Created from macro photography of eucalyptus bark from my time in AU, these animals “emerged” from the patchy bark— joyous, connected, and ready to celebrate!
When presented with steep challenges in life, how do we gather courage and ascend? Do we find things that lift us up, inspire and support us? This man and the creatures that “emerged” from the macro photography of eucalyptus bark from Australia and whispered their story once they were cut into form and sculpted. I am glad I was listening!
This woman and the many water-loving creatures “emerged” from macro photography of eucalyptus bark from Australia and told me their story once they were cut into form and sculpted. I am glad I was listening! What journey are you in the midst of during this time of your life? May you connect with brave and loving companions for wherever you are going!
These animals arrived as I finished sculpting encaustic-layered macro photography of eucalyptus bark from Australia. As they appeared and quietly connected with one another, I could feel their tenderness and was reminded of how this powerful quality need not be spoken aloud.
While sculpting the abstracted macro photography taken in Australia of gorgeous eucalyptus bark, beaks and heads of sweet birds emerged, followed by younger birds tucked in below. Whether we connect within our inner selves or others, knowing we are safe makes all the difference in our life experience. May this piece bring feelings of nurturance and comfort to you.
This determined human and the characters in the story evolved out of macro photography of eucalyptus bark studied in Australia as my hands sculpted the abstracted bits. As they peer through the narrow passage, many other experiences line the path. How do we see through to the other side?
One night, they gathered while I lay sleeping, a mere 100 yards away, curled snugly in bed until the alarm clock of our harmonic whining dogs awakened me. Too late to walk, I made a small pot of espresso for my spouse and me and groggily walked with him out the door to say goodbye, fresh cup of aromatic coffee in hand. As I walked into the road and waved him up and over the hill, my eyes came to rest on the ground, where a perfect set of luna wings lay. In the quiet, I let out an audible sigh… as the sight of wings left from the night’s bat activity always brings me to my knees. Bending down to place my coffee mug in the grass, I kneeled in front of the wings and gently picked them up, holding them and seeing the soft white filaments lining their edges alight with the sun’s rays.
As my breath slowed I looked around on the ground where my eyes saw yet another pair and brought them into the growing nest of wings. Searching the grass that surrounds the mailbox that is directly below the lamplight, I was surprised to find a brown wing and then its mate and then a wing I have not seen on our land, with hues of orange and pink that reflected the morning sky slowing coloring the hills. My heart was both amazed to hold these beauties in my hand, and heavy, knowing that gathering beneath the light that beckoned did not end with them flying back from whence they came. Instead, their wings were left in stillness and discovered by me, sheltered in my hands and honored for the sacred remains they were.
Although the myriad of wings are paused in time in the hardened layers of sculpted wax, they embody an energy of dynamic motion as they hold each other up and bring one another closer to the light and to the sky. I believe this is our job in this lifetime— supporting one another to the best of our abilities as we face the unknown and work for healing with what we do know.
In reflecting on the theme of reBUILDING, I pondered over how disorienting this whole period of time has been-- a time that began in an emergency state in the blink of an eye and which persisted for month after month, until we passed the year-mark, continuing our daily counts for lives lost and numbers of new infections, now happily adding numbers of those vaccinated to the list. Although fortunate in this country to have access to vaccines that enable a safer return to life as we once knew it, everything feels different. As we learned how to wear masks, adapted to changing recommendations to stay protected, found ways to settle into sheltering and working at home, we coped with loss and separation like we have never before experienced, finding many ways to get through. We will carry these memories as we re-emerge and literally embrace reconnections, newfound freedoms, and finally be able to gather and honor the many lives lost.
This encaustic sculpture was created during an intensely focused period of time after learning how to work with thermoplastic fiber (Foss-shape) with Deborah Kapoor. After heating it onto interesting forms, tools, and partial structures that were WIP in my studio space, I twisted the molded fabric around until finding a shape that felt right. Sewing it into place, I began waxing layer, after layer, until a biomorphic form presented itself more fully. The practice was methodical and soothing and I let my thoughts and feelings wander before layering with white encaustic paint and carving the many lines into the wax, finding comfort for my emotions, but not so much, for my hands. I worked for over 50 hours on this sculpture over 4 days. The small separated cavities on the bottom of the piece merged to become part of the spiral, much as we were all drawn into the spiral of COVID, spending the time in a huge variety of ways. I contemplated the life force that makes us fight for our lives and those we love and those we do not know, and to be better people-- more aware of the meaning in the every day experiences and connections. As we slowly emerge out of this time of upheaval, may we find and create more beauty in the world, more love, and more peace and healing.
Rushing out of the grocery, my peripheral vision caught sight of a table overflowing with succulents. I paused in the electronic door, knowing that going back inside would satisfy my need for grounding, as well as delight my spirits. Circling back in through he entrance door, I scuttled over to the table, allowing the subtle colors of the leaves to fill my view, imagination getting lost in form as each arose from the layer, beneath… glorious shades of pink and purple fading out to the edges against lush verdant centers.
When I printed their image onto textile and began waxing them up with layer upon layer of encaustic medium and carved out their beautiful forms, I pondered how much we are like these moisture-filled reservoirs as we continue to weather this pandemic. Abruptly changing all of our lives in the blink of an eye, we have had to call on our inner resources for new imaginings of how to cope in this changed world. All levels of our being have been affected and there has been a deep and wide continuum of loss, renewed perspective on that which we may have previously taken for granted, and beauty in how we have put forth tremendous effort in figuring out how to cope and survive… and maybe, even grow.
As I began to pigment their cloudy wax-covered ridged forms, their aliveness made me think how the truest essence of life has been illuminated during this time of ongoing perspective. Sculpting to shape, they became topographical maps in my mind— visual depictions of the peaks and valleys of experience that are inevitable during times of pain, change, and uncertainty. The wire protrusions with energetic glowing tips that began to grow out of these rolling lines represent those deep parts of ourselves that depend on connection with the wider world and with those closest to our hearts, seeking this vital contact out in ways unfamiliar for us, all… These tiny sprouts bring feelings of hope, reflecting the resiliency of the human spirit as we navigate this topsy-turvy life and remind ourselves that we are not alone in the quest.
Exploring different interpretations of encaustic sculpture brings both deep challenge and feelings of abundance as I dive down to explore the unexplored in my mind and share it, outwardly. This sculpture is a pedestal piece and would energize any space with its organic inspiration.
Created after weathering a year of the pandemic, much energy is contained within these sculptural pods that both hang from and emerge out of the branches collected from the creek at the bottom of our hill. Foundational macro photography of dried petals remaining after their seeds sustained the birds and early maple buds frozen beneath thick layers of ice which did not live to see the spring-- these beautiful bits of life preserved beneath carved wax layers represent lives lost during the pandemic and the immense suffering, grief, isolation, and change that every individual in the world experienced during the this time.
