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oil on canvas 48 x 48"
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pastel (dry) 17 x 23"
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acrylic & oil on canvas 48 x 60"
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acrylic 20 x 16 x 1.75"
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encaustic 24 x 24"
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mixed media 12.6 x 13.5 x 4"
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wood block print with gradient roll layer 12 x 16" "Dialog" depicting a visualization of the many ways a dialog can go between two people.
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oil on canvas 36 x 36"
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acrylic on canvas 24 x 36"
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printing & mixed media 6 x 8"
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oil on canvas 60 x 40"
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mixed media 10 x 8" "Is it Me?" is a thought-provoking mixed-media work capturing the moment of self-reflection. It invites viewers to contemplate their sense of identity, self-perception, and their shattered beliefs. The title resonates with the concept of questioning and seeking truth while also expressing the vulnerability and uncertainty that can accompany such introspection.
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photo screenprint 42 x 32"
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black & white digital photography 11 x 14"
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paper, sandpaper, copper 16 x 12"
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watercolor on paper 24 x 32"
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oil on Belgian linen 60 x 40"
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graphite on paper 10 x 8"
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oil on canvas 48 x 48"
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oil on canvas 36 x 48"
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acrylic on canvas 60 x 36"
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pigment & acrylic on wood panel 10 x 10"
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graphite 20 x 20"
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gouache on paper & mixed media 30 x 22"
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oil on canvas 20 x 16 x .7"
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Mixed Media 12 x 12"
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Oil 12 x 9
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Photography 10.25 x 6.75 I have taken only one trip to Cuba, but I was immediately captivated by the diversity of the landscape, the light, and the interplay of colors, but especially by the soul of the people: their openness, their friendliness, their energy, their joy, and their vibrant street life. As a photographer whose primary interest has always been people, I was in the midst of a visual paradise.
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Pastel 10 x 15 in.
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Sculpture 7.5 x 3.2 x 14 in. Mano de la Vida - The Translucent Orange Alabaster stone had split at an angle, the bottom half of the stone resembled a hand and forearm. The beautiful texture, color variations and striations in the stone blended perfectly with the concept of a divine giver. The female figure held in the hand represents life, rebirth, and the transformation of oneself.
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Acrylic 12 x 12 in.
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Acrylic 10 x 11 in. I see my work as an abstracted narrative. The figures seem to have something to say, or express; are often amid doing something and I feel the chatter in their heads. There’s a physicality in the work, the action of mind and body in the process. Showing what something feels like is what I hope to convey in paint. Puppeteer represents one from a series painted quickly and directly without prior drawing, leaving me open to being in response mode accessing motion and story without referencing much reality.
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Sculpture 12.5 x 7 x 7 in.
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Mixed Media 15 x 15 in. This mixed media piece represents the struggle women have had trying to achieve their basic rights for centuries. The struggles that women of color have endured go back even further. The strings and ropes are representative of being tied and bound, as in being held back, but also of the binding and joining together as all women feel that common thread of sisterhood. The problems that entangle us still exist but by coming together as sisters we can fight for our basic rights and try to unravel the tangled threads.
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Collage 8 x 10 in. The medium of collage is by nature graphic, textural, structural and filled with fields of color. Experimenting with a smaller format allows me to work out design and media details before going to larger works. Buildings and shadows and colors are rich and diverse in St. Augustine, FL . Walking the streets is a visual treat with buildings dating back to the early 1700s. It was a natural progression for me to produce works from photos I had taken while on a trip to St. Augustine.
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Oil 12 x 9 in.
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Photography 11 x 8.5 in. Marilyn Saks-McMillion is a photographer based in her hometown of Washington, DC. Her retirement after long career in international affairs has allowed her to deepen her interest in photography. Her subjects include the day-to-day in her home, Capitol Hill neighborhood, the Chesapeake Bay and beyond. Her work is inspired by colors and a world of detail. Using her cellphone for her photos, she is best at capturing objects close at hand.
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Photography 12 x 8 in. With this photograph, I'm celebrating the Unique. I've been always drawn to the out-of-the-ordinary. The Satsuma Mandarin is a great example of one of my unusual findings. Despite the flower-like qualities of the hand it simply serves as a pedestal to support the main subject. The fruit is the hero of this picture. It's a portrait of individuality.
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Mixed Media 9 x 12 in. This drawing is from my Feminist Tribute series. Grace Martin Taylor was an important Modernist from West Virginia where I currently live. Placing my body in juxtaposition with women artists before me, I explore feminist lineage and my place amongst it all.
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Collage 15 x 11 in. I love collage. I collect paper, cut it up, and move the bits around until an image comes together. With no idea in mind, it’s just play & discovery, with a surprise reward at the end! “Girlfriends” reflects new techniques I was trying out: painting and printing on wallpaper scraps and deli paper, and, experimenting with “faux” encaustics: transferring an image onto matte Dura-lar Mylar and adhering it image side down, producing a translucent, beeswax effect. Using people as subject matter is also new. A friend had given me a packet of old photos, and immediately, they spoke to me.
