The Dream Thief: If he likes your dreams he comes at night when you’re asleep and collects them.
The Highwayman is my homage to the poem of the same name by Alfred Noyes, published 1906.
Memories of Fireflies needs no comment for any child who has ever chased them.
Still Life with Rosary: a play of light and dark
The Dream Thief, acrylics, 30” x 40”
The Highwayman, acrylics, 50” x 30”
Memories of Fireflies, acrylics, 30” x 50”
Still Life with Rosary, acrylics, 30” x 40”
I took these photos of wonderful old falling-down houses in some little towns in the Shenandoah Valley off VA I-81. They looked as if they needed ghosts, so I went to the web and got them some–public domain images, except for the Our Lady ghost. I found her in the cemetery of Old Saint Mary’s Church in Fairfax.
No Loitering, digital print, 8.5” x 11”
I Am the Pretty One, digital print, 8.5” x 11”
The Sentinel, digital print, 8.5” x 11”
Waiting, digital print, 8.5” x 11”
Our Lady, digital print, 8.5” x 11”
gone wild colors
My crush on Frank Stella, Ellsworth Kelly and Josef Albers is showing in these hard-edge paintings.
Trilogy is a study in color perception. All pinks, aquas, yellows, and purples are the same but they look very different, depending on what color surrounds them.
New Year’s Dragon was a yearly San Francisco treat for me when I lived there. Gung Hay Fat Choy!
Caribbean Staccato is about Jamaica.
Red Trilogy, 3 panel acrylics, 66” x 48”
New Year’s Dragon, acrylics, 72” x 48”
Caribbean Staccato, acrylics, 30”x 48”
In a dusty corner of the old WhatNot shop in the old Cerrillos, NM I found a little handmade cabinet with Kokopelli carved on its doors and the word “Cimarron” on the back. It became a memory holding a lonely landscape, never-ending sky, a glorious mix of textures and colors, various oddments and, most fun of all, a high-flying, in-your-face sense of individualism and political incorrectness. Loved the sign in the window: “We reserve the right to not sell anything we ain’t got unless the Supreme Court tells us we got to.”
Later, how surprised do you think I was to be unpacking an iMac and find The Alamo? A little paint, a few additions including pesos, shotgun shells (for vigas), embroidery skeins, fabric fragments and tea lights became a little altar of sorts – High Plains Santuario, my tribute to a mysterious and miraculous ambience I sensed about the Southwest and in particular, its missions. Thank you, Apple!
Cerrillos WhatNot, (open), assemblage, 20” x 22”
Cerillos WhatNot, (closed), assemblage, 20” x 22”
High Plains Santuario, assemblage, 23” x 26”
We got a new microwave oven. The two halves –an artist’s dream! One half became a Once and Future Ancient City Wall, with a portal to an undiscovered universe.
The mysterious House of Baba Yaga, the fearsome witch of Russian folklore, was in fact lurking in discarded cardboard packing material that my daughter was throwing away. I rescued it, so as to gain favor with Baba Yaga. I restored the little chicken feet that it goes about on and so forth and when I finished it I asked the little house a question and it did not turn its back on me as it would have if had I offended it. So, I was happy, though I did notice Baba Yaga peering suspiciously at me through a window.
In a sale at an old tool and die company in San Francisco’s Embarcadero I found the perfect base for Hong Kong Market, which I made to remind me of the fabulous visual melange of shapes, colors and textures I experienced in that city.
Once & Future Ancient City Wall, assemblage, 18” x 32”
The House of Baba Yaga, assemblage, 22” x 30”
Hong Kong Market, assemblage, 18” x 24”
The base for Louie, Louie, was half of a packing form for a microwave oven. It made me think of the Hall of Mirrors. Public domain images from the web, mirrors, mirrors, and mirrors plus frou-frou and more frou-frou and Voilá, there was Louie, Louie in over-the-top French Baroque glory. I like to lurk near my pieces at openings and listen to what people say about them. A man and woman looked at Louie for about 15 minutes, then the man said, decisively: “KITSCH!” : )
In Richmond Hill, Georgia, I found at the community dump a discarded window frame with the most beautiful texture. It was the starting point for Savannah Icon. The face behind the windmill-palm frond is the face of a beautiful friend who lived there, now gone– just as the icons of Old Savannah are all gone.
