Dandelion Clocks graphite on paper 2019
I realize that I am belated updating this website, but here are some new pieces to make up for my tardiness. Hopefully I can be more regular about posting my new work over the coming months.
Ryan Practicing Guitar graphite on paper 2019
Cortney's Book oil on canvas 2019
Daffodils graphite on paper 2019
The Monastery Garden oil on panel 2018
I apologize----I feel as though I have been hiding; something I am often quite good at. But here I am, sharing my hidden self in this new painting (not quite new. I started it last year, but it has taken me this long to finish it). And I've even sent off this Solitary Pear below to the Art Division holiday fundraiser that they will be holding this November at the Art Division library in Los Angeles. There will be 200 framed drawings for sale for 200 dollars each. If you are a collector, or would like to become one, and are in the neighborhood, you should stop by and look. I would, if I could be there. But my pear must stand in for me, instead.
The Solitary Pear graphite on paper 2018
The Empty Park watercolor on paper 2018
Vinca graphite on paper 2018
Portrait of a Stove oil on canvas over panel 2018
Now that this commissioned painting is done and delivered to its new owners, I can share some photos of it with you all. Most of my previous commissions have been portraits: sisters, couples, dogs. . . and one set of flowers. This subject was a surprise to me in the beginning because it was different than the others: the collector asked me to paint an old stove, a family heirloom that has been in her husband's family for several generations. But after I'd been working on it for a few months, I realized it was a portrait, too. A portrait of a well-loved object, and not so different from the other commissions after all.
The Garden of Women oil on panel 2017-2018
Some of my paintings take a long time to complete---this is was one of them. Started early last year, when we lived in Santa Clara, California and the winters meant lush green clover under the olive trees and grey skies, I didn't finish the last glazes on the leaves until this month. We now live in Utah, where winter means whiteness, and the starkness of snow. But my memory, and my feelings, take me back to our long walks past the garden of women: the monastery garden of the Carmelite convent with its pink walls and dark fences. How boundaries fill one with longing. What is elusive is always mysterious, always dreamed of; the distant brought near.
Study - Moonlight oil on canvas begun 2015, finished 2017
I started this small painting from memory of the walks Ryan and Gia and I took in the evenings as the moon rose back when we moved to Santa Clara in autumn 2015. I was never satisfied with it, however, and put it away and didn't think much about it until I was unpacking my art supplies in my new studio and found it packed in a box with some blank canvases. I thought it had some potential still and did a few more glazes on it, and now I feel that it passes for a study, as Van Gogh called his rougher work. It gives me some ideas for more finished night scenes I might be able to do in the future. It also makes me think it would be worthwhile to stretch and gesso lots of small 8 x 10 inch canvases and use them to experiment and make little rough sketches/studies on that might help me in my more lengthy and sometimes larger canvases and panels.
A Little More Time oil on canvas over panel 2017
There are times when I rue my inadequacy at taking photos of my artwork, particularly for a painting like this, which is rather heavily impastoed by my standards, given that I generally paint very thinly. It was hard to get the whole painting into focus, and I couldn't avoid some glare on the brushstrokes. . . but I tried. . . reproductions are never adequate representations of real paintings----just dim reflections. But hopefully they give some sense of what it looks like in person, some shadow of the image and the feeling.