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Photography 15 x 15 in. I like to capture the fast-paced dynamics of street life. What is exciting and energizes me is how spontaneous the process is and unpredictable people are. Some, as the ‘Street Sweeper’, are completely unaware of being photographed. I sometimes stop and ask someone if I could photograph them. I generally like to photograph on sunny days, which gives increased contrast in light and shadows. Places with interesting forms, light, and street geometry provide a good background and foreground to the people I choose to photograph. The selected photograph, ‘Street Sweeper’ was taken in 2018, on a trip to Mexico. I felt the color and geometry of the buildings provided a great background to this working man.
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Photography 10 x 8 in. The photo of this workshop captured my eye because it looks like the technicians and workers had just stepped away from their workbenches a moment ago. Perhaps they are on a break and would soon return to their stations. Though there are no people in the image, I could just imagine them toiling away at the projects on which they were working.
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Mixed Media 12 x 12 in. "Am I Allowed to Ask" is one of a series of four paintings. The series is driven by my reaction to current political movements that are attempting to legislate decisions that are deeply personal and profoundly significant to women and their health and well-being —decisions that rightfully belong with the individual, their healthcare provider, and their immediate family.
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Sculpture 6 x 12 x 8 in. Coral Shadows is part of a series of work called Coral Reminders. It is my intention to bring the underwater world of corals above the surface to keep it visible and increase awareness of its precarious balance. The possibility that these incredible natural structures and life forms could be destroyed by a 2° rise in ocean temperatures is our reality and we’re losing time for intervention.
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Photography 12 x 12 in. Love Joy Art! Dave Lovejoy’s studio says it all. He loves the ‘patina of use’ of LA in the 30s & 40s. His office in a 1905 abandoned bank building has gold lettering that could be leftover by a Sam Spade of art. Eclectic spheres & globes, 18 paintbrushes arrayed, vintage molding meandering, an assemblage of 88 magnifying glasses is a living chandelier. The studio flows into the Last Bookstore (in the same antique building), a magical labyrinth of melting bookcases & flying books in Downtown LA for visiting booklovers. Imagination & inspiration. A ‘thingmaker’ meets me, a photographmaker. Voila!
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Tempera 12 x 9 in. Marny Lawton is an award-winning artist based in Connecticut. The focus of her work is contemporary realism with abstractions found in her realistic subjects. She explores themes of foods and landscapes as they are in a state of flux with climate change, and still life to find the meditative beauty in the ordinary and the extraordinary in the often overlooked.
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Gouache 12 x 12 in.
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Soft pastel 10 x 8 in.
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Mixed Media 6 x 6 in. Strange Fruit is part of my small, bold, highly detailed, mixed media collage artwork. Tissue paper, magazine, acrylic paint, casein paint, handmade paper, imported paper, and acrylic inks are among the varied elements I used in this series.
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Photography 5 x 7 in. 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. I printed the image using the platinum/palladium printing process to capture a softer, mystical effect, evoking late 19th century idyllic landscapes.
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Oil 10 x 10 in. Autumn Lilies was painted during the Steamboat Art Museum Plein Air in the Yampa River Botanical Gardens in Steamboat Springs, Colorado on a chilly September morning. I had just completed a large 18” x 24” plein air painting of the lily pond and had lots of paint still on my palette. 3 hours spent analyzing the scene had burned the image of the lilies into my visual memory and I used a palette knife and the remains of the paint to express the brilliance of the aspen reflecting in the water and the gestural angles and colors of the lilies.
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Oil 11 x 14 in. “Summer Flowers “ captures a fleeting moment in time .Painting ethereal flowers is a wonderful way to contemplate the eternal.As I look at the flowers’ beauty I am reminded of the inner beauty that is in all of us ; our true nature; our innermost being.The flowers I paint are my models .My painting is a response of my emotions to the beauty that I am seeing . My intention for my painting is to share and celebrate the beauty that I see in nature.
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Printmaking 9 x 12 in.
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Collage 14 x 11 in.
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Gouache 14 x 11 in.
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Oil 10 x 10 in.
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Acrylic 12 x 11.25 in.
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Oil 13 x 13 in.
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Digital 15 x 12 in.
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Sculpture 5 x 9 x 7 in.
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Oil 14 x 12 in.
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Archival watercolor pigments on archival watercolor paper 6.25 x 4 in. Descending Darkness is a small watercolor created right after Russia invaded Ukraine. It was and is my reaction to this tragic and unnecessary situation for the people of Ukraine and consequently the stability of the entire world. Most of the time my work does not reflect world events, but this war was started for invented reasons, which really evoked a physical response in me that worked its way into my painting.