Collected from our flooded creek and slowly hauled up the long hill home in a heavy bundle on my arms, shoulders, head, I thought of all those who have carried too much on their shoulders during this challenging time. Like the wood worn smooth by the forces of water over time, we have all been through a profound experience that has changed us-- in ways that involve a whole continuum of loss and growth. The branches slowly move from a chaotic jumble to a sense of direction as they join to create a way upward towards the light.
As they cross the midpoint, the pods begin to fill with renewed life force, carrying with them the energy of those unexpectedly gone before them and aware of the gift of every new day. If privileged to be able to stay home and dive deep into whatever was calling, perhaps new growth happened. I feel deep gratitude for time to be home with my boys, spouse, and animals, deepening our ties and focusing on growing food for our family, as well as turning to my art for coping and healing. Like the pods that morphed into leaves filled with yellow and white pollen-laden blossoms against blue skies, the ladder provides a way out. And as unlikely as it seemed after three seasons of loss which continues, spring came....
As I worked on the topmost layers of pigment that bring vibrant life to these feathers, studying and sinking into the gorgeous layers of color that are not visible from afar... I felt the satisfaction of completing work begun in another season... As I sat applying layer after layer and carefully fusing the delicate lines, I wondered about the bird that flew across our land, honoring the gift of lasting beauty she left behind. As we stumble upon things on our path that seem to appear out of nowhere, how wonderful it is to pause and tune in to that which has been presented. May you find such gifts in the spaces before your feet…
This sculpture began with macro photographs of feathers that were printed onto textile, layered with numerous layers of wax, fused between each, cut and carved edge to edge for rich surface detail, colored with powdered pigment, then sculpted and wired onto cradled panel, with softly painted acrylic background, wired and ready for wall hanging.
As these macro shots of leaves changing at the turn of the season reflect the beauty of color and form, may we know and see the inner beauty that resides in each other and inside each of us, remembering that we are part of the same whole. By honoring this sacred nature inherent in the Universe and in ourselves, we bring goodness and light to the world.
This sculpture began with macro photographs of small leaves discovered on top of a mountain, taken under clear blue sky. I was drawn to the holes that showed the beginnings of breakdown, beautiful in their own right. Unified by a metal rim found in our old barn, I enjoyed the symmetry of form, with room for individuation and expression in the life of each leaf. The bovine bones were collected on neighbor’s land and keep these parts alive, filled with compassion and basic goodness.
This piece is available for purchase, but will first be included in the invitational exhibit, “Wax Applications: Showcasing the Depth and Breadth of Encaustic and Cold Wax Mediums” in Dallas, TX, in March of 2020. I am honored to have my encaustic sculptural work showcased with many renowned wax artists and to be included with my method of interpreting the amazing medium of encaustic. Please contact me if you are interested in acquiring this piece so that we may discuss these dynamics. Thank you!
In a world where friends, families and communities often inhabit lives separated by time or space, it is easy to forget our very interdependence on one another. When we are in relationship, no matter the degree, we have the ability to bring out radiant beautiful qualities in one another, rooted in compassion and mutual respect… values which we need to rely on now, more than ever. Let us all do our best to be there for each other in any way we can…
This tender, yet strong, sculpture was created out of macro photography of blue swallowtails that gathered on our land, sharing the feast of a discarded tomato bit that lay near the garden. As I watched them congregate on the discovered delight, they made room for other swallowtails that fluttered in to join the communal meal. I imagined the feeling of abundance they must have felt, awed by their openness, and reflected on the powerful lessons that nature provides when we observe.
This sculpture is available at the Higher Art Gallery, a beautiful contemporary art gallery in Traverse City, MI, that holds a wide diversity of stunning work. Please contact artist/owner, Shanny Brooke to inquire or purchase through the link (Higher Art Gallery), above. If you need further assistance or have any questions, please feel free to reach out to me and I will be happy to help. Thank you!
This suspended butterfly wing pod is the first of the magnified swallowtail wings, “Repose” (54 x 32 x 10 in), and my largest, yet. Perhaps its symbolic being and title came as a message from within on the importance of creating time and space to be at peaceful rest. Tis so easy to continue clipping along at one thing after another, easily overlooking the benefits and necessity of adequate time to recharge and prepare for that which calls for our coming attention and outpouring of energy. Often times, it has been difficult to remember that there is much to be gained in not fighting so hard, whether internally or externally— that we are enough just as we are…
This piece is comprised of three 18” yellow swallowtail wing photographs that are printed onto textile, layered with numerous layers of encaustic medium, carved with relief work end-to-end, cut and sculpted to shape, colored with powdered pigment, sewn into form, and carefully suspended in a complex balance from a large found piece of wood near our creek.
During perpetual months spent in strict quarantine in our home, I have often felt contained within a cocoon. While necessary for protection, it has restricted and changed my life, as it has all lives across the globe.... Yet, it also offered me a safe haven to retreat inward, brining my over-scheduled self to an abrupt halt and gifting a long respite from the rush of daily life, opening the channel for neglected areas of my life to absorb that focused energy . Privileged to be able to stay home with my children and spouse, we grew closer throughout this unprecedented year that brought emotions of grief, fear, vulnerability, and ungrounded future, as well as love, compassion, courage, and hope. Feeling deep gratitude for land to tend, explore, and seek refuge from the news of daily trauma that the pandemic unfurled, nature brought me respite and inspiration, soothing my heavy heart with its myriad of colors, scents, and sights that cycled along with seasons that somehow transitioned, one into the other, unaffected by the raging COVID virus that spread beyond all borders.
From the shelter of an iridescent cicada wing cocoon that brought to mind stained glass windows of my childhood, I could observe both outer and inner landscapes, engaging in ongoing contemplation of how to bring healing energy to the world and to myself. Being separated from friends, family and even strangers in public has served to bring profound awareness and appreciation of our human need for connection. After almost a full year spent inside this cocoon, I have gone through my own personal metamorphosis and feel immense relief that the cocoon is beginning to gently release me from her hold. Like the emerging butterfly, I am ready to spread my wings and rejoin others in fields of flowers, trusting that more healing and goodness is yet to come as we re-enter as changed selves in our changed world.
Made to honor my brother and his husband and their role in my life and that of many others, this sculpture reflects the vibrance, courage, and tenacity they have shown over the past 27 years as they have worked for fairness and equality for the LGBTQ community in both their workplace and their community. Through their zest and love for life, which spreads beyond their own relationship, they have continued to break through barriers that have remained for far too long. As they have created their life together and been part of change which has liberated many and enabled the allocation of domestic partner benefits in their workplace. I have been privileged to witness how their love has extended to offer compassion and love for many others in need. They have shown ongoing support and taught me through example, the power of acceptance and much about love. Most recently, my brother-in-law accompanied me on my journey to Mayo Clinic in January, an offering of love to say the least, as he accompanied me for 10 days of travel and dozens of appointments during the coldest month of the year. I could not be more proud of them and grateful for all they have shared with me and the world.
