'A Rose by any other name'

I am deeply attracted to tiles, blocks and multiples in painting. I just love the concept of many small parts that contribute to the whole. A metaphor for life really, we can appreciate the detail while still seeing the big picture.
While working on my larger paintings, I usually have a smaller, multiple work on the go at the same time. I love designing the multiples to read as one and yet be able to hang individually.
I am especially thrilled when a client purchases a set, as I create I do intend the work to be hung as one but understand available space and finance have a place when purchasing a work.
'A Rose by any other name' has been collected in it's entirety, consisting of 9 blocks @ 6"x 6". 
I hope my new collector is inspired everyday.


'Go forth and be kind'

I have been finding my personal balance in painting.

Restoring connection to source energy, as dialogue occurs between the canvas and the paint.    
'Go forth and be kind'  it says.

18" x 36" Oil/Canvas

Detail: (This is only a detail picture not the whole painting.) 

'Go forth and be kind'


I find I wait until my paint clothes are on and I am in the studio and ready to work to open to the inspiration of what action to take.
I have found lately my inspiration for what color to apply next has had an interesting correlation to the nail varnish color I am wearing on the day.

Mauve Gray

It didn't occur to me until I had posted a couple of photo's on social media over the course of a couple of weeks, that this is what was happening. 
I have no preference for how I am inspired, intuition has always been my guide for what color or technique I will apply in any given session. Lately when asking my higher self 'what next' my eyes have found the answer right in front of me...in my varnish!


My latest commission- turning 'Sunrise on the Mountain' into 'Awakening'.

I've been busy this month with a commission. It's been an interesting process. Once again, I have learnt many things through the process of collaborating.

There have definitely been many stages thoughout the whole push/pull relationship with the canvas and palette changes, along with an entirely new midsection, in the style of the 'Thick series' that have challenged me but as I've pushed through it always rewarded. The work began as 'Sunrise on the Mountain' a 36" x 48" painting from the Weave Series.

sunrise the mountain.jpg

After discussing which series on my website my collector responded to and in what way, I decided the best way to meet the request was to begin with a painting, from one of the preferred series already complete.
I then factored in the extra detail and contrast using the colors already present in the undercoat/painting and created texture with a palette knife of Titanium White. 
My client explained he is actually color blind, so I photographed it with the black and white filter to see if I could see the work differently.
It was very interesting, they way it highlighted the area's of contrast so easily and enabled me to visualize more clearly the area's to solidify. He wanted the windows to the darker ground visible in parts and a lighter 'Spring' feel to the highlights included in the more textured top application. 

   Black and White image of the painting in progress to share with my client who is partially colorblind.


Black and White image of the painting in progress to share with my client who is partially colorblind.

At present the entire top third is painted Titanium white with hints of a glow of the palette that lies beneath. I will always know it is there and feel it's contribution but how much of that glow will remain to be seen is still unknown as yet.
At a certain point it will just be right, even though some stages don't seem to make much sense on their own. It is always the whole with a painting.  Each layer contributing in ways unplanned and building on from there to create a work that at some point just cries finished, complete. and you know it.  
This work is about renewal and the windows through to the under layer painting are a salute to past, the fabric that goes into the weave. Although, with paintings it often feels as though the future is painting the now. The layers know why they need to be expressed in terms of the final outcome. I just have to trust.

Finally, the finished painting. My client signed off on it today and I am preparing her for shipping.
I am excited to be able to contribute to the new environment my client is establishing, for the beginning of a new chapter in his life. What an honor it is to journey in collaboration with another. Co-creating at it's best!
(Unfortunately there is no time to photograph this work professionally so here is an iphone picture to share.)

'Awakening' 36"x48" Oil on Canvas 2016

'Awakening' 36"x48" Oil on Canvas 2016

Tiny Works Exhibition @ ActivistartistA Gallery in Boynton Beach, Florida.

My Tiny Talisman have found another size appropriate show to participate in at the ActivistartistA Gallery in Boynton Beach, Florida.

The show is titled Tiny Works and tiny they are but it is interesting to note small work still carries a vibrational imprint that is large, particularly when there are multiple works hung together!
Kudos to Rolando Chang Barrero for organizing another great community event!