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Acrylic 12 x 12 in. “Somewhere” was painted in my intuitive and expressive painting style. It is an exploration in color, texture, layering and abstract mark making. The painting is on a 12x12” wood panel, framed in a white frame. My goal is to help you see as much beauty in the world as I do, so everyone who comes in contact with my art feels just a little bit more alive - whether that's because of the vibrant, saturated colors, expressive movement, or because you can feel the emotion and energy embedded in my art.
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Mixed Media 12 x 12 in. The woodblock print Just off of Salem Street was inspired by a walk on a fall day at the North End. I love to walk around, gazing at buildings from different angles, and noticing their shapes and textures. On this cloudless afternoon, I photographed Boston’s architectural homes. The apartment buildings were detailed, climbing with long vines and beautiful windows. When I returned to the studio, I sketched, the inspiration falling from my mind to the paper. I transferred the sketch to a woodblock and began to carve the wood. Once the carving was completed, I inked the woodblock and ran it through the press repeatedly until the artwork was finished.
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Mixed Media 12 x 12 in. My art reflects and represents current events in performing arts and politics. People in the news inspire me, their movement, their expression, their passion for change. There is an emotional part of me in every painting. I am currently represented by Saphira & Ventura Gallery. Most recently, my painting "Doja Cat" was part of the Empower Her Art Forum, a multinational exhibition dedicated to raising women’s voices and the empowering ethos of art, at The National Museum of Egyptian Civilization in Cairo, Egypt.
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Assemblage 10 x 8 in.
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Colored pencil 11 x 14 in. I have always been fascinated with texture. What a pleasurable challenge to create impressions of the different types of leather: rough, smooth and in-between… all while playing with light! The small bag was made by a good friend; the tiny strap-pouch and leather jerkin were made by my husband. Both men were superb craftsmen, and I wanted to replicate their fine work in this piece. It’s a way of showing just what is possible with pencil.
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Photography 9 x 12 in. I took this photo of a dilapidated old barn next to an almond orchard on a ranch south of Chico. I was fascinated by all the clutter and if it had been safe, would have explored inside. My photo has been described as "an image that pays tribute to what remains of the past and a nostalgia for a world that no longer exists."
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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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Assemblage 5 x 6 in. Several years ago I began taking apart computers and other electronics, using the materials to build models and wall hangings. I enjoy taking them apart as much as putting the pieces together into something else entirely. I begin by building a structure from motherboards and other large objects from the electronics. I then enhance them with bits and pieces of old jewelry, metal and plastic, and other precious “junk”. The result, I hope, is a piece that stimulates the imagination and takes viewers somewhere new and wonderful.
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Digital 12 x 15 in. In my freehand, digital painting, Home Sweet Home, we see a young woman living in her car with all her worldly possessions. Her left eye is heavily bruised and almost swollen shut. Whether this is from an accident or someone hitting her is unknown. Homelessness is a pressing problem in America. Homeless women are particularly vulnerable. It is estimated that a large percentage of families are only one missed paycheck from becoming homeless. People living in their cars are one of the fastest growing homeless populations.
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Pastel 15 x 9 in. My series of “Colorful Living” portrays the portrait along with the patterns of color, shapes and texture.I enjoy the challenge of making the figure as important as the patterns surrounding them.
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Oil 14 x 11 in. The series that includes “Perfect Light” examines the nature of adolescence as a transitional state, delving into the often mysterious spaces within relationships. These are not simply figure paintings. While the paint surface is luminous and detailed, opacity also comes into play. What is more opaque than adolescence? We look deeply into these images full of secrecy, vulnerability and defiance, see their awkwardness - and revisit our own memories filtered through the lens of adolescence.
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Sculpture 15 x 8 x 4 in.
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acrylic 26 x 20 x 1.5" Three Sheets is an expression of how one hides behind a thin veil of imagined reality. It explores the impermanence of masking one's life artificially with intoxication. It has been said that an overstimulated being is Three Sheets to the wind, in essence, out of control. There are many ways one can be intoxicated. It could be love, emotional distress, fatigue, or just inebriation from consumption. As they say, what's your poison?
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acrylic 18 x 24 x 1.75" Convergence is the culmination of many hours of blending directly on the canvas. My process begins by selecting a color scheme and limiting myself to using only those colors plus neutrals. I work intuitively, applying paint then stepping back to analyze until I see no further changes to be made. The complementary colors in Convergence seemed to flow in a pattern which reminded me of rivers merging together in a confluence.
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oil on canvas 22 x 32"
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oil 24 x 24 x 1" This work was inspired by watching an artist construct a large scale urban artwork. All creatives will recognize this moment- approaching the empty page, the lump of clay or the white wall; all problems and all solutions are available if we take that leap of faith and...begin!
