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Maria 24"x12"x1.5"

Maria is named after another artist friend of mine. She is extremely talented in both painting and photography. She also happens to suffer with chronic illness as I do. This expressionist/abstract is my rendition of a tree she snapped a photo of. Completely struck by the colors and textures, I felt like I needed to capture it. Experimenting with molding paste and a butter knife, I finally figured out the evergreen bark. It’s funny, I find that some work looks better when photographed (I always worry people will be disappointed when then buy it after seeing a picture) and some work looks better in person than when photographed. This one is the case of the latter. I simply could not get the camera to show what I see when looking at this in person. So you’ll just have to trust me on this one. It’s a wonderfully woodsy painting and would do lovely in a cabin up North! Or as a stark contrast to city loft living!

Terra Firma 11"x14"x1.5"

Terra Firma, like many of my paintings, was another experiment. I knew I wanted to try dividing the canvas and that was about as far as I planned. The colors I chose immediately lent themselves to something earthy, so mid painting I ran outside in the snow and snipped a piece off one of our bushes. I took a chance on watering paint down, dipped it in and literally slapped it down! It could not have turned out more perfect. In fact, you’ll see the same snippet in some of the other paintings I did that day because I was just having too much fun to stop. It’s a nice manageable piece, appropriate for smaller walls. I was surprised at the difference it made taking photos of it outside as compared to indoors, up against the reddish wall. I also placed it on a steel blue wall and a green wall, each time it looked different. You can’t go wrong with Nature.

Little Buddha 12"x6"x1.5"

Little Buddha came to me after painting Big Buddha or Colorful Buddha (depending on where you look). This was the first time I have ever painted solely with my hands and a blending knife, no brushes. It was by far the closest connection I have ever had with the paint and canvas. Completely freeing and more an exercise physically than mentally. Quite often you will hear me speak of getting wrapped up in the details. I felt completely liberated from that tendency and have been longing to experiment with this ever since. Unfortunately, to do so takes much more paint…and money. I have concluded that I like to have my art in my hands - mixing, adding textures, washing, sanding… I like the feel of it. I’m pleased that Little Buddha came out of this endeavor because it truly was one of my most peaceful experiences and felt that I “let go” of that perfectionist in my head that ties me so tightly to overpainting. Big Buddha ended up in my of my daughter’s homes and Little Buddha ended up with a dear friend of mine in Canada. I honestly could not think of better homes for either.

Where To Go From Here 24"x48"x1.5"

Where To Go From Here… They say if your going to go at all, go big. I had never so much as even drawn a nude figure before attempting this figure. But as I stood looking at the 24”x48” blank canvas something just spoke to me. I knew exactly what it was but hesitated for days before actually sketching her. The sketch went so well I was scared to death to paint over it. I harkened the advice of a friend of mine (another painter with Lupus) because I was so fearful of overpainting her. I knew I wanted some sort of expressionism without getting too tied up in realism. I’m not really sure what I ended up with. What came easy in sketching did not pan out in painting. I suffered greatly with this painting. Frustrated at every stroke with this desire to get stuck in detail. In the end she was a great lesson to me and I have come to love her more and more every day. I posted pictures of her on Facebook along the way and if it would not have been for some truly wonderful friends I might have given up on her all together. Beautifully and wonderfully ironic in her symbolism.