acrylic on canvas
48 x 60 x 2 inches
SOLD
There’s a squared section in the upper left area of this painting that is a deep blue with darker blue streaks running vertically through it. This inconspicuous shape is the key revelation for this painting; it is tears in rain. As I was making the piece, these last words spoken by the character Roy Batty in Blade Runner came into my mind as the perfect metaphor for the confusion of personal trauma (in any form) experienced amidst a global crisis. Regardless of the situation, typical support systems have not been in place, and so on an individual level, the person’s tears are essentially lost in the greater downpour. We’re still processing this one together, but for now, I like Anne Lamott’s thought that …”salvation will be local” and from Joseph Campell: “...everything in your life that seems to be obstructive can be transformed by your recognizing that it is the means for your transition.”
That being said, in the meantime we can focus on the things that bring solace, like the teapot holding the healing tisane or medicinal drink; a pink moon bringing optimism for the future; white lanterns and a candelabra lighting the darkness; refractions that make rainbows... Finally, we can call on the magic of humor and blunt reckoning—here represented by the black and white diamond jester pattern.
acrylic on canvas
72 x 60 inches
SOLD
THE CENTER WILL HOLD
A bold composition with that is architectural, feminine, hard edged, playful, and colorful with an emphasis on the range of purples and viridian. The tribal symbols such as the half moon and row of pyramids are grounding, yet also aim for transcendence. In the middle–a window to the unknown. There are allusions to Art Deco as well as Alexander Girard's folksy, whimsical aesthetic.
The title "The Center Will Hold" is a deliberate counter to the title of the Joan Didion documentary “The Center Will Not Hold” as well as the line from Yeat’s poem, “The Center Cannot Hold.” Because as a pastime reprieve, painting forces a center to hold. In this piece, it provides a structured architecture for stability; mirroring and repetition of shapes for rhythm; and links to the past and our primitive drive to hold the center of our own lives.
acrylic on canvas
48 x 36 x 2 in.
“Moorings” are the ropes, chains, or anchors by or to which a boat, ship, or buoy is moored. This piece contains sail shapes, a nautical theme, and strong line work that makes an anchored framework. It's about remembering what keeps you connected and grounded in this life. The large black circle at the bottom of the picture is intentionally confrontational and represents an opening to the infinite or the abyss--either of which are equally terrifying, cannot be avoided, but hold magnificent treasure. There are 11 star-cross shapes, a reference to repetition and mantra, and the number itself, thought to be sacred in many traditions.
acrylic on canvas
72 x 48 inches
SOLD
This piece is about the alchemy of dualities/extremes/black and white. The divided circle at the bottom of the canvas has a pathway to traverse up to the blue jewel at the heart center of the picture. The transformation happens as the dualities pass through the jewel and toward an opening to pink cosmos where stress, worry, and attachments scatter into stardust. This painting is also a continuation of the protective/shamanic figures that show up in other series. There is repetition and patterning to signal the power of mantra; mirroring to alert us to the inner lens that informs the outer view; and faux 3-D to remind the mind of veiled realities.
acrylic on canvas
60 x 48 x 2 inches
SOLD
Two decidedly feminine figures are grounded on 3-D “chargers” that pull energy into them. The lodestar near the bottom is floating in the void - the place of not knowing, the source of infinite potential. The orientation of the composition feels ambiguous like the royalties in a deck of cards or like that of the tarot, and signals open-ended and counter-intuitive interpretations. The piece is about remembering our common ground, to focus on humility, our humanity, and to honor the fact that we come from nothing and to nothing we shall return. Weapons down. Our time here together is finite... Inspired by fortune tellers, shamanistic robes, ceremonial costume, quilts, and haute couture.
acrylic on canvas
48 x 60 x 2
SOLD
The title of this painting is from a quote by Rainer Maria Rilke in which he is referencing the purpose of sadness in our lives and that if we can endure its presence, we see that we come out the other side new in some way. This piece is about weathering a dark period, acceptance of change, and surrendering to and deeply trusting the inner processes that are beyond our control.
The original inspirations come from Egungun ceremonial costumes that symbolically honor ancestors, bloodlines and the unseen forces that govern aspects of our lives and the subconscious; as well as Dries Van Noten’s fashion designs, another exquisite display of passionate, riotous joining of color and pattern grounded within a rich history.
The arrowhead at the top of the picture continues the recurring theme in my work about self-protection and self-reliance. The mirroring at left indicates the same-same relationship of our inner-outer experience of the world.
acrylic on canvas
48 x 60 x 2 inches
A highly patterned abstract composition with influence from fashion design, Razzle Dazzle war boats from WWI, shamanic dress, a medicine cabinet, hypnotism, the inward turning aspect of the 4 of Cups in Tarot. It’s also a meditation on leaving the nest/ being forced out of your comfort zone, being forced perhaps to confront extreme chaos...and trusting or finding or rediscovering what holds a center for you.
colors: mint green, coral, lavender, brown, sand, taupe, red-orange, yellow ochre, pink, cream
acrylic on canvas
48 x 60 x 2 inches
SOLD
This towering and strange composition of shapes explores the idea of projections, symbolized by the translucent white beam at the right side of the picture as well as the white triangle radiating from a black hole at the bottom. The partially translucent, intense pink emphasizes the burgundy and cream striped stair-steps that could descend into the psyche or ascend to another dimension. The sharp teeth pointing inward, mirrored and brushed with metallic bronze, make the piece monster-like. The title is about having the courage to perhaps revisit an exiled part of one’s self--and in so doing, you may find the scary monster within is merely a disguised child. The bright lemon-colored circle suspended on the right side of the picture indicates playfulness and hope. A tiny gold seed rests in the center of the piece--a promise of unrealized potential.