Darvish sculpture is inspired by the essence of a traditional Sufi spinning meditation practiced by the Dervishes of the Mevlevi Order, in which the practitioner abandons his ego and connects with the divine in a rotating trance by listening to the flute music and symbolically resonating with the spinning planets, partaking of the Oneness of the Universe. Today, the meaning of this meditation puts on a fresh spin when practiced by non-secular dancers united in humanity and humility, harmonizing with each other and with the Cosmic vastness.  
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  • oil 16 x 20"
    I love swimming in the ocean and I spent a few summers on Block Island, RI, i got to know many wonderful dogs over there and was inspired to get my own. I am so happy about this decision, my dog was my doctor during three hard years of COVID. My painting is my way of saying thank you to the dogs for being life savers and to the dog friendly Block Island.  
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  • oil 18 x 18 x 1"
    Luminous Evening emanates the golden hour's enchantment, born from a small study painted en plein air of a nearby pond. With a symphony of hues, I painted its canvas to mimic the sun's warm embrace. Peach, pink, and coral danced, while the pond shimmered with golden reflections. Trees stretched upward, leaves aglow with sunset's fire. Imperfections embraced; the scene exuded tranquility. The painting captured the fleeting magic of golden hour, inviting viewers to bask in its luminous beauty.  
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  • acrylic, tree bark, skins, burlap, crayon 19.5 x 19.5"
    Luminous Evening emanates the golden hour's enchantment, born from a small study painted en plein air of a nearby pond. With a symphony of hues, I painted its canvas to mimic the sun's warm embrace. Peach, pink, and coral danced, while the pond shimmered with golden reflections. Trees stretched upward, leaves aglow with sunset's fire. Imperfections embraced; the scene exuded tranquility. The painting captured the fleeting magic of golden hour, inviting viewers to bask in its luminous beauty.  
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  • oil on canvas 25 x 25 x 1"
    This painting captures a memory of mine, a day spent climbing through grassy hills with my friend Louise. The rolling fields, blue skies and rocky cliffs that surrounded us are depicted in vibrant colors and bold brushstrokes, capturing the simplicity and beauty of the landscape. The wind softly rustling through the grasses can almost be heard in the delicate swirls and textures of the grass.  
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  • oil on canvas 21.5 x 17.5"
    Now What?, the painting's title, poses the questions: how much do we know, how much more do we need to know, and how will we utilize that knowledge?  
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  • acrylic on canvas 21 x 25 x 2"
    When I created the painting, Alla Turca, I had no inspiration in mind other than the thrill I felt with the color light ultra-marine blue. I wanted to create a painting using the color, and it was the first time I started off with that background color. I put down a shape here and there as I worked progressively, configuring my creation as I immersed myself in the creative process. Each time I finished one phase, I would photograph the image review and self-critique before returning to complete it. When considering a title, I considered a musical piece. Mozart's Rondo Alla Turca seemed appropriate.  
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  • oil on canvas 22 x 28 x 0.8"
    Sharks have been on this planet for over 400 million years and have survived multiple mass extinctions, Yet, they never evolved a swim bladder and so must swim constantly. I wanted to paint a shark out of its element. Baking in the desert under the beam of a spotlight.  
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  • suede, paper, copper 22 x 26"
    Animated Forms is a recurring theme in my paintings, sculptures and mixed media work. My interest is in exploring the boundaries between representation and abstraction. I reduce the subjects to bold, simplified forms and like to create excitement, tension and often lots of space in the work. Color and texture became increasingly important in development of the collage, and man-made and natural materials like suede, copper and paper were incorporated into the piece. This is an exciting, intuitive and challenging way to work.  
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  • glazed stoneware 15 x 8 x 8"
    For most of my career, I had worked with female models, exploring issues of identity, sexuality and personal power. During and after the pandemic, that didn't seem relevant. I also wanted to throw pottery again as I had at the beginning of my career. I found the process consoling, and I wanted to offer consolation to others. I felt protective of my friends and my family. I began a series of sculptures that combine thrown and modeled forms. They are meant to be protective figures from the realm of myth and imagination. This one, Buddy Buddha, is my own beloved dog, who was such a cheerful and affectionate companion during that terrible time.  