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fiberglass, varnish, pigments 36 x 84" Environmental awareness and protecting our natural resources are crucial if we are to survive. As a culture we are too busy to notice the delicacy of this complete system of life. Through my work as an artist, I see the opportunities to highlight these subtle spaces that balance and support our natural environment. It is crucial that we attend to the beauty, tranquility, and serenity in order to return to the center of balance. When we take care of our planet we impact ourselves positively.
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original collage (Primal Parts) printed on canvas with acrylic paint and marker, modeling paste, coarse pumice gel, glass bead gel diptych - each canvas is 48 x 40 x 1.5" Primal Parts II is a canvas print of my collage Primal Parts inspired by the work of Frida Kahlo. I used strong colors, female figues and elements of nature to denote women's strengths. Primal Parts II is texturized and accented with acrylic paint and markers as well as various mediums to create texture on the piece. The piece evolved into a diptych due to a printing error which created a reverse image.. The diptych further strengthens the piece.
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oil 22 x 30 x 1" A friend was travelling in Iceland and took a photo of this dawn, while taking a trip to see the waterfalls at Selfoss and Dettifoss. I named it for the falls that sound more like 'Self Loss' because the absorption into this sky is a way to lose yourself. The following words were written for and are painted into it: The Road to Selfoss, the dawn to openness, the sky to everything.
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mixed media/sculpture 13 x 15.5 x 7.75" "The Sheilas" is a kinetic piece with original printmaking, self-portrait, found objects, and mirror (yes, one needs a little smoke or mirrors to do this work of spying and deception). The invisible women who helped spy during wartime and the Cold War could go unnoticed because who would look at a woman past her "prime"?! Lift the latch attached to the little red book at the top of the cabinet and reveal the "Universal Aunts" who can "Solve Your Problems", In doing so, that motion lifts an envelope that hides the younger distracting woman in the black and white photo and reveals the faces of the older women who are doing the important work of saving the free world.
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watercolor & gouache 24 x 40 x 2" As winter fades and the season changes to spring in the tristate area of NJ, NY and PA the earth renews itself. It is like a resurrection of sorts that becomes apparent gradually. Spirits run high as the days get longer and the sun shines brighter. My work reflects the joy I feel during spring resurrection. My painting was created with watercolor and gouache on 140lb cold press paper and then mounted onto cradleboard with heavy gel medium. It is preserved with gallery series, Acid-free, UV protected, non-yellowing, matt spray varnish that also repels dirt and moisture.
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acrylic on canvas 30 x 60 x 1.3" A recent work in a series prompted by the strains evident in the built environment of Havana, Cuba. Viewers are asked to extrapolate their reactions to this painting to the sentiments of modern life.
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acrylic on canvas 32 x 28 x 2" In my latest series of work, Translucencies, I apply many thin layers of acrylic paint over a vibrant underpainting to give the feeling that light is filtering through the colors. The looseness of the brushwork and geometric shapes adds to the effect of what I am trying to achieve.
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mixed media collage 12 x 12 x 2"
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oil 30 x 40 x 1.5" A saturated memory of Europe.
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acrylic & pastel on wood 48 x 48 x 2" In summer 2022, I was invited to my neighbor’s house at midnight to watch the blooming of their Queen of the Night flower (also known the Dutchman’s pipe cactus). It blooms only once a year in the darkness of the night and withers in the morning. It was such a profound lesson to me that nature allows such magnificence to occur in darkness. Applying this lesson to my own life, I was encouraged in my personal health challenges. Even in the hardships and darkness, I should continue fighting because beauty flourishes even in the most adverse of circumstances.
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diptyque acrylic painting on canvas with 3D elements 24 x 40 x 2" My mixed media work is about the memory and feeling of joy. During recent health challenges (a mastectomy, chemo and radiation), I waited for 33 days for my oncology radiation treatments in a beige space without windows or artwork. After recovering, I received some paintings from a show in Connecticut. I offered to hang my pieces in the radiation oncology space. Most of my work is large and tropical in theme (we lived in Hawaii for many years), but it also includes pieces inspired from our world travels. I have received many letters, emails and comments from patients and staff alike as to how much better they feel in the space. It is a testament to the power of art and of giving back.
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painting 24 x 36 x 2" My painting "Kindred Spirits" bridges the gap between animals and humans. In my painting, Mwenda, a keeper in Kenya, says good-bye to his magnificent friend, Sudan, the last Northern White male Rhino. They are kindred spirits who blend together, just like their colors blend. Their curved forms are shared, heavy with a shared grief and unspoken love and respect. Together they form "Kindred Spirits" teaching Humanity lessons of extinction and lessons of Love with Sudan's last breath.