Tiny Talisman I

Tiny Talisman II

Tiny Talisman II

Tiny Talisman

Twitter Exhibit Entry: 'Rebirth'


I have been painting Tiny Talisman for the better part of a year,
The idea was in part dictated by available space and a desire to continue in some way, with the tiles format of paintings fitting in together, parts to the whole. I've held a fascination, since studying Latvian Artist, Immants Tiller in my early painting years for tiles and canvas paper that joins, pages telling a story.
The original idea stemmed from a clients request to have a piece of art she could carry around in her purse for the energy it imbued to travel with her, hence the title Tiny Talisman.

Since making these 2.5" x 3.5" paintings on canvas card, I have explored a number of themes with them. In the process of their completion and during the assemblage of the multi card projects, (the mixed media 10"x8"s of 2016) I have found a renewed sense of play.

At times I painted them into the canvas at other times I removed them leaving a space where they were once. They have become an index of the palettes used in creating my larger works along the way.
They are in progress, all around the studio most of the time. I use paint left on the palette after a studio session and apply a certain stamping to the cards with it. The layers build over weeks and even months until they feels complete.

I mainly print 2.5"x3.5"'s but occasionally will use a larger size of canvas card to begin. This entry to the Twitter Art Exhibit , titled 'Rebirth' is postcard size.

I have entered a couple of Exhibitions with my smaller works in the last month. It's been great to see these little works make a difference somewhere, regardless of size. 

The proceeds of the sale of work in TwitterArtExhibit go to Foster Pride NYC. It's nice to be part of something that can make a difference. :)
There is so much good work to look at or purchase too! 
My painting: 'Rebirth' 2016

Thanks Twitter for organizing the TwitterArtExhibition!

Pantone: Colors of the year - Rose Quartz and Tranquility.

Pantone has chosen Rose Quartz and a pale blue they call Tranquility as the colors of 2016!
This is the first time they have named two colors together.
I like the idea it reflects a balancing of masculine and feminine energies. I believe/hope that is indicative of what is happening in the world. Less of a separation between the sexes and a balancing of two equally essential parts to the whole that we are.
I have noticed over the years, the colors Pantone choose each year have usually been factoring in my work for the 6 months or so previous. It happened with Marsala in 2015 ( also in the Fog Series) and Radiant Orchid in 2014. In 2009 I showed a series at 'Chapel of Chapel Gallery' in Melbourne , Australia which consisted of Turquoise and Magenta predominantly. Turquoise was the Pantone color in 2010!
It makes me ponder the universal nature of energy and thought. These attractions floating around and people the world over picking up on the same frequencies. I love it.
My 'Fog Series' definitely resonate with their color chart for this year. 
I am not sure if I will continue this palette as I am guided intuitively and do not plan in advance but it will be interesting to see if I use new colors and whether or not they become the Pantone colors for 2017!


I love Rose Quartz and the energetic message from it. It is definitely a good choice not only for artists, designers and those in fashion but as an emotional yardstick for the year ahead.
Below is a link to the qualities imbued in the Rose Quartz crystal.
I hope this IS the color of the year...we need it!


I collect Crystals and enjoy them in my work and living space. I like their beauty and their frequencies. Here's a photo of my rose Quartz. There is an indentation that fits my hand when placed upon it perfectly! It feels soothing to hold.

Here's "Cheers" to more mindfulness and compassion, self love and integration of yin and yang for us all!

My Heart!

Recently, I had an echo cardiogram test on my heart. I found the whole process fascinating. How incredible to be able to see inside the organ that keeps you alive!
It was truly beautiful and when I came home I knew I had to paint the experience. 
This painting stands alone. It is not part of a series and I will keep it for myself but thought I would share it with you.

FullSizeRender (67).jpg

'My Heart' 
18" x 36"
Acrylic on canvas 2015

The colors are the colors that show up on the sonar...red, blue and yellow. The primaries.
I had a giggle as metaphorically that made sense to me.
I also think of red as symbolic for the masculine/active principle in life, and blue for the feminine/ receptive.
Yellow symbolizes energy and life to me so, I found these colors very apt. 
There was a nice balance between the red and the blue with highlighted accents of yellow.
(The red and blue pulsed with blood flow and yellow sparked up with electrical activity.)
It feels to be a well balanced heart.
My results were good and my heart is happy!
I hope you like it!