This sculpture originated with macro photography of found butterfly and moth wings, some of which came from a collection from a family member. Several were interpreted, further, with playful and exuberant coloring after they were printed onto textile, layered with wax, carved, cut, and shaped to form before coming together in a cloud of wings, one supporting the next, until they break out of the bars. The wooden pieces came from an antique couch that had been filled with straw and horse hair, long-since dilapidated. Recombining these pieces into a place from which to be free, rather than a place to recline and rest, seemed appropriate for them. I know they will continue to bring light and color to the world.
As the intensely colored wing came into its own through interpretation with color, I could not help but wonder what would happen by breaking it up into pieces— distinctly separate, yet part of the whole. Pushing past the resistance that lives within myself… to stay with what I know, is a powerful lesson in letting go, a parallel to so many parts of life which take their own form, ready, or not. Remaining open to the unknown of what comes next is an ongoing process of trust and acceptance. Both beauty and loss reside here…
This piece began with a macro photograph printed onto textile, hand-colored with colored pencil, layered with encaustic medium, carved with relief, cut to shape, sculpted, and sewn onto waxed birch panel. It is a wall hung sculpture full of radiance and reflection.
We all hold stories which live inside the recesses of our deepest selves, and carry those from the generations before… “Story Lines”, (7 x 8 x 6 in), embodies this energy. There is rich material in the lessons in our lives— challenge that brings strength, tenacity, and courage to live fully, beauty and love which open us to connections with others and with ourselves, and layer upon layer of qualities and experiences too vast to enumerate. This piece honors the vitality that resides within every single one of us.
This piece was created from a macro photograph of a butterfly wing, layered multiple times with beeswax and damar resin, fused between each layer, surface carved edge to edge, cut and sculpted to shape, colored with powdered pigment, and laboriously stitched together and through the negative space in the wings. It has a lovely glow from the inner that radiates visibly to the outer. “Story Lines” is a pedestal piece.
After finishing the coloration and carving of the large butterfly on my table, I felt a strong pull to separate the being into two. After several minutes reflecting on the possibility of engaging an interchange between two separate beings, I decisively took my razor blade and cut through the textile and waxed layers as I held my breath. Continuing to explore the relationship between the two parts, I reflected on the power of collaboration and interrelationship and how others can sometimes see us more clearly than we see ourselves. The ongoing dialogue between these shapes continue to elicit insight and further pondering…
This sculpture was created from macro photography printed onto textile and layered with wax, carved with relief, cut to shape and sculpted, before coming to rest on suspended branches suspended from the ceiling, creating dynamic shadows on the background wall .
I have always been gently drawn to the inner layers that exist in others and myself, something which has only deepened as my life continues to build with experience and relationship. Raising our boys makes me aware daily of the importance of not only encouraging them to fully explore who they are, but to convey the message that all is welcome and celebrated. May we encourage this with one another and ourselves in ways that uplift, honor, and remain receptive and curious about what may emerge so that we may be ready to nurture.
This wall hanging was created from original macro photographs that were printed onto textile, layered with encaustic medium, hand-carved for relief, cut to form and sculpted to shape, colored with powdered pigment, and sewn into place before dangling from a dowel, piercing a found piece of wood which cradles the delicate emerging forms.
As a reincarnate of a moth long past its life, this one came to rest on a bovine rib that was found on our neighboring land from decades ago. As I worked to bring these two elements together, I was reminded of the impermanence of our lives and the time in which inhabit our lives fully. As we face these unprecedented times across the globe, we are reminded, daily, of the preciousness of life and those, beloved, who are integrally connected to our very core.
This sculpture was made from a macro photograph printed on textile, layered with encaustic medium, cut to shape, carved for relief, sculpted, and sewn into bovine bone, a powerful reminded to seize the day and accept the cycle of life. This is a wall piece, but could be featured as a pedestal piece, as well.
“By a Thread” ( 12 x 8 x 4 in), called to me this morning to share, reflecting the truth of the delicate filament that holds not only our own lives, but connects us all to one another, ocean to ocean. Balancing what we can and cannot control is a daily practice, calling for our best selves to come forward and do what we can to make a difference, especially during challenging times. Love to all…
This wall piece was created by layering original macro photography with encaustic medium, carving with relief, cutting to shape and sculpting, coloring with powdered pigment, and sewing onto the found branch, gifted by a friend. The small sculpture dangling by the “thread” (wire) was hand sculpted and rests inside part of an orchid petal, delicate and pure.
This sculpture is available at the Higher Art Gallery, a beautiful contemporary art gallery in Traverse City, MI, that holds a wide diversity of stunning work. Please contact artist/owner, Shanny Brooke to inquire or purchase through the link (Higher Art Gallery), above. If you need further assistance or have any questions, please feel free to reach out to me and I will be happy to help. Thank you!
Pouring energy into the things we care about brings growth. Continuing to explore some of my favorite local butterfly wings, drawn to their blues and oranges, I made, “Manifestation”, (44 x 5 x 5 in), exemplifying this concept of inward intention becoming outwardly visible. Making these swallowtails emerge from the log brought a smile to my face, recalling times I have seen swarms of them that could only be explained as magical. Wishing you powerful energy to manifest what you most want in your life…
This piece was created with foundational macro photographs that were printed onto textile and layers repeatedly with encaustic medium, fused between every layer, hand-carved to render organic detail, cut and sculpted to shape, colored with powdered pigment to bring them more fully alive, and wired into found wood from our land, where they appear to be emerging in a new spring. This is mounted for wall-hanging, although could be a table piece, as well. (Additional image views are on the “available” page)
Last year our family raised monarchs for the first time, releasing them onto our land when they eclosed. Witnessing the changes day by day put me in touch with the fragility of their beings and their dependence on the many protective and nurturant conditions necessary for survival. Watching them grow through each delicate stage until ready to become hanging “J's”, form chrysali, and begin their process of emergence was breath-taking, flowing beyond words to complete wonderment, as reflected on my son’s face while two crawled across his hand, resting before their first flight into our fields and out into the world. As we sat in silence—eyes wide and hearts open--we experienced the miracle of their wings taking to open air. This experience brought home in a profound way that our choices matter, and empowers us to find ways to continue to act, big and small.
Creating this piece (out of photographs of the very monarchs we held) to depict not just the beauty, but the destruction of nature that is already happening, began as jolting and deeply disturbing. It put me in touch with a wide range of feelings— helplessness, grief, and anger. But as I continued to fully sink into the work, challenged by the materials and enormity of trying to convey such far-reaching implications through one piece of art, these emotions slowly metamorphosed into enlivening energy that grew. As I strove to convey the scope of global warming with a call to be moved into action, I was acutely aware that this is for not just our children and all generations to come, but for all living beings who are silently dependent on us for the very survival of their environment. May we be moved deeply to heal and protect the gifts of this precious world.