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mixed media on Arches paper 30 x 22" Every Tuesday I spend time with a friend with Vascular Dementia. Just before her diagnosis she asked me to teach her to draw. Immediately, in spite of no experience at all, it was clear that she had outstanding talent. Her illness has robbed her of this gift and the opportunity of certain NAWA membership. How she would have loved this sisterhood and its sharing of ideas, joy, respect, and strength. This piece shows her feeling of disappearing, but mostly it is about our shared sorrow.
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watercolor on Yupo 20 x 19" Recently I have been working on Yupo paper with my watercolors. This piece is a still life from my flower garden. I like the fluid effects that happen on the yupo substrate and the challenge to control the direction of the painting. It can be abstract in feel but still very realistic to the viewer.
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acrylic paint 48 x 30 x 1.5" There are moments when the majesty of gigantic trees reflected in the water causes me to stop in my tracks, taking in the beauty and the stillness. In an almost magical flow, this painting emerged from my memories of such moments.
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mixed media including thread, various papers, linen, gold leaf, paint, pencils & pens 56 x 48" Petroglyphs, architecture, graffiti, scrolls, codices – examples of our collective human urge to leave an imprint, tell a story, mark our time. These relics are a historical record with a tenacious existence. Think the caves of Lascaux, the Dead Sea Scrolls, and the tagged surfaces of train cars. My work speaks to this human urge for mark leaving, referring to an enduring historical record while simultaneously becoming a part of it. Drawing on ideas of the intersection between written language and spirituality, this piece is constructed, deconstructed and reassembled into an intimate and ephemeral account of our shared history, our difficult present and our uncertain future.
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collage; newsprint, dyed papers, recycled plastics and sashiko stitching with a vintage wood clotheshanger 36 x 17 x 3" "OMG” is a part of a series called "Woman is Boss", that makes art from the past, present. Japanese women from vintage newspapers and a 1937 travel book are shown in more submissive roles compared to women as they are viewed now. The name is derived from the facial expression of the large standing female figure on the left side viewing the female images around her. Inspiration came from repurposing a plastic commercial swimsuit hanger. This series of artworks utilizes recycled plastics, dyed papers as well as ancient newspapers, antique buttons and Sashiko stitching to create art using the female torso hanger shape.
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mixed media 48 x 36" My challenge is to see beyond my observations and to tap into the potency I observe. I use bold abstract shapes and patterns, expressive loose marks and dramatic vibrant color to create decisive, intense images.
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watercolor on paper mounted on board 60 x 40 x 1" "The Nurturers" is expressing many women's proclivity towards caring for others throughout their lives. Even when women have aging parents &/or adult children, many of us tend to have a penchant to provide support & caregiving to those in need.
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acrylic, airbrush, alcohol ink, oil pastel 40 x 48 x 1.5" Our world sometimes seems to be buffeted by forces beyond our grasp or comprehension. This diptych is informed by the "weather" of culture, politics, religion, differing ideologies. Much like a meteorologist might follow radar maps to stay informed on what's coming, sometimes the "weather" can still take us by surprise. Will it be sunny and predictable? Will it be turbulent and stormy? Looking at daily life through this filter, allows me some solace in letting go of things over which I have no control (like the real weather).
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acrylics 30 x 30 x 1.5" I began this work as a non objective abstract painting. However, once I dipped my paintbrush into green it became a flowing garden, Perhaps it was the Chopin or the spring day.
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pastel 20 x 16 x 1"
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oil on panel 36 x 18 x 1" The Edge - Ukraine is a metaphor for strength in the face of overwhelming adversity.
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painting 72 x 72"
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mixed media oil painting 42 x 28 x 2" My work in general hints at what is behind the eyes, the flesh and what we recognize as being human. Our bodies are bound by the laws of nature but our souls are not. Moon Garden draws us into the natural world to be lit up by the light of the moon, surrounded by flowers that bloom at night while becoming an intimate part of nature herself.
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photography 27 x 18" By manipulating light sources, imagery, and time, I create a sense of time travel in each frame. Through the use of vintage source material juxtaposed with modern LED lights, I create a striking tension between old and new. My work is centered around experimentation and the unexpected. The in-camera collage of the moon goddess Selene and her chariot, for example, came to life only after the 30 second exposure was complete and I played back the frame. This approach to photography allows me to push the boundaries of what's possible, creating images that are as surprising as they are beautiful and evoking a sense of wonder while transporting the viewer to another time and place.
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acrylic on canvas 24 x 36 x 2" Kane's work always begins with line(s) of many types. Lines build upon lines to create a sense of volume and depth. Sometimes the result is recognizable visually. Sometimes, as in "Mixed Lineage", the visual result may not be immediately recognizable as a thing. Your perception of this image is your own. I hope you enjoy this piece and smile.
