a percentage of profits from #formidableWoman supports women in need. my current charity-of-choice is the Healing Touch World Wide Foundation, helping to educate Healing Touch practitioners worldwide.
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new work 2016
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the surprising: 2014-2015
The first canvas that became the first painting in this series (“what makes the worlds: chit ganna”) had hung on my studio wall blank for months. In early fall of 2013, I blocked in a seated female figure. To my surprise, she was pregnant. Again, the painting sat for months, gestating. Busy with other creative projects, with family, with holiday celebrations, I could not bring myself to the careful, layered, figurative work I’d told myself I would continue and that I had been doing for several years.
The question is, “Who was telling whom?”
If I listened deeply, I knew something different and exciting wanted to emerge. Could I allow this? How would it flow with the series of paintings on which I have been working? What would the work have to say?
When I finally allowed myself to paint, to play, I finished “chit ganna” in just three sittings of several hours each on January 1, 2014. This is significant, as I have formerly been very slow to complete the larger work represented by my former series, “Beyond Boundaries,” only completing one painting a year.
This emerging painting style has become, for me, a kind of affirmation or resolution, if you will:I allow divine interplay in my art, in my life. Not only do I allow this interplay, but I invite it and welcome all of its surprising.
“the surprising” has brought with it much emotional healing and hope, the story I am telling on my blog pages now and briefly as you click on each image in its description.
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beyond boundaries: 2005-2014
My work comes to me in a sort of visual dictation. Often, paintings begin as a result of a meditative journaling practice from which a sketch may evolve. I then transfer the sketch onto canvas, blocking in the central image free-handedly. In a further form of meditative painting, I engage the work, dialoguing with the canvas, finding and following emergent form. I am both inspired and informed by the images that desire to be expressed through this medium and practice, as though the work exists on another plane and waits for the listener to make it known.
vessels & other early work, circa 1992-2005
I explore and express the experience of womanhood, especially in its relationship to the cycles and seasons of the natural world; to fertility and conception; to birthing and surrender; to decay and regeneration
When I discovered myself as a visual artist in the early 1990’s, I began to experiment with stick and pencil chalk pastels, graphite drawing, watercolor, and even hand-built sculpture in clay and bronze often mixing media. I have never been a purist nor a realist except in my work with the female figure. Here is an artist’s statement from 2002:
It has been my life’s work to find my own voice, to come to my own concept of the Divine, to come to know my Intuitive Self. My art provides a venue for dialogue with that self and, through this communion; I explore and express the experience of womanhood, especially in its relationship to the cycles and seasons of the natural world; to fertility and conception; to birthing and surrender; to decay and regeneration. It is often profound sorrow; distressful unrest; urgent desire that brings me to the altar of my writing and my art. It is then, not without struggle that I begin a settling inward, a quiet listening, have a sense of relinquishing, of becoming radically receptive.