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  • acrylic 60 x 48 x 1.5"
    Along with my deep passion for painting figures, there is a mysterious coming alive of an inner spirit, where emotion speaks through the canvas. This magical practice allows one truth to emerge where the inner and the outer truth reflect one another. May these shadow figures awaken your one truth and connect to the window of your soul.  
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  • acrylic on canvas 36 x 24 x 2"
    Travel often inspires my artwork both while traveling and later, in my studio. My sketches (graphite, watercolor) lead to small, realistic canvases. Those, in turn, often lead to more abstract work, over time. This canvas resulted from many images of Shinto and Buddhist shrines in Japan, plus my own attraction to the colors used at the Shinto shrines. It describes my  sense of the centrality of religion in Japanese culture plus the excitement and passion of visitors (often with beautifully dressed young children) there.  
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  • digital art on metal 24 x 18 x 1"
    Often my artwork is inspired by divine beauty of flowers, and I use them to explore spiritual themes. I aim to connect viewers with the power of biblical words through the motif of flowers. The artwork Spiritual Thirst is a visual interpretation of biblical words through the flower image. I digitally created this piece by arranging cut tulips on the lifeless place surrounded by water droplets. The tulips represent our yearning for the living water that Jesus offers us for eternal life.  
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  • oil & cold wax on wood panel 12 x 9 x .75"
    Abstract images evocative of nature engage the viewer into decoding the meaning of shapes, colors, and textures. This isn’t just a pretty scene. There is something off. Thrive is part of a series depicting the epic battle between flowers and single use plastic. Who will win? Who cares?  
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  • oil on canvas 30 x 24 x 1.5"
    I live on the Big Sur Coast of California. My work abstracts my environment, which consists of the undulating Pacific Ocean, mysterious fog, continuously changing light shows, and the experience of living in the natural environment.  
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  • acrylic, ink, graphite and thread on canvas 20 x 20 x 1.5"
    With the needle's gentle glide, Resides the essence of their pride. The strength of humankind, In perseverance, beautifully entwined. Painted canvas of a cut-out arabesque shape, is transformed through intricate stitching, weaving together themes of love, hope, and freedom. The free-hand sewn thread symbolically captures the essence of life, while the painted arabesque evokes a connection to heritage, imbuing the artwork with a profound sense of unity and meaning.  
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  • oil 24 x 20 x 1"
    The Winter Dreaming Tree is part of a series of works called "The Dreaming Trees". All these pieces were born out of scientific research on Trees communicating through their root systems and how all of these creatures are much more then they seem, they are living and breathing just like us. I have devoted some of my creative works to our concerns over our environment and I believe our seeing nature differently will help us all evolve and protect our world.  
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  • image transfer on canvas, gold leaf, acrylic paint 24 x 20 x 1"
    I've been doing research on the treatment of Asian American immigrants in Nevada. Often, their bodies are buried in unmarked graves and the land used for commercial purposes. The most egregious example would be the 10-15 Chinese American immigrants buried under mining waste in Tonopah, Nevada. There is universality in every specificity. What happened is Tonopah is representative of many in our country, buried in unmarked graves, discarded once our utilitarian value has ceased. This is one mixed media work as part of a series as a response to the continuing mistreatment of Asian Americans and the accompanying diaspora that follows.  
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  • watercolor 15 x 20"
    I painted this outside at my easel along the Hudson River, facing north on a chilly January day. Winter had definitely come to the river. The boats were put away and winter skies can be so interesting--such expanse and drama, as well as the water’s interaction, while holding the skies up.  
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  • oil 21 x 17 x 1"
    In this oil painting I worked to balance texture and color with geometric shapes to create a dynamic composition.  