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acrylic 48 x 60 x 1.5" Nature, for me, is a constant source of inspiration. This pink jungle has many paths to travel. Playfully we encounter many different animals throughout this landscape, even a dog with green dancing shoes! Being in nature reminds me of the paradox of our own complexity and our own smallness. Our feeling both small and vast in the natural world leads to stillness. In the stillness, we become aware of our inner light. This is the light of our true nature and our sacred heart. May all beings cultivate joy along this path to true enlightenment.
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glazed stoneware 17 x 6 x 6" After the pandemic I was feeling protective of myself and my friends and family. I had been doing nudes for a long time, but it didn't feel appropriate anymore. I made a series of these sentinels. They are combined thrown and modeled forms. i see them as entities that will look over us and out for us. Making them made me feel better.
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acrylic on canvas 24 x 83 x 1.5" Dead Zone I, published in the print edition of the international literary an arts journal, Still Point Arts Quarterly XI, was inspired by media reports of agricultural and industrial runoffs occurring in deltas, estuaries, lakes, rivers and oceans worldwide. Add in climate change acidifying and warming the waters, the end results are low oxygen levels that lead to reproduction problems in sea life, reduction of the population of large fish and suffocation of marine life. There may be a light at the end of the tunnel. Scientists have stated that dead zones due to human activity are reversible if their causes are reduced or eliminated. Surely a challenge and an uphill battle.
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photography/digitally manipulated 16 x 24 x 1" On the surface, the digital images in Judy's Under the Big Top portfolio portray circus troupes as glamorous, athletic, and cooperative. Further thought reveals deeper truths, such as commitment to disciplined practice produces impressive results. In "En Garde!" a clown models resilience despite adversity and imperfection, a way to grow from failure and heal through self-recognition and laughter. Although a clown may be ill-prepared and quivering with fear, he still bravely shows up.
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acrylic on canvas 48 x 65" When people get married, they are in love and feel like on the cloud. But marriage life takes a lot more than feeling good. It also takes resistance, keeping the promise, forgiveness, etc. My painting is composed to show the contrast between the love high and the reality of married life. "The Kiss of Rodin" is painted on the cloud as a symbol of a trance moment of love while holding hands over letters of troubles of married life showing the physical and emotional tie of a married couple.
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coated copper wire and glass beads 22 x 22 x 6" The oranges, yellow, and reds of autumn have always spoken to me. I find the changing hues moving, an inherent part of nature's cycles. I selected wire and glass beads to depict this glorious time.
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oil on canvas 48 x 36 x 1.3" My abstract work reflects personal experiences depicted without naturalistic objects. After painting a series of highly-structured, static, mostly gray compositions, I created "Breach" in a series called "Chaos." My world had gone from inertia to movement and color and disorder. "Breach" shows water breaking through rocks surrounded by coral and other sea life in an underwater scene. Though there is destruction and chaos, there is also beauty and joyousness.
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pastel on paper, mounted photograph 50 x 103 x 3" My assemblages: pastel on paper and mounted photographs, are created by layering juxtaposing elements: nature vs. glitter. The viewers are immersed into my glowing, dazzling world of color, light, dimension and beauty. I create these stills by combining the elements: photographs of the landscape in seasons and detailed photographs of glowing or glittering moments . The paralleling objects are added to accentuate these phenomena. These compelling compositions are the culmination of many carefully executed steps that define my unique creative process. My intent is to captivate the audience and lure them into my world of undeniable beauty.
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acrylic, graphite, water soluble crayon on canvas 66 x 78 x 1.5"
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colored pencil on paper 10.75 x 14.5 x 1" The original inspiration for Currents/Countercurrents was a view of wildly rushing waters flowing over a multitude of rocks in a pool of lake water. Each second I observed them, water would flood in anew to present more and more complex patterns. As I began to draw, vibrating colors akin to Op Art began to occur. I emphasized these, as well as building up the color in almost impasto effects adding to the frenzy. As the drawing progressed, it expressed additional meanings of the temper of the times.
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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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photography on acrylic 12 x 16" During a gentle rain, I was walking in the garden and noticed that the petals of this rose looked just like a beautiful dress in a ballet, I couldn't help, but think that this rose was dancing in the rain.
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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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acrylic 30 x 40" 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.
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collage 24.25 x 30.5 x .75" The series of family portraits completed in 2021-23, "They Had Good Habits", had its inspiration from fond memories and old family photos. This group portrait of my wonderful grandmother and her sisters, conveys their happiness in being together.
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oil 44 x 34" I was inspired to paint this piece while traveling in Cambodia. I am in awe of the spirituality, serenity, and peacefulness of monks. I strive to embody their powerful qualities in my new work.
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photo/digital art 17 x 21" I took this photograph on a rainy day inside a local bicycle shop. It was for a Northern California art exhibit with a bicycle theme. Of all the photos I took that day, this was the most pleasing.
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acrylic 31 x 41 x 2" In keeping with my deep interest in cultural signs, symbols and phrases I wanted to abstractly capture the slang term that was popularized on social media. RIZZ is a shortening of the word Charisma.