This piece was created from macro photographs printed onto textile, layered with wax and carved for relief, cut to shape, sculpted, and sewn onto painted encaustic cradled panel, a wall piece that will continue to motivate change in the now.
This sculpture was created from original macro photography that was printed onto textile, waxed heavily with encaustic medium, cut to shape, hand-carved edge-to-edge, sculpted, colored with powdered pigment, and stitched together. The artwork changes dramatically with every angle, as sculpture does-- one thing I love about the dimensionality, as it mirrors the diverse nature of ourselves, as well.
I benefited deeply from engaging with this sculpture, and felt gratified and relieved when the title came to me, encompassing years of hard work, inside and out, to create this integrated piece. Although it took courage to post the genuine title of the piece, I am glad I could own it. After all, we are all composed of many diverse parts that are to be celebrated...
We all have parts of our lives that seem to dangle by a thread in their fragility, often unknown to those with whom we interact with in the outside world. It is my hope that we are able to find the support needed to bring these parts of ourselves to safe landing, nurtured by love, acceptance, shelter, compassion and encouragement when it is time to be released from the nest.
This piece was created from a macro photograph printed onto textile, layered with wax, carved with relief work and cut to shape, sculpted until it came to rest on the wooden cane circle. The life form in the nest is created from sculpted wax, nestled by wild grapevine. This is a ceiling suspended sculpture.
When I was young, I spent countless hours up in a favorite Maple tree, collecting handfuls of these tiny pods and releasing them to the ground. I never tired of their whirling journey as they spiraled downward to the welcoming grass below. I enjoyed photographing the fresh pink and green coloring of tender seeds that remains for only a few days before beginning to dry and lighten in preparation for flight. As the deciding moment begins the unfolding of a monarch’s chrysalis, carving the ridges and valleys of the maple seeds breathes life into them. There is joy in holding a maple seed as large as a turkey platter! How I would love to have released them, perched from a high branch… The seeds came to rest on a framed cradled birch panel, contained, but for a moment. Seeing them larger than life serves as a powerful reminder of our ability to propel forward, carrying the great potential that awaits inside us all.
Creating this nautilus sculpture came about from a printing “mistake", where I thought I had printed a nautilus facing the same direction from both sides. As I pondered about the interface of the 2 images, facing opposite direction, it occurred to me that this was the more accurate concept I am working with— the yin and yang of my inner self, the light and dark, and most importantly, the intersection that brings wholeness to being. We all have many parts that make up our whole, formed from a lifetime of accumulating experience… I chose to sew on glass beads at this delicate, yet strong, juncture, highlighting and honoring the light summoned to the bridge that is made between these two seemingly contrasting sides of myself. I wanted a reminder that all parts of myself, and indeed, us all, are sacred... that every one of us carries many dualities within ourselves, all of which have opportunity for change and healing, when needed, and celebrating, as well. This sculpture embraces that fullness of being, allowing to most fully live.
“Shadow Self” was created by printing photography to textile, layering with multiple layers of wax, cutting to shape, hand-carving, sculpting to shape, sewing, and hand-coloring with powdered pigment. It is comprised of two opposite-facing, yet joined, nautilus creatures. (more detail pics to come on “available” page)
As bark provides protective covering for the tree that is alive within, our outer self holds the many layers of our inner soul. And like the tree that grows stronger with each consecutive ring, our core is fortified with each experience in this life. This sculpture originated from a macro photograph of bark floating down a stream, and the color was deepened through colored pencil and powdered pigment. I am struck by the beauty and diversity found in bark, and always drawn to what lives beneath-- hence, the name of my blog, Beneath the Bark, as there is always a story that lives within us all.
This mobile is made from individually sculpted abstractions of macro photographs of two identical butterflies that I found drinking nectar from the same bowl. They were an exact mirror image of one another and reminded me of the opportunity for us to reflect the goodness we see in one another back to the other person, be it our children, families, friends, or strangers we pass on the street. This compassionate regard for others brings out the beauty not only in them, but in ourselves, helping us both to connect to and radiate that basic goodness more readily. The interplay of movement gives the illusion of perpetual flight, symbolizing the freedom which we all seek and hold as sacred.
One day, I was emptying vegetable and fruit rind into a well-tended compost pile of a friend, only to discover a vibrant beauty of a plant growing directly out of the middle of the compost. Carved one seed at a time, I mindfully pondered the carrying this refugee into another dimension, enjoying the slow and deliberate process. I was left with strands of papery outer leaves that needed some grounding, and was happy to have them wrap around and meet to create support and safe structure for this newly emerged being.
As I have continued creating these sculptures and working to strengthen their integrity, I realized that much of my encaustic sculpture process thus far has been to do so without showing how this integrity is achieved. It occurred to me that this is a strong parallel to how we present ourselves out in society-- trying to keep what holds us together, below the surface. And rather than hiding the hard work that goes into holding ourselves together, we have the opportunity to share the importance of that role in our survival and blooming.
This sculpture was created from original photography, printed onto textile, layered repeatedly with encaustic medium, cut to new shape, carved over the entire surface, sculpted to shape, hand-colored with powdered pigment, and carefully sewn together. This is a pedestal piece. (There are further detail images on the available page).
Like the arduous journey of my great-grandparents and those courageous enough to cross oceans in hopes for a better life, these moth and butterfly fragments symbolize the beautiful diversity inherent in the creation of this country. The tenacity necessary for this labor-intensive sculpture made me contemplate the heroic efforts, sacrifices, and deep trust in the outcome that was surely present.
This sculpture changes dramatically with every angle viewed. Wings come together to provide shelter, integrity, and support, enabling those nearest the top, release. How we could learn from this interdependence, realizing our individual strengths become fortified and more beautiful when shared.
Although many feelings were experienced in the creation of this piece, the one most deeply rooted, was gratitude. There are not adequate words to describe the appreciation I feel for my relatives, and all those who risked their lives in coming to America. I have a life of freedom, privilege, and opportunity because of their sacrifice. This sculpture is a tribute to all still on this journey.
This sculpture was created from original photographs of moths and butterflies that were printed onto textile, waxed repeatedly with encaustic medium, cut to shape, hand-carved edge to edge with detail, pigmented with powdered pastel, and hand-sewn together. It is a pedestal piece.
