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  • Paper, photo print, stones, wire, woodwire 12 x 12 in    
  • acrylic paint, gold & copper leaves 24 x 24 x 1.5" Heavy Metal to me is a telling of who I used to be as an artist, and who I have become. Beginning over a decade ago with art deco and steampunk designs. Evolving now into my own personal style of maximalist abstract expressionist works. I used to be overly concerned about perfection, and fine lines, where now I can embrace an unfinished, rustic background. There is perfection in imperfection. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • sculpture relief 26 x 15 x 6"
    “Bobbi, can you use this for your art?” asked Al when he finished installing the Lanai ceiling fan. Though the shipping container was all white, one cube contained a circle of radiating bars that could be painted to look like the underside of a manhole cover. I added a rim and painted the interior metallic copper. Cheesecloth was glued over the packing peanuts filling the empty cube. As I tamped in mud, roots and stones, I experienced the ecstasy of artistic creation, knowing that I had achieved the Inside-out Theme perfectly for the competition I wished to enter.  
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  • sculpture relief 48 x 34 x 3" Bobbi Mastrangelo is known for her unique art theme based on manhole covers, water covers, grates and drains called “Grate Works of Art.” This light-weight wall relief is carved from sheets of polystyrene. It is based on a scene in a Hollywood Florida parking lot. Reference materials included photos and a rubbing of the manhole cover.

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  • Painting- Acrylic graphite on watercolor paper 20  x 24 in  
  • embroidery & felting 13 x 13 x 2"
    At this time in history, we are experiencing trials both in the courts and in other interpretations of the word: environmental stressors, active wars, and in our own reintegration to a post Covid society. Women are being denied necessary medical care, there is no uniformity from state to state, and people are scared of what the courts will rule for future laws.  
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  • fiber art 12 x 12" The muscle memory of sewing is guided by recollections, stringing the grit and tooth of an abduction, the furrows of seams and seeming, of life stories fought out, patched out before paint would dry, better rather knit, pounded out in coarse intermingling of fibers, torn out and restitched and needle felted, a forgiving medium where every loop can be redone and undone, tacked and basted anew. Each embroidery, created from an original figure drawing is transformed into needlepoint, a quilt of pores, threaded with twenty or more colors, bounded and knotted with each physical perforation, a performative puncture onto self-healing felt.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • embroidery and felting 13 x 10" This is one of a series called “Ariadne Slept Here” showing Ariadne in current locales, a spinner who can help us escape the modern Minotaurs. Bonnie MacAllister renders in figurative embroidery, handspun threads, globally sourced farm wools and fibers, and recycled textiles. The language of textiles is also that of connection, threading together identity, history, biology, and personal experience. My portraits on handmade felt are created from an original figure drawing, transformed into needlepoint, bounded and knotted with each physical perforation, a gesture of self-healing, promoting mindfulness.

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  • Pastel 14 x 13 in. 'At the Met' is a representational depiction in pastel of a group of young adults taking a break from viewing the masterpieces surrounding them. I was particularly struck by the beauty of the far right girl's red hair and how it contrasted with the cool hues of her surroundings - in addition, the dynamics of the four youths resting on the bench seemed to encapsulate an iconic tourist experience AT the MET and motivated me to want to paint this scene.  

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  • digital drawing
    11 x 8"
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  • Neocolor drawing/watercolor work on paper with digital collage 8.5 x 11"  
  • digital print, pastel, and crayon 11 x 8 x 1"

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  • oil on canvas 22 x 28 x 1.5"
    On a trip to France in 2005, I was inspired by the idyllic landscape and skies to begin my Trees Leaving series. I was thinking about the threat we have become to our natural environment and remembering Magritte’s floating men in bowler hats. After the pandemic hit, I continued the series with another twist. Rather than one or lots of trees leaving, chunks of isolated areas lifted into the sky. Autumn Passing is one of these pieces. I have found it deeply gratifying to keep this series evolving with ever expanding meaning.  
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  • Painting- Oil on Canvas 20 x 20    
  • 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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  • acrylic 17.5 x 21.5" As a young adult I read the book, Yellow Wallpaper by Charlotte Perkins Gilman. The story stayed with me throughout my life, it was about "the deterioration of a woman's mental health while she is on a "rest cure" on a rented summer country estate with her family. Her obsession with the yellow wallpaper in her bedroom marks her descent into psychosis from her depression throughout the story." She would pick away at the wallpaper, creating images. Maybe it was the idea of what our minds are capable of, how much they can lead us in one direction or another. From elation to depression. My painting reflects both sides of this experience.

