Tiny ptgs
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Tiny paintings for tiny budgets. 6 x 4 inches acrylic on paper all tiny paintings are matted in envelopes
 Ascent(2023) |
 Fissure(2023) |
 Golden Dream(2023) |
 Hiding(2023) |
 Morning(2023) |
Breaking Up
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Our relationship with the Earth is a complete failure. Degradation of land, species loss, habitat loss, and pollution of the seas and land and the consequences define a relational failure of humans as custodians of the only planet inhabitabl. Our disregard for interconnectedness will eventually lead to the collapse of the fragile web of life. Imagine what happens when the weather breaks up with the land; or the bees break up with the flowers. Try to understand when invasive species overtake native species reducing the only food supply for a particular insect. Living things arebreaking up
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Big Brush Painting 2021
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Ink drawings on paper.
 Blasted Mum(2021) |
 Bolder Yeti(2021) |
 Bow(2021) |
 Broken Q(2021) |
 Coil(2021) |
Pandemic Action Paintings 2020
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Needs text.
 Big wind coming! (2020) |
 Broken Egg(2020) |
 Carnival (2020) |
 Carousel (2020) |
 Chattoog(2020) |
Gestures 2020
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 The Figre 10(2020) |
 The Figure 1(2020) |
 The Figure 11(2020) |
 The Figure 12(2020) |
 The Figure 13(2020) |
Fragments 2014-2020
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Text needed.
 Drifting (Flying)(2016—2019) |
 Intruding(2019) |
 Vanishing(2019) |
 Conversing(2018) |
 Dissolving(2016—2018) |
Mums (ongoing)
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Started sometime after returning from Japan (Fulbright Memorial Scholarship 2007) where I saw a beautiful exhibition of Chrysanthemums. The circle and square have always been powerful compositional possibilities I have explored. The generative energy of spirals, circles, snowflakes, and starbursts show up as mostly ink drawings on small sheets of paper. These works also fall under the rubric of marks, text, image.
 Snowflake I(2019) |
 Snowflake II(2019) |
 Snowflake III(2019) |
 Snowflake IV(2019) |
 Snowflake V(2019) |
The mark (on going)
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The mark is an affirmation of being. We are the only species that is aware of the significance of a mark we make. It engenders reflectiveness and enfolds consciousness. It hovers between nothingness and profound symbolism. It is the origin of sophisticated communication in our human species. It rises from breath and heartbeat and perpetuates life.
 SBDR 07(2014) |
 SBDR 08(2014) |
 SBDR 10(2014) |
 SBDR 11(2014) |
 SBDR 12(2014) |
Remnants 2009-14
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Around 2008 I was working on a large canvas (80" x 110" app) that began to overwhelm me with too much color and too many marks. So I backed off and rolled it up. I retreated in scale and started working on 14 x 11-inch canvases using oil paint and focusing solely on the relationship between figure and ground, the project bedeviling me in the big painting. I focused on this size for about 4 years until I was ready to return to the problem on a larger scale. The title, remnants, refers to the leftover fabric I found on the cutting floor of my grandmother's costume business. I would play with the scraps of colorful fabric for hours conjuring all manner of fantasies. My eyes have been keen on color ever since.
 Remnant 10(2012) |
 Syntext 2(2012) |
 Syntext 3(2012) |
 Syntext 4(2012) |
 Syntext 5(2012) |
Mapping
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Works in this series tended to map aspects of nature. Ink overlays over painted, drawn or photographs suggested arbitrary mapping of surfaces.
 Songlines II(2002) |
 Songlines III(2002) |
Moving Lines 1992
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Among the elements I explored in the early 90s was the ellipse, a perspectival distortion of the circle. Less intimidating than the circle, the ellipse allows the hand and eye to ambulate gently around. As the line reaches the end points, the hand/eye accelerates, compressing into the turn toward the opposite direction. The central axis of an ellipse appears to the eye to be closer or farther away from the traversing line, creating a complex but stable spatial reading. Breaking the ellipse into fragments allowed the lines to float or move through space with an unrestricted energy the ellipse did not offer. Referencing the I Ching, the moving lines project a subtle energy in relationship to the black ink scaffolding hovering in the middle ground.
 Broken Elipse #13(1992) |
Trees 1991-92
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 Tree 10(1992) |
 Tree 11(1992) |
 Tree 12(1992) |
 Tree 13(1992) |
 Tree 14(1992) |
Landscape Traditional
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Competing with nature by making landscape paintings is a challenge I have been tempted by from time to time. The works here were done from observation. To be entranced to the changing light and color is just another excuse to be out there with nature studying closely all that is encompassed by the venue.
 Cullasaja River I(1991) |
 Cullasaja River II(1991) |
 Estatoah Falls(1991) |
 Forgetting(1991) |
 Minnehaha Falls (1991) |
Vernacular Madonna mid to late 80s
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As an undergraduate student in the early 1970s I was introduced to the Feminist Art Movement through three visiting artists from NY. Jane Kaufman and Nina Yankowitz left the the women art students with the strongest impressions of who we could become as artists. Kaufman started a few CR groups. I joined one and the freedom to speak to power was liberating. But graduate school was still ahead of me and it turned out to be a bit of a backwater so the urge to speak was met with amusement. It took several years and a period of working through my personal aesthetics to be able to see myself as an empowered being. The paintings in this series reflect the liberation from a past that included strong religious indoctrination and a limitation on expectations of who I could become as a female. Art was a vocation not a career.
 Gains and Losses(1988) |
 Madonna in Blue(1988) |
 Madonna in Red(1988) |
 Mediator(1988) |
 Transit(1988) |
Voudon 1986-88
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Mark making and iridescent pigments are hallmark of this group of works. I was living in Miami teaching in a Magnet Arts High School in Liberty City. I became very close to a very talented MS student who happened to be Hatian. There was also an exhibition of Haitian Voudon flags at the Miami Art Museum that interested me. Voodon was practiced regularly in the Haitian community. I researched the religion and was inspired to create images that corresponded to some of the powerful entities represented.
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 VTE(1988) |
 VTE/ Gros Bon Ange(1988) |
 VTE/Corps Cadaver(1988) |
Angels 1980s
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These paintings were inspired by a move to a 1000 sf warehouse in the industrial area of east Sarasota. I was the only one who slept in that area at night, so I felt vulnerable. I got a Doberman and named her Angel. I end cted safe keeping by making a series of paintings of angels that were lacking corporeality and placed them in different architectural settings to mimic the warehouse. Some of the works took on religious iconography and so they were titled after saints. I was using paint sticks and iridescent pigments and oil pastels on paper. One was selected for the cover of Sarasota Magazine.
 Requiem for an Angel(1987) |
 Angel of Reconciliation(1985) |
 Archangel Faith(1984) |
 Fourth Archangel(1984) |
 Jade Angel(1984) |