As I continue living, I am increasingly aware of the privilege of using one’s voice to speak. This is not a gift to be taken lightly, and is a freedom that I appreciate more by the day. There is a deep sense of liberation that comes from having the permission and empowerment to speak. This swallowtail springs forth from the jawbone of a cow that roamed our hills over 20 years ago. The sculpture emerged from an original macro photograph, was printed on textile, repeatedly layered with encaustic medium, cut to shape, hand-carved over the entire surface, sculpted to shape, and colored with powdered pigment before being wired to through the jaw bone, giving the illusion of flying outward from the wall on which it is mounted.
This piece was created from a photograph printed on Japanese paper, layered with multiple coats of encaustic medium, hand-carved over every inch (much like a woodcut), and recolored with powdered pigment. It is symbolic of the sense of hope that returns with each spring season, and the delicate beauty of the fleeting redbud, enjoyed in the moments it blooms. It is matted and covered with museum glass, and framed with a black metal frame, which simply holds the delicate carving.
The pods giving glimpses of orchid petals on a warm breeze, these sculptural beings move in harmony in response to one another with the slightest movement of the air, overhead. From foundational photographs of orchid blossoms printed onto paper and layered with numerous fused layers of encaustic medium, the delightful details of the magenta and periwinkle-spotted petals grace these leaf-like pods on hand-sculpted wire that dances in breeze. This one-of-a-kind mobile would make a lovely pairing with “Fragile Strength”, a large encaustic sculptural panel holding the same original orchids that spring to life from their rich background.
This bovine pelvis found me in the hills. Soothing worn hip sockets with layers of wax, healing imagery of carved tiny fungi, hydrangea, and moths, I shakily embedded locust thorns, balanced by branches where Luna Moths take flight. Respect, violation, fear, acceptance, rage, grief, joy, and emancipation all reside here. This painful sculpture helped me see- not just trauma, but jubilation and liberation live in my body and spirit, emanating out when I am centered, surrendering to what is.
This piece was selected for the International Encaustic Artists exhibit, "Another Way of Keeping a Diary", November 2015-- January, 2016.
Like the lotus blossom that emerges unsoiled from muddy waters in the morning light, this blossom represents the beauty and strength of being that can come from things which are painful, causing us to reexamine our perceptions and remain open to insight that heals. This sculpture originated from collected locust thorns on our land, used for another exhibit, “Another Way of Keeping a Diary”, and transformed here into new being. The photograph was printed onto fabric, colored with pencil, layered repeatedly with wax medium, meticulously hand-carved, but into shape, sculpted into form, stitched together, and hand-colored again with powdered pigment. The inside of the sculpture is magenta, which radiates out the purity that resides in us all.
This sculpture was created after my recent diagnosis, following the loss of my mother and our house fire. I reflect yet again on the importance of holding on to hope for peace following difficulty, and the amazing power of our bodies and minds to be resilient, and to regenerate in response to life's unexpected comings with courage and growth.
"Outgrowth" grew out of cacti, a plant handled with extreme care to avoid the pain of spines contacting skin. Sculpting them through inevitably intense contact with my fingers as I carved, cut, waxed, shaped, and stitched them (a painful process, in of itself!), I felt empowered to enable growth into dimensional pods that adhered to the branch. It remains unclear whether they emerged from within, or attached themselves from another source. Like the pods, our lives are shaped by inner and outer experiences, a fascinating process when we can witness the beauty that can emerge when pushed beyond our boundaries, remain grounded to our core, and are supported by each other.
This sculpture grouping can be suspended from the ceiling, or viewed as a pedestal piece.
Having been diagnosed with MS the morning after the eclipse, I have reflected much on what wholeness means. Despite being changed by what we experience, whether it be trauma, illness, or loss on the path of life, we all are essentially complete inside, just as the moon remains whole, no matter its phase.
This sculpture was inspired by the stunning beauty of orchids in a greenhouse overflowing with intoxicating scent and delicate form. I found myself lost in the patterns, buttery-soft texture, and velvety petals, anxious to express their loveliness through encaustic. They are mounted onto a large cradled panel, in a background that lends a quiet atmosphere for them to rest. Like orchids, we can also be fragile in form, yet capable of great strength from within.
This tropical specimen, naturally full of holes in its leaves, drew me in for its ability to be connected to both its surface structure, and to what lies behind it. I appreciated the pattern made by these spaces, as well as the window they provided. I was grateful to find just the right supporting structure, further emphasizing what lies in the space between...
This sculpture originated from a macro photograph, was printed, hand-colored with pencils, waxed, cut to shape, carved, sculpted into shape, colored again with powdered pigment, and wired onto the branches, ready to be mounted to a wall.
This vibrant moth was brought back to life after being closed up in a mothball-laden drawer for years, and depicts how the true colors and beauty of form are exposed when given light and space. A macro photograph was printed onto fabric, details drawn in with colored pencil, layered repeatedly with encaustic medium, carved with detail, cut to shape, sculpted, colored again with powdered pigment, and wired onto a heavily layered birch panel, carved with organic form and painted with oils. It serves as a reminder that we all have a place in this world, and the power to be moved by the presence of others.
Originating from a butterfly photo printed onto fabric, layered with wax, colored with pencil, carved, cut, sculpted into form, this butterfly took on new life with further addition of powdered pigment before coming to rest on a waxed panel. In this state of peace, it serves as reminder of deepened connection to self and others when time is taken to pause and be present.
Witnessing the migration of monarchs as they pass over our land, often stopping for sustenance on the milkweed and butterfly weed that naturally grows, I have been in awe of these creatures' tenacity, endurance, and inner knowing of direction. My aim was to capture a bit of their beginning essence, their miraculous metamorphosis from chrysalis to butterfly.
Beginning with a photograph of a monarch, printed onto paper, detail drawn in with colored pencil, layered repeatedly with fused wax, carved intricately, cut to shape and sculpted, this monarch came to rest on a freshly opened chrysalis, created with paper and wax, supported by branches on which they are wired.
In making this self-portrait, my intent was to conjure up the act of embracing openness, and to remind myself that this healing energy is available to us all, rejuvenating and keeping us connected to the wider circle of life and possibility. Giving her a base that was solid and reminiscent of grounding to what I know to be good and true, it felt appropriate to use a motor part that was once an integral piece of a greater machine, movement inherent in its history. And finally, to ground this metal remnant into a piece of nature, which always gifts me with firm ground.
This guardian bird was created with a wide variety of materials, including a raccoon vertebrae, snail shell, bicycle inner tubes, and wax. I found the slow and patient work of applying each feather with each carpet tack soothing, and a bit like sewing… one thoughtful stitch at a time. I reflected on how the making of art is deliberate and slow much of the time, and like life, comes together into a coherent whole. The creature that came to be seems to embody that same deliberate energy, content to be in the present moment.