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  • acrylic painting 20 x 1.5 x 24" A blank canvas provides an opportunity to build connections between the chaos of the outside world and the deep human response it evokes. Sometimes my artwork is quite literal, capturing the light and beauty of a particular moment. Moving away from that moment, the work evolves into a more abstract representation of memory and emotion. ​I've always sought solace in nature, and as a Master Gardener and beekeeper, I've witnessed the delicate balance between ecosystems and the importance of conserving natural resources. I feel compelled to capture the beauty of this interdependence in a meaningful and expressive way, communicating the importance of environmental sustainability. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • graphite 32 x 24"
    Figurative drawings have the potential to convey deep emotions and tell compelling stories. Whether it's capturing the human form in a raw and emotive way or exploring complex themes through subtle details, As I revisit the portrait genre repeatedly throughout my artistic career, I document the changes and growth within myself—both as an individual and as an artist, and my subject. Each portrait becomes a reflection of a state of mind, an experience, and emotions at a particular moment in time. Whether rendered in graphite, charcoal, or vibrant colors, these portraits can serve as visual diaries chronicling the passage of time and the complexities of the human condition.  
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  • Oil on paper 30 x 20 in, with gold wood frame 38 x 27 in
  • collage 10 x 8" Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • graphite drawing on Arches watercolor paper 15 x 15"
     
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  • Egg tempera gold leaf and pieces of leaves on panel 9 x 7 in  
  • Graphite drawing on paper 9 x 11 in    
  • silverpoint drawing on an illustration board prepared with a tinted blue ground 8 x 8"

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  • graphite on paper 10 x 8"

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  • watercolor, colored pencil 30 x 27 x 1"
    For the past fourteen months, I have been mourning the death of my daughter. She taught middle school ancient history, and my current work connects to images from those times. That’s what’s led me to look at a schematic of the Biblical tabernacle in Jerusalem and make paintings based on it. Some of this work has focused on the scarlet, purple, and indigo veils that divide the three sections of the tabernacle. Making paintings with these references lets me feel connected to my daughter and is helping me process my grief.
     
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  • watercolor and colored pencil on paper
    35.75 x 26.5" For the past fourteen months, I have been mourning the death of my daughter. She taught middle school ancient history, and my current work connects to images from those times. That’s what’s led me to look at a schematic of the Biblical tabernacle in Jerusalem and make paintings based on it. Some of this work has focused on the scarlet, purple, and indigo veils that divide the three sections of the tabernacle. Making paintings with these references lets me feel connected to my daughter and is helping me process my grief.
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  • oil, colored pencil 17 x 11 x 1.5" My wish is to make connections between things I understand and things I don't. After my daughter's death, I read about the ancient tabernacle in Jerusalem. It had curtains of scarlet, purple, and indigo. I painted circles, triangles, and squares using these colors. In the middle of the painting I placed the letters of her name--b i d u-- copied numerous times onto a white rectangle. Why? I can't say. But this painting evokes a feeling of the sublime for me at a time of upheaval and loss. Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • Acrylic on paper
    7.5 x 10"
    I often transcribe works to explore composition and color and try new ways of working. In this painting, I tried to follow Cezanne's approach of using color to create the shapes and forms.   Additional shipping/delivery charges will be handled between artist and buyer after the purchase.  
  • Sculpture in cast concrete, reclaimed metal, and pigments

    13 x 17 in  
  • cast rubber and reclaimed metal
    7 x 10 x 7.5" In an attempt to adapt to the onslaught of changes being done to the environment by humans, nature is increasingly creating hybrid forms that fuse the man-made with the natural. Mollusks incorporating plastics into their shells and organisms evolving to tolerate former poisons are just some of the modifications nature is devising. These hybrids are simultaneously compelling and horrific. Using these new life forms as inspiration, I create uncanny forms suggesting a fusion of the organic and the industrial. All of these fusions represent an artificial reality that is a hallmark of our anthropocene age.
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  • cast concrete, reclaimed materials, and pigments 3.75 x 10 x 2" In an attempt to adapt to the onslaught of changes being done to the environment by humans, nature is increasingly creating hybrid forms that fuse the man-made with the natural. These hybrids, like many of products we consume, are simultaneously compelling and toxic. Using these new life forms as inspiration, I create uncanny forms intended to suggest an animated fusion of the organic and the industrial. All of these fusions represent an artificial reality that is a hallmark of our anthropocene age. My work is an exploration of the legacy of our current lifestyle and its effects on our world.

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