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  • charcoal 38 x 18 x 1.5"
    This Viking, who is searching for his next adventure or perhaps a flagon of beer, is inspired by permission to draw this from armstreet.com, a Ukrainian company that makes Medieval and Renaissance clothing. I've changed the figure to represent the story of searching, and perhaps the Viking here has been running along the beach since his leg wraps are in the process of falling down. The figure is drawn in charcoal with white pastel highlights on heavyweight brown paper glued to a barrier-treated wooden panel and waxed with an archival cold wax. Hence, there is no need for glass on this artwork. My charcoal portraits tend to favor theatrical lighting, costumes, and a good story.  
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  • acrylic, graphite, antique quilted fabric on canvas 80 x 80 x .5"
    Crone Gobnait experiments with Faith Ringgold’s storytelling quilts. Here, I tell the story of Gobnait, Celtic goddess and Irish Catholic saint. After leaving her dysfunctional family, an angel told her when she saw 9 white deer she’d found the land for her abby. Patron saint of bees and beekeepers, Gobnait is depicted in her crone/grandmother years wearing a beehive crown and honeycomb breastplate. She rises from the waters of her holy well. My grandmother’s quilt surrounds the piece; a nod to my grandmother and to all crones and grandmothers.  
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  • acrylic on canvas 20 x 24 x 1"
    Fauna represents a diversified animal life, while phantasmagoria denotes a bizarre or fantastic combination of constantly shifting, complex successions of things seen or imagined. It displays the magic inherent in the visual realm of existence. My art serves as a visual language through which I share my enthusiasm. Creating is solitary; displaying one's art is to set it free, allowing others to interpret it.  
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  • resin & steel 18 x 4 x 4"
    I create sensitive and organic sculptures to share my insights about life. Through this sculpture, I intend to celebrate the strength and elegance of modern women while acknowledging societal patterns. By using materials like resin, steel, and wire, and by elongating the dress and incorporating spiraling movements contrasting with the static posture of the figure, I aim to produce tension and energy aligned with my vision of femininity today.  
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  • walnut ink, sumi ink, minerals, pigments, graphite powder, oyster shell, silver leaf, found tulle, paper scarps, mitsumata, on mulberry paper mounted to panel 24 x 48"
    This piece was created during 2020 and inspired by a series of phrases and ideas that I focused on during that time as I compared and contrasted seemingly the oxymoronic events of the day. "Lines of communication bruised, but maybe not broken. Self. Speaking, Suspended conversations, zooming fact checks behind masked members of race. Seeking spaces between memory and a formulations of the possibility of fright or fight. A missed flight. A fight for intimacy and for air."  
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  • collage / acrylic 18 x 22 x 2"
    I love to express myself through dancing. Whenever I feel stuck, I need to remind myself of those creative women inside of me who dance freely.  
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  • etching - drypoint, aquatint, engraving with Gampi chine collé 15 x 17 x 1"
    Crab Nebula is a copper plate etching that transformed itself with the addition of dry point, engraving, and then embellishment with two different roulettes, one a wheel, and one an aquatint rocker. Cut-outs of colored gampi paper were added with the chine collé process to lend excitement and depth. The image was inspired by photographs from NASA’s amazing James Webb Telescope. I am intrigued by questions of the origins of life. Did it arrive from space on a meteor? That the Crab Nebula looks much like cell division during the development of the human embryo is fascinating.  
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  • collage 17 x 19"
    During a month-long residency in Ireland I became entranced by the rich textures of stacked stone walls and pointed silhouettes of rooftops across the moody grey skies. As a figurative artist I was pleasantly surprised to see these architectural elements seep into my work. Ann’s Dairy came to me at the completion of my residency and captures the essence of a day spent in the countryside. This small, but mighty piece incorporates my gestural approach to figure drawing using handprinted papers to weave a tapestry that blurs the line between structure and nature.  
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  • digitally enhanced photograph 16 x 20"
    I have always been inspired by nature and the textures of Flora and Fauna. While visiting various Gardens (Longwood, Morikami, NY Botanical and others around the country) I am drawn to the beauty and elegance of lilypods, water movement, flowers, leaves, stems and the metaphors of life they produce.. While photographing these lilypods a calmness and peace came over me and I became one with the universe. I use a Canon SX20 Digital camera, do my own printing, mat cutting and framing.  