Otherworldly sprung up from a photo of hand-made art glass, its vibrant color and energy awaiting interpretation. The altered pattern was printed on fabric, layered with fused wax, cut into new shape, sculpted, hand-sewn, embedded with wire tentacles, and hand-colored with powdered mineral pigment. The newly embodied creature could have emerged from the sea, or perhaps the depths of my unconscious, reminding me of the beauty that resides both within and around me when I truly look.
Art glass, resplendent with imaginable form, was altered and printed on kozo, layered with fused wax, cut into intricate separate forms, rebuilt into one piece, adorned with mulberry paper and inclusion of hand-made paper clay, its protrusions coated in wax, all hand-colored in powdered pigment. This creature appears able to propel itself across the ocean floor, perhaps never seen by human eyes, yet divine because it exists, leaving me pondering what serves to propel us forward
A Blue Swallowtail feasting in our blackberry garden brought life to this sculpture. Printed on textile, layered with fused wax, hand-carved, sculpted into form, and colored with powdered pigment, it was wired onto a cradled panel layered with intricately carved organic shapes in beeswax and painted with oils, providing a resting place for this memorialized bit of nature’s beauty. It illuminates the revelation of inner goodness that radiates out when provided with the sustenance we need.
A small Io Moth wing discovered on the road under a street lamp grew much larger than life, as it was printed on kozo paper, layered with encaustic medium, hand-carved over the surface, sculpted, and wired onto a layered beeswax cradled panel, where organic swirls depicting movement were carved. Painted with oils to accentuate the habitat of the moth, I was struck by the fact that this wing was all that remained by morning, reminded of our vulnerability, and of the natural cycle of life.
When discovering bits of brokenness, I pause in silence, marveling at the beauty that remains. Left blowing in the early morning breeze on the grass, coming upon this Luna Moth fragment took my breath away. Photographed and printed onto kozo paper, layered with fused wax, hand-carved over its entirety, embellished by powdered pigment, it was wired onto an oil-painted waxed panel full of organic swirls of energy. This Luna remnant made me connect with the powerful sacred energy of night.
A monarch on the grill of a car-- clearly struck during its journey-- brought awareness of how our lives can be altered… either in a single moment, or by long-held process/systems. Each day there is desperate need to create goodness and gratitude amid the chaos and suffering in our world. “Migration, Interrupted” evolved by merging photo with kozo, layering with fused wax, hand-carving and sculpting, coloring with pigment, and wiring onto depths of carved beeswax waiting like the midnight sky.
This sculpture was created as I sifted through the loss of my mother, examined my own mortality, and have been witnessing my nieces, nephews, and children in their journeys of their life stages. I continue to be amazed by their courage in letting go and experiencing that which calls them, and am grateful for the energy which it helps to ignite in my own evolution.
I made this piece by forming encaustic medium onto wire, hand-coloring each with powdered pigment, and adorning the surface with tiny droplets of wax. These spores appear to be growing out of the found wood, and perhaps discovered among the forest floor.
This sculpture was made for an exhibit call for entry, entitled, In Flawed Abundance. It is in homage to my grandmother, to honor her life force, and how she raised herself up from modest means with fierce determination to live and create. It is in reverence to her tremendous hard work and talent, and the parts of her that did not feel valued, nor had the chance to be appreciated more fully by the world. It is symbolic of how these breaks in her spirit did not diminish her beauty or her artistic contributions, and to reinforce the fact that her art did, in fact, live on… both through my mother and her brothers’ artistic talents, and the passing down of this gene to her grandchildren and great-grandchildren. Although I got to know only a small part of her when she was living, I feel her spirit very much alive now in my heart and hands.
This sculpture rests on a handmade plate rail to be hung on the wall, just as revered as the fine china from which it originated.
The second piece I submitted for "In Flawed Abundance" is of my mother’s Blue Willow dishes, which held the food she so lovingly and dedicatedly prepared for her large family of eight children and spouse (always pointing out how beautiful the vegetables and fruit looked against the cobalt blue… an observation which I find myself often pointing out repeatedly with my own children as we use a few of these plates, still). In addition to the beauty of the pattern and color, there is the obvious brokenness that comes in families as difficult things are experienced. It has taken me a long time to share the pieces, and to see the beauty and healing that bringing them out into the light can bring. This piece is in homage to the integrity of my mother, and to the amazing artist that she was, as well as to her lifetime of sharing this gift with those she loved. She exemplified creating for the sheer joy of it. And mostly, my mother taught me to see…
This sculpture rests on a handmade plate rail, just as revered as the fine china from which it originated.
This piece is the third in the series of entries for "In Flawed Abundance, and is a compilation of my own shards, new and old, reflecting the piecing together of the many fragments of my life... tenderly exploring the sharp edges, while appreciating the depth of color, shape, glaze and history that each remnant contains... realizing that a deeper whole has emerged from this experience and the integration into my being, creating space as I continue on my path.
This sculpture rests on a handmade plate rail to be hung on the wall, just as revered as the fine china and pottery from which they originated.
This sculpture is made out of hand-formed beeswax and damar resin, colored with powdered pigment, and adorned with tiny droplets of wax on each surface. The miniature organisms appear to be emerging out of the sea pod where they reside, leaving us to ponder from which species, plant or animal, they have sprung forth. This sculpture is intended for pedestal placement, but could be transformed into a wall mounted piece.
This piece originated from a macro photograph of a sheet handmade art glass that was printed on kozo paper and layered at least 12 times with encaustic medium, cut into abstract shape, and sculpted into new from. It was then colored further with powdered pigment, bringing out the beauty inherent in the original glass, and further adorned with droplets of pigmented hot wax and wire tentacles. It is a very sturdy piece, and can remain a pedestal piece or wired for wall installation. It reminds me of how when we stretch ourselves to explore new ideas and challenges, we transform ourselves in ways previously not imagined.
Winter berries found by my young sons inspired "Propagate". Printed on kozo, colored pencil applied, and layered with fused wax, the entire surface was hand-carved with rich detail prior to excising into shapes. Each sculpted and built into a cohesive pod, fresh wire tendrils reach outwards. Powdered pigment was applied to the chamber before cradling into the wood. The pod appears as if discovered on the forest floor, full of beauty in its present state, its’ potential for new life yet to come.
This piece was created when confrontation of new health issues for myself collided with witnessing the decline of my mother's health and the end of her life here after years of living with Alzheimers. As my mother's ability to walk changed from unsteady to wheelchair to bed-bound, I thought much about the freedom that mobility allows, especially when coming from our own volition. Every morning as I walked in the predawn light, I offered gratitude that my legs could carry me, still. Having any changes in our health is a stark reminder that we are not guaranteed smooth sailing, making it vital to remember what we have every day.