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oil 38 x 40 x 1.75" This painting is the beginning of a new series limiting the color palette. It tells the story of living in a place I love. My inspiration is the beauty of the city that keeps moving amongst its iconic structures and deep shadows. Daylight is used to outline both the buildings and people. I have always been a fan of antique silhouettes. They illustrate a history of fashion and stature in the most simple form. Fast forward to my version of silhouettes 2023.
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mixed media 32 x 24 x 3" Contemplating the graphic nature of quilts, I decided to use that concept for a mixed media piece using old photos of my family. I manipulated a photo of myself by turning it into a black-and-white jpg cut and rearranged it to become a graphic outline. I sewed some photos onto the paper with antique buttons, and used tracing paper to "cloud" some of the memories and outline. I continued the stereotype of using quilts as decoration and made the frame to hang the project.
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oil, gouache, pastel, on Arches oil paper 34 x 34 x 1.5" I create portraits of military spouses in mixed media. These paintings, which lean on drawing, display layered surfaces that disrupt and entwine with figures- representing the relentless cycle of moving and starting over. This figurative work revels in the immediacy, intensity, and expressiveness that drawing provides while exploring mark-making and surfaces. These qualities add tension between the figures and background while visually representing the struggle of spouses to not lose their individuality in lives dictated by another's military career. While being a military spouse is a tremendous honor, these portraits are an expression of their psychological space and tumultuous lives.
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acrylic and mixed media on stretched canvas 48 x 48 x 1.5" As a native Swede I have always felt a strong connection to the ancient Scandinavian and Nordic culture and rituals, passed down from generation to generation in the form of poems, sagas and the ancient written alphabet Runes. I translate my memories from my childhood into textured layered paintings; ; weaving layers upon layers of paint, graphite, pigments, marks and symbols. My artistic journey is somewhere at the confluence of the removing and adding layers, the destroying and creating, and the notion that time is a reflection of change and inadvertently leaves an imprint.
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acrylic on canvas 36 x 36 x 2" I’m interested in notions of landscape that focus on shallow water systems in both natural and man-made environments. The work combines representational and abstract approaches for a dialogue that addresses complexity and metaphor and which celebrates the intuitive response across painting, sculpture, drawing and print media. Composed Shallow (Three Leaves) proposes an intimate experience of a natural water system where familiar color, structure, and perspective are replaced and re-ordered.
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oil on panel 17 x 25" Portraits afford an opportunity to paint light and compelling form, as well as explore wide-ranging emotive qualities.. Each work is about what the face portrays, In painting individuals at different ages and life stages I am also engaging themes of temporal change, individual vulnerability and human mortality. Moments of strength, decency, calm or vulnerability; traces of pain, self protection, openness, or glimmers of hopefulness, pride and earnestness are lurking in these faces. I am engaging with the enigmatic. The difficult and satisfying challenge in my portraiture is to portray some truth and in so doing to suggest our complex humanity and shared experience.
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oil on canvas 30 x 24 x 1" A toddler gazes out of the glass door of an historic 18th century home. We learn from the past and also have an outlook on future prospects.
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opalstone on granite 15 x 20 x 6" This sculpture was created in 2020 after George Floyd was murdered. My work often involves archetypal images like Sheela-na-gigs and vultures. The vulture harkens to the ancient Egyptian goddess Nekhbet. The vulture was the first image I saw in the stone. The Black Lives Matter protests in Portland continued for 100 nights. At one point, a nude white woman postured as a Sheela-na-gig, displaying her vulva toward the police. For me, she was the perfect back of the vulture as the vulture was the perfect front for the Sheela. Combined, they gave me hope for a new future.
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linocut 20 x 16 x 1" My prints reflect my lifetime fascination with the eternal truths and beauty found in the natural world. I find these in the grace and elegance of living forms and the majesty of scenic landscapes. I channel them into a personal visual statement. Each print is the result of an idea, a narrative that forms in my mind, which I execute as a design. Then there is the challenge of cutting the image into the plate and printing the edition. Cutting each plate provides a new learning experience.
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photography 28.5 x 24" Around the Keukenof Gardens, you will find the most beautiful tulip fields in the Netherlands. The designers' arrangements of the tulips excited me. Beautiful yellows, reds, pinks, purples, and whites transformed into a magnificent painting. I was inspired to create with my camera my interpretation of the tulips. Using a Topaz filter, I was able to push and pull the colors of the tulips until I was satisfied that the Explosion of colors were perfect. I want the viewer to experience my image so that it will enhance your imagination and lift your spirit. I hope that what I have seen through my heart becomes visible through your eyes.