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  • oil 24 x 24 x 1.5"
    Peace for the Plover brings to light the Piping Plover that is on the threatened and endangered species list in many states.  
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  • ink & watercolor on museum-grade canvas 20 x 20 x 2.25"
    Abstraction takes the eye through an adventure. It has evolved from a formal piece into a more interesting, deeper, and more informed version of itself. Layers emerged, delivering hidden gems. It has become one of my favorite pieces because it just keeps giving. Dark tones are filled with a surprising myriad of color that prove that there is no real black, but rather a spectrum of deepness within color asking for light to draw out character within them. Look further at these color-filled dark areas, and as the eye searches, this piece will keep changing and rewarding your view.  
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  • India ink, archival ballpoint, crayon, coffee, watercolor, gouache, color pencil, acrylic on paper 28 x 21"
    Commit to Memory: The Precipice of Extinction is a social commentary addressing the shifting and eventual disappearance of our culture using animals as metaphors with overall goal being socially relevant as well as visually compelling.  
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  • oil 21 x 25 x 1"
    I'm not sure that animals possess imagination, but I'd sure like to imagine that they do. And when they look at cloud formations in the sky what do they see? Perhaps more than we imagine.  
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  • acrylic / mixed media 30 x 24"
    Mama’s Garden Was Blue is from the series ‘Into The Woods’, I believe green is a lucky color, most people love it. From spring to fall it presents us a galore of nuanced hues and values. And it takes its place right in the center of the rainbow. Blue, on the other hand, is the foundation of the world. It’s everywhere. It’s our air, our seas, it’s the one that embraces us, another words it’s like a mother. Here my entire interpretation is about a mother’s love. In such, while almost contradicting my own theory, the blues are in the flowers, whereas the green is placed at the mom’s skirt. Challenging myself and wondering what the reaction of the viewer will be. This always enriches me!  
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  • paper & acrylic on canvas 24 x 18 x 2"
    A friend gave us a beautiful bouquet of flowers and I wanted to keep it forever so I made a collage of it. In this piece I continue to incorporate home sewing patterns by using the instruction sheet as background. Also included are painted papers and bits cut from one of my hand-colored woodcuts. I rearranged these familiar items in a playful way.  
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  • watercolor on paper mounted to board 22 x 30 x 1"
    After traveling to Svalbard on the Arctic Circle residency, I was inspired to do larger works on watercolor with unusual presentations. The glaciers were astounding, magnificent, and fragile. This piece has been around the world promoting climate awareness (even at COP 21 in Paris for the conference). I love that this piece has been able to represent my work even if I couldn't be there.  
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  • drawing 24 x 32 x 1"
    This piece is titled Dazzle after the term used to describe a herd of Zebras. A dazzle of zebras creates a mesmerizing appearance that protects the group.ion to the individuals in the group. Ironically, while seeing all the stripes together serves to confuse predators, their unique pattern also aid in individual recognition among zebras. As the sight of a dazzle celebrates the beauty of both the collective and the individual, it also reminds us to cherish our common humanity while honoring the special qualities that make each one of us unique.  
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  • acrylic, airbrush, latex, ink, oil pastel, UV pigments on canvas 60 x 120"
    Synaptogenesis is a process that directs the formation of synaptic contacts. Synaptic contact is necessary for the transmission, analysis, and comprehension of stimuli meant to aid the body in functioning, but also in the development of language, critical thinking, and intelligence. As a philosophical, humanist artist, this painting and its theme become allegories for my intentions to foster and nurture new connections through art.  
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  • fresco (plaster); salvaged wood 22.5 x 24 x 2"
    My inspiration derives largely from nature. I’m constantly piecing things together, whether in the studio, in nature, or in an urban environment; picking things up and rearranging them. I’m fascinated with the juxtaposition of contrasting materials, colors and textures. In this work, the warm, rough texture of the salvaged wood plays off the cool surface of the plaster, creating a dialogue between these disparate elements.  