I think of the many that lost this freedom of movement as I worked as a social worker in nursing homes and hospice for years, and as I watched my Mama lose hers. I was inspired daily by how they could keep a sense of humor, perspective, gratitude, and open loving energy, despite their restrictions— such gifts they shared. This energy and awareness fueled this piece, whose foundational macro photograph was of handmade art glass which I had in my collection for the making of stained glass. I thought about how glass is made, the solid crystals becoming fluid when heated, and how they form an unknown composition, until the hand of the artist helps direct them before they cool. May we all retain some choice in how we move about in our lives.
This piece began with a photograph of coral, taken through a glass specimen case in a biology building at Indiana University. As I carved through the crevices in the image, I thought of the many creases in our brains that hold memory, experience, feelings-- all the parts that make up who we are. I reflected on my mother, and how full her life was before Alzheimers... and how memories that enriched her soul, short-term and long ago, faded away as she declined in her disease. Just as the coral remained intact and beautiful in its' solid remains of life, so did my mama's spirit. I titled the piece, "Ascension from the Ocean Floor", and experienced a catharsis in allowing this two-dimensional image to become fully alive in a reimagined entity, envisioned rising up from the ocean floor to experience a new way of being.
This sculpture is made from an original macro photograph, printed on handmade kozo paper, layered with multiple layers of encaustic medium, intricately carved with wooden tools, further colored with powdered pigment, and sculpted into shape. The segments were then hand-sewn together, and the tentacles were added to complete the life of this form. It is a pedestal piece, but could be mounted onto found wood and be made into a wall hanging.
This piece holds macro photographs of the wings of Blue Swallowtail butterflies, that have been hand-carved and sculpted, and incorporated into the cradled panel. There were 5 of them gathered around a bit of tomato on the ground, feasting together. The shape of the sculpted wings made me feel drawn to make them go towards one another, perhaps seeking comfort and connection.
I made this sculpture after visiting a grocery that carried food from around the world, pausing to marvel at cuisine so different from mine. Coming upon these large cacti leaves (spines removed), I reflected on the sustenance they held... guarded treasure beneath their once spiny exteriors. Like the life-saving water contained within, we also have inner resources to call on in times of need. Connecting with these parallels that lie within the natural world makes me feel more grounded in our shared world.
This piece is made from a macro photograph, and is hand-colored, layered multiple times in wax medium, hand-carved relief work, sculpted, adorned with wax droplets containing "spines", and nestled into wood found on our land. It is a wall hung sculpture, and has much depth out from the back surface.
This sculpture arose from working with the remnants edges surrounding “Ascension from the Ocean Floor", transforming them into their own unique forms. It was nice to watch them take on their own identities, and to begin to coalesce into a collective whole. There was much patience and deep breathing as I applied the minute detail of tiny molten droplets of wax on each fragment, and I reflected on how these same sustaining practices are needed throughout our lives as we take on the various ups and downs inherent in life. I am grateful for the grounding of my breath, and the reminder that sometimes it is all that is needed to keep going. When I was photographing the sculpture, my son remarked that they looked like passengers, which rang true for how I felt about them. We are all passengers in this life, separate in our selves, yet together in the journey.
This sculpture is made from an original macro photograph, printed on handmade kozo paper, layered with multiple layers of encaustic medium, intricately carved with wooden tools, further colored with powdered pigment, and sculpted in shape. Each piece was then further adorned with tiny droplets of melted wax medium, and placed on the found wood vessel from our land. It is a pedestal piece, but could be wired for mounting on a wall.
This piece was made through the summer after losing my mother and examining my own mortality, as well as witnessing my neices, nephews, and children grow towards and into young adults. I continue to be amazed by their tenacity, bravery, and sense of possibility, which inspires me in my own evolving life...
I made this piece by forming encaustic medium onto wire, hand-coloring with powdered pigment, and adorning each surface with tiny droplets resting on the surface. they are embedded into the found wood, as if just having sprouted to life on the forest floor.
I found this sea urchin on a specimen shelf in a university biology building, long since removed from the ocean, its final mission to serve as an object of study for science students. I was struck by the beauty and metaphor that leapt out of the reflection in the glass on which it rested. I pondered the calcified remains of this dear creature and how the opening in this vessel seemed to invite me in, beckoning further exploration. I pondered about outer bodies, the ways in which we age, and how we often become more introspective as the years go by… and if we are lucky enough to have made it to the another year, how we both reflect on what has transpired in our lives and wonder how we will continue to evolve. This simple image holds powerful symbolism, reminding me to grow inwardly with as much intentionality as I tend to my physical body, and to balance energies, within and without, as part of daily mindfulness.
With gratitude for all of the paths that have taken me here, I am reminded to honor new unfolding as well as losses that have been integral in my making, and to share the outgrowth in a way that will be passed on to my children and those whom I touched in my time on earth. Batik dots, which mark where defensive spines once stood, remind that we, like the sea urchin, have elements which reflexively ward off all that we perceive (or misperceive) as threatening. Without needless defense, our true self emerges.
This sculpture originated from a macro photograph of a nautilus shell at a local nature preserve in Kentucky. It was printed onto kozo paper that was then transformed with colored pencil, layered with at least 12 layers of encaustic medium, cut into new shape, sculpted into 3-dimensional form, and further colored with powdered pigment. The simplicity of the unfurling shape reminds me of the power of opening, both to our inner selves, and to being receptive to what others have to offer us when we allow ourselves to experience them fully.
This macro photograph shows the early blossoming of a peony, and is printed on kozo paper, covered with multiple layers of encaustic medium, and is hand-colored further with powdered pigment. It is mounted on a cradled panel. I am always in awe of the fragility and exuberance that is evident in the blossoming in spring.
This sculpture reflects the early signs of spring, as seen in the unfurling of the tendrils on a young fern, found in a nature preserve near our home. Witnessing this quiet act of emergence reminded me of how naturally we come into being when surrounded by stillness, safety, and sunlight. Materials used in its creation include macro photograph, kozo paper, encaustic medium, powdered pigment, found wood, and linen thread.
This piece was made from a macro photograph of the Common Blue Morpho Butterfly, whose wings, when closed, show this brown pattern with "eyes" to help ward off predators, but when open, reveal a brilliant cerulean blue irridescent color. This metaphor is so reflective of how our defenses can help protect us, and that when we feel safe, we can reveal our innermost beauty.
The sculpture started with the photograph, covered in many layers of wax, was detailed with colored pencil, intricately carved, cut to shape, and hand-sculpted before final detail with further powdered pigment.
This sculpture originated from a macro photograph of tiny red mushrooms growing on the forest floor. Printed on kozo paper, colored pencil, layers of encaustic medium, and additional powdered pigment covered the surface, and it was hand-sculpted into form. The end creation reminds me of what might emerge from the sea, mirroring the depths of what arises in our consciousness. The form is mounted onto found driftwood, and is a pedestal piece.