'New Beginnings' Exhibition. Manhattan Arts International

I am thrilled to have 'Spring in Fog III' from the Triptych, 'Spring in Fog' - 'Fog Series'  2015 included in the Manhattan Arts International Exhibition titled 'New Beginnings'

The theme fitted my series very well as it was a new series, in a new place of residence, in a new state and a new country!
(Well, I guess after 5 years in the States, I can't really call it a new country anymore, but California is vastly different from Texas, so it still feels very new!)

Here is the link to the page on the Exhibition.

Winter of 2014: New Beginnings. We had just moved to the Bay Area, thus my first experience of fog. I went within, painting only for myself and the release it provided. I regained an innocence. Using muted color in veils, scraping, layering, revealing and concealing, much the way fog does.  

Spring Fog I, oil and pastel on canvas, 32" x 40"

Spring Fog II, oil and pastel on canvas, 32" x 40"

Spring Fog III, oil and pastel on canvas, 32" x 40"

Thanks to Renee Phillips from Manhattan Arts International for the great opportunity to show with a fine calibre of artists!

Edges and how they fit in to the picture...so to speak!

I've come to appreciate the edge of the canvas, in terms of it’s size and its effect on a viewer’s relationship with the painting.
I thought it might be interesting to share some of those thoughts with you. 

3/4 " edges serve  8" x10",  16"x 20",multiples and small works by creating a physical balance; not emphasizing but integrating them. 
Often sold as multiples, these smaller works can be simply framed and hung together in a form or a cluster as easily as they hang individually..
They can also be incorporated into a single frame as multiples, that read as one framed work.

I think edges can be very elegant and act as a visual unwind of the layers in the painting .
They also create a 3 dimensional aspect to a painting, where a frame tends to emphasize the flat picture plane.

I do like a large work to have a deeper frame,  fulfilling its proportion in a 3D balance of the painting. 

1/ 3/8” edging has more of a presence to incorporate into the painting. It flows naturally in my larger 36" x 48" works,

but when used with a 6" x 6" canvas, it can make the painting feel more like an object.

I don't much like frames unless simple and not distracting, although, a simple boarder in a small paper work can work well.

(matt black floater frame)

(matt black floater frame)

Homage to Helen

I have been learning a little about Helen Frankenthaler and her work recently and as part of the understanding of her staining process, have had a play in the studio with the process.
I love learning about other artists and their process although I rarely imitate others work as my own process is intuitive and that is what I love most about painting. The idea of preplanning spoils it for me.
It is fun to play around with ideas and techniques though and so I had an explore with Helen's staining process, although I used a gesso primed canvas instead of raw which contained the bleed somewhat. 
It is so freeing to 'throw down' paint and see where it leads you. I thought I would share the result! Hope you like it.
(This is a quick Iphone snap, but I will photograph it properly for the Gallery section.)

'Homage to Helen' Oil and Glaze on Canvas 18" x 36" 2015

'Homage to Helen'
Oil and Glaze on Canvas
18" x 36"

It's all peachy....

July is over, which brings an audible "sigh" from me.

It was a big 'push and pull' you month. Lots of unexpected events that took time and time itself seemed to operate on and off, warping at light speed and then feelingl fluid and dense..

My paintings have reflected it back to me. I've moved between thick and sculptural to fine and delicate layering all month., some happening quickly others very slowly.
Various series have popped up for a new work to be made, which resulted in nearly one painting in every series being created at the same time. Insanity!

That is how it goes sometimes.

I paint daily and family life is not 'disrupted' per se by my nightly hours. My husband has similar requirements for his creative work. we enjoy that of each other, but painting for long periods in succession isn't a regular possibility right now. There are too many other things that I do in the daylight hours, to support the evening's creative output, to be done. So it is exciting and unusual.

I'm fortunate this time has been coinciding with the renewal of an exploration in the Ab/Ex field - 'NYSchool painters' in our MoMA Alumni Group. It's inspiring and motivating to share such beauty and discuss techniques. I love exchange, good exchange and I love great art!

I worked hard in the studio and in my personal sphere. Frankly, I have been looking forward to painting without other commitments for some time!
So, here's to experimenting over the next few days before I get ready to have photographs taken of 2015's work update.  I'll post those mid August. Thanks Terry Schmidbauer!