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oil on canvas 20 x 24" “Just Before the Stars Come Out” speaks of the end of the day; when the moon is up, just before the stars are readily visible. That sky has the most beautiful shade of royal blue, like lapis lazuli. It only lasts for a moment but is such magic. “I often find myself painting in two’s – such as the two chairs or two lampposts. It suggests a story, and I’ve been told it’s romantic.” I work both from direct observation of nature and from imagination. My work is about color and feelings. The thrill for me in painting lies in the countless possibilities of the interjection of a single stroke of color, upon color. My art is my effort to capture a moment and preserve the uniqueness of it.
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acrylic 48 x 20" The invasion and destruction of Ukraine has caused me to question why this can still happen in today's world. None of the answers given (power, society, insanity) help me understand the destruction and death we are witnessing once again.
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acrylic on canvas 24 x 16 x 1.5"
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plaster 19 x 16 x 5" Iris is an artist model. She began her career mid- life age 50. An artist asked her to pose for him She shared. Iris relished the idea and began her Art model journey. She brings a spiritual energy to the pose. Thank you, Iris.
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oil on oil primed linen 40 x 30 x 2" Inspired by a recurring dream, I am interested in past experiences and how they mold and form who we become. Childhood memories are often the source of meaning and inspiration for my work. I use a shallow space and multiple perspectives in my compositions, working partly from life and partly imagination. All imagery has a specific meaning to me personally but I do not wish to embed a narrative in the painting. The inspiration serves only as an excuse to make the painting.
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acrylic on canvas 48 x 60" I like soft colors and ways to find “safe passage” through the canvas, in the same way that we all maneuver through life and find our way. I want to create a feeling of depth, with forms intertwining, like stories of individuals in a city full of people. I strive to create contrast, vibrant interaction, raised and recessed surfaces, glossy and matte combined finishes. Life is a little like a puzzle and we all have to find our way to make the pieces fit. Intuitively, I convey my feelings in a particular painting, depending on my situation at the time… exploring the way shapes intersect in life and the way we sometimes hide the obvious behind a mask.
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limited edition digital print 2/50 15.5 x 18" Midnight is a mysterious and magical transition in time that reveals new opportunities and experiences.
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watercolor 35 x 28 x 1" The inspiration is the plethora of late summer-plantings in the St-Michel-de-Cuxa Cloister at The Cloisters Museum in northern Manhattan. My intent was to convey the contrast between the permanence of the 12th-century architectural elements and the fragile, transient essence of the blooms.
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acrylic on canvas 36 x 36 x 1.5" My piece, "Irreconciliation," explores the uncomfortable experience of irreconcilability. In today's political climate, it is unfortunately an ever-present force. Through abstraction, the painting captures the dynamisms, complexities, contradictions and opposing forces resulting in irreconciliation, yet also depicts the seeds of possible conciliation, if only we could acknowledge them.
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colored pencil 12 x 8 x 1" PeaceWood is from my Revealed series showing the beauty that can be found even among erosion.
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oil & cold wax on wood panel 20 x 20" This painting was one of my first pieces upon moving to South Carolina. I was inspired by the ever-changing sky as a storm approached along the Intracoastal waterway. This is my first piece using cold wax. I used the cold wax to blend the colors and sought to achieve the glow in the sky. The cold wax was integral in creating the reflections in the water.
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collage 40 x 50" I am fascinated by the mythic concept of one’s daimon, or spiritual companion. According to Plato, the daimon acts as a carrier of our destiny. I refer to these companions as “the Grandmothers” and wonder how do they manage? Where do they reside? How do they carry such an important weight both physically and emotionally? While softly swinging in my hammock, the feeling of a vessel gliding effortlessly through the cosmos came to me. These boat-like vehicles developed into soul sleds. They are the agent from which the Grandmothers run the show and watch over us. Exploring the ideas of one's soul journey is my work's focus.
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oil on linen 24 x 36 x 1.5" This painting is inspired by my walks with my dog Bodhi. He's a spirited energetic animal so it was a rare opportunity to catch him in a contemplative moment In this painting, I feel that Bodhi is enjoying nature in a similar way to me, but with different sensations, including his exquisite sense of smell, and touch. The painting reflects my sense that as humans, we are part of nature, and having an experience with a different species can enhance our appreciation of the world around us.
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acrylic 24 x 18"
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watercolor & gouache on polypropylene 27.25 x 33.25 x 1.5" The Italian word “capriccio” has various definitions: playful; whimsical; fanciful notion; an instrumental free form composition, usually lively in tempo and brilliant in style; characterized by unpredictable, sudden turns and changes were my muses for this painting. If ever a word described the Italian spirit, this is that word. It is the word that inspired the playground of the Roman emperors – Capri. “Capriccio” expresses all the definitions simultaneously. Using only the elements of art in a non-narrative composition afforded me the opportunity to take a capriciously joyful approach in my artistic interpretation of the word and the joyful Italian spirit and overall approach to life.
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