36" x 48", graphite, 1st self-portrait
lithograph
lithograph
24" x 36", lithograph
24" x 36", watercolor
ceramic
(top view, "Fly Away")
ceramic
(side view, "Sacred")
ceramic
(back view, "Drift")
ceramic
(back view, "Emerging")
(top view, "Emerging")
ceramic
(top view, "Transmutation")
(back view, "Transmutation")
collage
(close-up from "Longing")
journal entry, water-soluble crayon
journal entry, water-soluble crayon
ceramic, hand-pressed tile
ceramic, hand-pressed tile
ceramic, hand-pressed tile
Installation sculpture at the WITNESS exhibit in Lexington, KY (read more "here")
Dedication Page, WITNESS book
18" x 24", photography, watercolor, WITNESS book page
watercolor, WITNESS, book page
watercolor, India ink, WITNESS book page
watercolor, crop from WITNESS book page
India ink, gouache, crop from WITNESS book page
watercolor, WITNESS book page
watercolor, WITNESS book page
watercolor, WITNESS book page
photography, watercolor, WITNESS book final page
large ceramic sculpture, comprised of many figures and trees... exploded during firing... accepting the truth of impermanence, and the power inherent in the process of making as the deepest catharsis
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6". watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6" x 6", watercolor
6"x 6", watercolor
6" x 6". watercolor
6" x 6". watercolor
triptych, birch panels, various imagery, beads, leather, beeswax, damar resin, made during Healing Arts Retreat, which I co-led
left, "Reclaiming the Sacred"
center, "Reclaiming the Sacred"
right, "Reclaiming the Sacred"
EPA foam carved with hot wire, mulberry paper, bookbinding glue, beeswax, damar resin
Photography, imagery, antique silverware box, beeswax, damar resin, made during Healing Through Arts Retreat
inside top lid, "Safe Container"
inside bottom of box, "Safe Container"
This piece was selected for the International Encaustic Artists exhibit, "Another Way of Keeping a Diary", November 2015-- January, 2016. I made a piece from the bones of a cow, which combined macro photography with assemblage and sculpture. Respect, violation, fear, acceptance, outrage, grief, joy, and liberation all resided in the sculpture. Transfiguring this bovine pelvis into a safe and reverent space helped to widen my view: not just trauma, but joy and liberation, are within my body and spirit, emanating out when I am connected to my center, surrendering to what is.
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 out of poverty 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 (kozo paper, photograph, beeswax, resin, powdered pigment), hand-carved and sculpted, 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 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.
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.
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)
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.
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.
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”.
A small Io Moth wing discovered on the road under a street lamp grew much larger than life, as it was printed onto paper, layered with encaustic medium, hand-carved, 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. Nature beckons for us to be grateful for each day of our lives, no matter what they hold.
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.
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.
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 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.
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.
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.
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.