Louie, Louie, Lou-i-a, asssemblage, 18” x 32”
Detail, Louie-Louie: Oh, yeah, baby, he had to go.
Marie Antoinette detail: They-said, she-said.
Savannah Icon, assemblage, 30” x 53”
Detail, Savannah Icon
“Just a line of blue hills to remember, a valley one fails to forget.” W. H. Ogilvie
“Just a ribbon of river and stream …”
Just a cup of tea and a good book …”
Shenandoah in Morning Veils, acrylics, 60” x 48”
Red Clay River Bank, acrylics, 30” x 40”
Tea and Shakespeare, acrylics, 36” x 32”
For hundreds of years Milagros Crosses have been fashioned by Mexicans and people of other Latin American countries. Usually handcrafted of wood, the crosses are covered with small metal “milagros” (miracles) charms which are symbolic of whatever it is that the cross-maker wishes to petition saints.
I decided to make my own personal milagros cross, though of different materials. My painted milagros cross has symbols (cut out of rice paper, stained, and glued to the canvas) of people, animals, angels, traditions, ancestry, history, and events in my life for which I am profoundly grateful.
“When I was One and Twenty” is a self portrait.
My Milagros Cross, mixed media, 24” x 36”
When I Was One and Twenty, acrylics, 24” x 24”
When my mother was in a nursing home in the Deep South I tried to visit her often, and when I did I became a fly on the wall. These are three of the many mesmerizing conversations I saw and overheard and recorded later with drawings. The drawings are free-hand on the computer, combined with word-for-word dialog.
Songs of Winter
Early Loudoun Snowfall, acrylics, 30”x 30”
Twilight Snow, acrylics, 48” x 48”
Late Winter Sun, acrylics, 36” x 36”
Primary: of chief importance.
Of chief importance: The Colors Red, Yellow, and Blue? You bet!
Of chief importance: Pythagoras and his Theorem? Yes!
Of chief importance: The Reluctant Model? But of course!!
Of chief importance: Moi, Moi, Moi? Without a doubt!!!
Moi! Moi! Moi!, acrylics, 30” x 24”
Pythagoras and His Theorem, acrylics, 36” x 36”
The Reluctant Model, acrylics, 36” x 48”
Riches and Rags
Thankfully, material cost has little to do with whether an image is interesting or not. Riches can be rags and rags, riches. Or riches can be riches. Or rags, rags.
Snow from the Sidelight, acrylics, 30” x 40”
Portrait of an Artist’s Trashbag, digital print, 10.5” x 13”
Interpretations of medieval manuscript illuminations from the French National Library, inspired by Photoshop image adjustment options.
Pixelation Coronation, acrylics, 50” x 21”
Jean de Berry Priant > Inverse, acrylics, 28” x 22”
Richard II/Kentish Rebels > Color Error, acrylics, 24” x 24”
King Charles V > Variations, acrylics, 22” x 28”
Medieval Foxhunt > Zoom Out, acrylics, 18” x 22”
Woman Holding a Baby, digital print, 11” x 18”
Sisters, Time, and the River, acrylics, 40” x 30”
Brown Shadows, photograph, 8.5” x 11”
Portrait miniatures first appeared in the 1520s at the French and English royal courts. Highly prized, they were much in demand until the mid-19th century when daguerrotypes came into vogue.
These three sets of miniatures were commissioned for different celebratory occasions.
Christine and Joseph as Colonials, acrylics, 1 & 5/8” w x 1.5” h
Claire and Aidan as Medievals, acrylics, 1 & five-eights” w x 1.5” h
Byron and Sarah as Victorians, acrylics, 1 & five-eights” w x 1.5”h