Thumbelina, 18” x 24”. Oil on masonite board. Circa1990.
My “about” page mentions that I like to collect all kinds of specimens. Well, this old habit extends to dead birds and I use the found opportunity to indulge my love of drawing them....
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Take Your Time, 2022. Graphite on Arches hotpress paper, mounted to Masonite; 13’ x 13”.
When you’re a snail, time doesn’t really mean anything, does it? Perhaps it only matters when it’s getting that time to get under the leaves when it’s too cold. There’s a time to....
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The Stone Boatmen by author Sarah Tolmie. 22" x 30", oil paint on Olio paper. August 2013.
A freelance cover for Aqueduct Press. I had a great deal of fun drawing and painting the figure especially. Making it look like it had been sculpted of weathered and stained stone was a wonderful challenge.
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The Strawberry Pot, Oil on gessoed paper, 12” x 16”. 2015.
In my 1 year partnership in selling my work with art agent, Jane Frank, I’ve learned a lot about the market of art and the specificities around selling to buyers. One thing that’s come up in our conversations is why one should refrain from ever …
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Libra, sold last year to an online buyer.
Llewellyn’s Astrological Calendar is one of those projects that many young fantasy illustrators seek to do at some point. I really enjoyed interpreting the astrological canon of the signs and found that my feminist filter caused me to …
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Feast For Crows, 19" x 15"; oil on Arches Olio paper. 2012.
With multiples, I wanted to promote the idea that we can create social justice and change when we work together in an interdependent way— that we needn’t continue to be alone or isolated.
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Migration, 30” x 40”, oil on canvas. 2022.
So, my fun idea for the image was to imagine if these creatures were real, what natural environment and niche might they inhabit? I viewed them as pelagic creatures roaming in aether, floating gas giants possibly on a hydrogen-rich planet….
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Leap, 8” x 10”, oil on paper mounted to gessoed hardboard.
Where is she going? Where will she land? It’s much like the act of making any art. We leap and trust that we’ll land where we need to be. Are we safe? Not really, but that’s part of the thrill and delight of making art and making a life.
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Maidenhair, 8 x 12" oil on gessoed paper. 2016. Print available.
The wizened gnome in this image was added after the paintings were submitted and published in The Old Farmer’s Almanac Calendar in 2010. Initially, the calendar art called for a woodland setting showcasing Maidenhair Ferns. Ok, so then what do you do with the art?
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“The Cat Bell” painting. Oil on masonite board, 18.25” x 13.25”.
Another cover done for The Magazine of Fantasy and Science Fiction, under the excellent art direction of Gordon Van Gelder. The story is called “The Cat Bell”, by Esther Friesner, and it’s a Puss-in-Boots kind of story with a really fun ending.
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Book Werm, oil on gessoed paper 15"x 15", 2010. (Print available).
A Girl and her Dragon decide it’s much more fun to read and look at old books than it is to fight about silly things.
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May The Devil Take You, oil on gessoed paper, 11" x 15"; April 2012.
The scent of leather and oil and the rumble of the machine will be irresistible. The Muse and her sidekick will take you for a ride. Sunscreen a necessity. No need for matches.
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Moonlight Toad, 12" x 15" Oil on gesssoed paper. 2005 (?). The piece was created as an advertisement for my work in the Picture Book directory and recently sold at IlluXCon.
My agent suggested that I try my hand at anthropomorphizing a few of my favorite animals to see if I could make a transition into the narrative side of the children’s market. Aside from medical illustration, opportunities to work in hard science illustration were becoming…
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The Himba Dragon Cooks, oil on canvas, 36" x 40"; 2013.
Author, Bill Johnson, had a great idea for a book: to ask artists to contribute art with an imagined smaller story line that was not specified in the author’s writing. Essentially, to add a mini-drama idea within the broader story. This not only gave the artists a whole lot more flexibility to create really cool paintings of women! dragons! and dogs! but it also allowed the artists to become co-creators in the story…
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“The Meeting”, 40” x 36” oil on canvas, 2011.
At the end of IlluXCon 2010, where I was an exhibitor, I heard through the grapevine that author, Bill Johnson, was looking to commission fantasy artists for an upcoming glossy, hardback, high quality art book, heavy on imagery. The story involves the women of an alternate Earth-like world needing to come together to prevent an ecological disaster.
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Flesh For Ichthyes, 18” x 22” graphite on Arches paper. 2012.
Part of a group of images that I affectionately called my “Revenge Series”, this image also contains the idea of multiples. Sometime in late grad school, I started to think more about how certain species of birds, fish, insects, behave as one entity…
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Shadows, 18” x 24”, oil on canvas, 2000.
A black cat lounges in her mistress’s workshop full of herbs, bell, book, and candle, a pentagram, and few tarot cards foretelling of a fine partnership. Where is the Witch, though? Don’t turn around, she’s right behind you. Have you been snooping where you’re not supposed to be?
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Garden of the Blue Dragon, oil on treated Arches, mounted to cradled hardboard; 36” x 24”. 2018.
This image marks a turning point in my work where I’m beginning to fold my fantasy ideas into “real” botanical work. And what seemed to be a natural counterpart to the bump-out —which I’d been using for decades— is the “carve out”.
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Gevurah, 22” x 30 graphite on Arches paper. 2011.
Occasionally, an idea for a piece comes out of left field and I just have to deal with it. This was one of those. I was researching the Kabbalah because I find ancient esoteric belief systems to be fascinating and I became quite interested with this complex system which breaks the Judaic godhead into….
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Joy Ride, 28” x 28”, oil on canvas, 2011.
What happens when you imagine the witch, Baba Yaga, as a normal elderly person behaving in predictable ways? So what does she do with her down time between luring children to her hut and fattening them up to eat? I imagined that she might tear around the forest on her chicken-legged hut, house dress flapping, just for the fun of it.
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