This piece originated from a macro photograph taken underneath the dolphin tanks at the Indianapolis Zoo. The surface of the water changed continually as the dolphins swam by, creating shimmers in the dappled light of the sun that shone through. I was with my mother and my two sons, reflecting on how quickly life moves, and how constant is the change. My mother has had Alzheimers for many years, and I was happy to be able to share this experience with her and my boys, taken in by the peacefulness of the water above. I was mesmerized by the beauty that was transforming before my eyes minute by minute, and grateful that we could share this experience.
The photograph was printed on kozo paper, has multiple layers of encaustic medium, was hand-carved to interpret further detail, and colored with powdered pigment. It can be either mounted on a cradled panel, or framed.
This sculpture was created with multiple layers of drawing and painting on mulberry paper, that was then waxed, sculpted, and had further pigment added to the topmost layer. It was a meditative exercise in letting my mind be free of expectation of what was to come forth, and to let my hands form the image into dimension. I worked in silence to let my mind be most clear, and enjoyed the process of letting the colors flow into form. This piece can be placed on a pedestal, or can be incorporated into a panel to be hung.
These sculptures emerged from a photograph of a nautilus shell residing at a nature preserve, and seemed to call for liberation from their original wholeness. The photo was printed on kozo paper, layered with encaustic medium, cut and sculpted, and colored heavily with powdered mineral pigment before being adorned with tiny droplets of wax. The separate pieces reminded me of the possibility for ongoing growth and transformation, while still retaining the core parts of who we fundamentally are. These sculptures are mounted onto a cradled panel, covered in deeply fused wax that is hand-carved, edge to edge, surrounding these sculptures with organic patterns that complement their form.
The encaustic sculpture in this piece was originally part of the "NOT big" juried exhibit at the MS Rezny Gallery in Lexington, KY, and soon after found a new home nestled in these branches. It was purchased at the Berea Arts Council live auction.
This encaustic piece originated with a macro photo of a luna moth that was discovered in its last moments in the pre-dawn light. It has much relief carving and coloring on the moth, and the multitude of layers of beeswax on which it is placed are intricately carved by hand, providing a place of reverance on which this creature can rest. It is framed in a beautiful burled-walnut frame, which further enhances the inherent beauty found in nature. (16 x 20 encaustic piece, 28.5 x 34.5 in framed)
While walking along a country road, I spied a large pod that had been caught in the fence. It was like a dandelion that was gigantic, full of seeds that were in various stages of detaching from the pod's core. They appeared to be preparing for the journey which the wind would carry them on, much like letting go of my mama as she is nearing the end of her life here with us.
This 2-dimensional piece began with a macro photograph printed on kozo paper, layered with encaustic medium, hand-colored, and meticulously carved with relief detail, and finally completed with powdered pigment.
This encaustic sculpture originated from a macro photograph of a parrot that sat on my lap at the aviary in a zoo, and is transformed into a sea creature, of sorts. It holds wonderful energy for me, as it commemorates a day full of beautiful energy as my 2 sons, my mother (who lives with Alzheimers), and I all sat in the quiet locked aviary with the zookeeper... the birds slowly came closer and closer, until they were crawling on our laps, hats, and nestling under our chins. There was a profound sense of just being with these beautiful animals, and there was no need for words... just delighted laughter intermingling with the squawks of these exotic creatures. Kozo paper, encaustic medium, powdered pigment, encaustic paint, and stone are all used in the making of this piece.
This encaustic sculpture emerged from a macro photograph of reflections under a dolphin water tank, was hand-colored, cut, and sculpted into form which rests on wood from our land. This piece is a reminder of the flow of life, in which predictions are impossible as to what comes in with the tide, with further reminder that I can cope best when I accept what is, rather than resisting. Additional detail and view photos can be found in "available" gallery.
This vessel was made from mulberry paper layered with 20+ coats of encaustic medium, embedded wire enabling further strength and form. The surface design was made using a batik tjanting tool with encaustic pigment, powdered pigment applied to the wire tips. As this large hollow piece was being formed, I reflected on how much we hold inside ourselves— life experience, dreams, loss, emotions, and gifts that have yet to be expressed in the world, a delicate balance of openness and containment.
As I was typing these words, I began listening to Tina Turner in her "Love Within" album, in which she sings about honoring the divine mother within all of us— the embodiment of unconditional love. She speaks of this love being within her and never having left her, and that she knows she can go beyond her history and her suffering— beyond. She reminds that this female power is within all of us, male and female, and when we seek out this energy, it nourishes values like love, kindness, compassion, forgiveness, and tolerance. What synchronicity to hear this music for the first time while I was struggling to find words to express the symbolism of this vessel. Thank you, Tina Turner, who proclaimed in that song, "When words fail, turn to music”.
These sculptures emerged from a photograph of a nautilus shell residing at a nature preserve, and seemed to call for liberation from their original wholeness. The photo was printed on kozo paper, layered with encaustic medium, cut and sculpted, and colored heavily with powdered mineral pigment before being adorned with tiny droplets of wax. The separate pieces reminded me of the possibility for ongoing growth and transformation, while still retaining the core parts of who we fundamentally are. These sculptures can be mounted onto a cradled panel, nestled on a natural form, such as wood or stone, or left as they are in their pure state.
This piece was purchased by St. Joseph Hospital, Lexington, KY, as part of their Healing Arts Initiative, in which art purchased from local artists is selected for inclusion in the hospital environment. Bringing images that transmit beauty and calm into the space where patients, families and staff work together for healing, provides a sense of respite for weary minds and bodies, and hopefully helps restore a bit of energy needed to continue whatever is being faced. Having worked in medical social work for years, I can attest to the need for this healing energy, and am honored to be included in part of this journey.
This large piece is compiled of macro photography and watercolor collage work layered onto cradled encaustic panel, with each image being layered in wax, hand-colored and cut, with many that are sculpted on to the panel. Encaustic paint and powdered pigment are then used to integrate the images into a cohesive piece that depicts the many cycles of our lives. It serves to remind me that each phase of our lives deserve reverance, time, and wonderment as they unfold.
This piece was juried into the Kentucky Arts Council exhibit, "Visions at the Capital", in which 50 KAC artists who have been supported by this council in the past 50 years invited 50 new artists to exhibit with them. Chosen work was displayed at the capital building in Frankfort, KY, for the spring legislative session, running from January 2016- April, 2016.
This moth was discovered lying on the road by my son as we walked near the forest. I was moved by the lifeless wings that emitted richly pigmented colors which I had not previously seen in the area. How easy it is to briskly pass through our surroundings without really fully seeing… I was grateful to be able to bring new life to these wings that rest here, set against the deep hues of night.
This hand-carved relief moth began with a macro photograph that was printed onto textile, layered richly with numerous fused layers of encaustic medium, carved edge to edge with organic detailed design, colored with powdered pigment and adhered to wooden circular tile, mounted and ready for hanging.