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  • watercolor 45 x 51"
    This painting is about the fragility of life and how life changing events may happen in an instant. It is so important to surround ourselves with supportive friends to celebrate our achievements and help us get through our difficult challenges.  
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  • wool roving 13 x 9 x 5"
    My work is inspired by the natural environment and made to celebrate, memorialize, and preserve living entities during the ongoing climate crisis. Coral Group 3 is one of a series of work inspired by many visits to the Mesoamerican Reef off the coast of Belize. The incredible variations of colors, textures, and designs of the corals are translated into a wet felted 3-D textile sculpture. It invites the viewer into the flow, patterns, and textures that evoke a more emotional connection to the environment and its precarious balance due to climate change impact.  
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  • oil 30 x 30 x 1.5"
    My visual reaction to so much of what is said.  
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  • batik on silk 18 x 24"
    Wherever I travel, I have always been struck by the many ways that families dry their clothing. This particular scene was photographed from a moving car on the Caribbean island of Dominica. Drying clothing outdoors is a universal occupation whether it is hanging from a balcony in Egypt to a clothesline on a Caribbean beach to a line hanging outside a home in Japan. This has lead to a series of paintings primarily using the wax and dye resist method known as batik.  
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  • acrylic on canvas 16 x 12 x 1.5"
    My family and I were visiting my brother in a beautiful houseboat in Seattle for our vacation last summer. My son and his girlfriend were relaxing on the dock one morning while my daughter paddle boarded in the distnace on the lake. The scene was so utterly idyllic that I had to snap a photo of this enchanted Venice-like sun filled moment with those who are sclose to me. Appropriately enough my son is now engaged to his girlfriend and the name Lake Union seems to work with this double meaning!  
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  • mixed media including stitchery, painting & drawing 24 x 24"
    The word Matrix in its archaic form means mother and is associated with origins of life. Made of over 36 4”x4” squares, some with strong visual bonds and some with no visual bonds, the meaning and strength of the individual pieces comes from their relationships to each other. We can each be unique individuals with depth and complexity, but when we form a common bond or have a common need, our uniqueness forms a collective. A perfect metaphor for humanity.  
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  • photopolymer lithograph with chine collé 25 x 33"
    This piece is inspired by my mother’s loss of independence towards the end of her life. We exchanged letters and I used them as text over my image to cope with her circumstances and projection towards my own. I did some research into my background and based some of my texts on these family secrets; both mine and others. I explore the changing relationships of parenthood, family, identity, love and loss, and am always concerned with the downward social spiral I see around me. I find I use artmaking as a means of negotiating a way through some of the irreconcilable behaviors I encounter in myself and in the world around me.  
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  • printmaking 23 x 14 x 2"
    Recently, I've been working on collographs. A collagraph is a print that is made from a collage of various materials that are glued together on cardboard, metal, or a hardboard plate. Texture can also be created by gouging or cutting into the board. It is then inked as either an intaglio or relief then run through the printing press with dampened paper on top. I enjoy this technique as it gives me the freedom to experiment with different materials and textures. I also work with decorative papers as an added element. It is also a departure from my more realistic linocuts, allowing me to explore abstract compositions.  
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  • sculpture 10 x 8 x 8"
    After visiting a Pompeii exhibit I was inspired by the plaster casts made of the victims. I wanted to do a diorama that depicted the emotions on the faces of a family unit. I decided to paint a mimi portrait of the Mt. Vesuvius eruption as seen through a window of the house.  
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  • graphite 27 x 23 x 1"
    The positive and negative spaces created by a chair in space intrigue me. Using the frottage technique, I am imagining these spaces as absorbing part of the energy of those who might sit in that chair, in a sense carrying a 'memory' of that person. The "#14" in the title refers to a particular bent wood style chair, now ubiquitous, first designed in 1859 in France and known since then as "Number 14."  
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