Finding which way to go with the figure in this painting has been one of my tasks lately.  She appears ghostlike in the first rendition, and for the other , she is painted in a bright, lime green. Preferring to be somewhere in the middle, I’m going to lighten her up and keep it a matte finish. The walls and windows will be added to.

Indoor lighting without a flash

Afternoon light without a flash

A painting someone bought, but unfortunately, it was crushed in the delivery. All it needs is a good stretching, some stitching and of course re-framing. I painted it thickly in Veridian Green and a top layer of Rose Madder, so that under tungsten lights the surface takes on this metallic sheen. It was the year 2000.

oils, wax, high gloss varnish, thread and silk

For the sketch, I got this idea that a couple would be drifting down, weightless, with the sun still shining and maybe disappearing the deeper they got. The painting got darker quickly and a slight shadow of a figure on the left side showed up. I went with it and tried to lighten up the entire image, although that didn’t really happen. The darkness, I think makes the lighter shades of green look like bright emerald.

oil pastels

"Attachment I"

"Attachment II"

Both painted in 1999. I was on a roll with these. The idea was about bonding to something you could never let go of, but you would have to at some point. It was only after I completed them that I understood the subconscious matter I was dealing with. At the time, my husband and I decided not to have children and the feeling of sacrifice was there in the background.

“There were eight of us” was very first one I painted using wax. The idea was off the cuff and I liked the results, but it was the stitching through the wax that ended up finishing the piece. Later on through the years, the paintings were deconstructed more by using a pallet knife. If there is any influence, it would have to be artist, Russell Mills. I found out about his work through Nine Inch Nails, The Downward Spiral. After looking him up, inspiration took a firm hold. His paintings have ritual and mystery at the forefront and such a solid base of emotion behind them.

"one of us was born in the middle of the afternoon"

This one came out so fast, I got the concept, sketch and painting done in a couple of days. It hasn’t been this way since. “One of us was born in the middle of the afternoon”  got published in a “pure abstract” magazine, although, I still think it appears narrative and not completely abstract.

The plan was to make an escape with as much special artillery as possible. So painting it was. To create a world of your own is close to sublime.

This one came out of nowhere. I immediately jotted it down while wondering about a friend who past away.

Lately I’ve been thinking,  titles complete a piece. The whole thing came together pretty fast along with a title, much in gear.

44" x 52" oils, wax and thread

charcoal stetch

Beginning to understand one another, frozen in a millisecond, gathering information, finding out something that makes life clear, are some of the thoughts  that  this image brought up. I painted it as a response to what I had drawn.

The sketch was done a while ago in 2008 and I didn’t start painting it until 2010.

Kept this to a minimum. The intent kind of crept up on me. It’s this constant dream of a room you can go to before entering  another dimension, like a way station.  I refused to finish it all the way because I wanted the colors and textures to never stop pounding.

Start date: August 22, 2009      Finish date: September 21, 2010

lights

Getting the head and rear lights to glow red and white seemed to be on my mind as a most important element.



I wanted to lead your Eye to what appears to be a bed and nightstand, so then the space opens up to a room with a view of an orange sunset.

oils, layers of primer and wax