A Horizon, 18” x 24”h, oil on canvas. 2003
Certain art teachers over the years have said that any art we make is a kind of self-portrait. While the girl doesn’t really look like me, she contains my doubt and fear. I painted this close my graduation, so the academic robe and lab rat were deliberate choices….
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Earth Day poster, 2004. Oils, 22” x 30”.
Every year on Earth Day I think of this piece and how much I enjoyed making it and I wonder who and where it’s affecting the world right now.
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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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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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Russell Cave and a portrayal of the native archaic peoples. Acrylic on board, 36” x 40”.
Not in my wildest dreams would I have imagined I’d end up creating a brochure for the National Parks ….
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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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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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Marked #3, 24" x 30", oil on canvas. 2007.
In my early grad school time at MICA, I was exploring the question of “gaydar” and whether someone could be recognizably LGBT. Was that a quality that could be painted or shown in a portrait if the sitter was pregnant?
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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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Wonderbread Madonna, 30” x 36”, oil on canvas. 2007.
Started in 2003 while I was still at YCP, I didn’t get the impetus to finish this piece until my first year of grad school in 2007. I’m not sure why it languished in my studio for a few years. Sometimes the Muse is off wandering in the desert (I like to think she was at a jazz festival in Palm Springs).
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Delta G, 18” x 24”h, oil on canvas. 2002.
I created a group of paintings during the early 2000s which I lumped together in a group I called “Contested Bodies”. It was my way of processing a lot of what I was getting in my feminist thought classes…
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Airless, 18” x 24”h, oil on canvas. 2002.
This image was inspired by a poem by Adrienne Rich, Snapshots of a Daughter-in-law. The line that so struck me goes like this: “She shaves her legs until they gleam like petrified mammoth tusk.” It speaks about the habits and traditions given to us from our mothers, behaviors we’d barely questioned or given a passing thought…
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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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Occupation, oil on canvas, 26” x 32”, 2003.
This painting was a direct response to my experience of taking an Ecology course during undergrad. One of those things was that ecologists can calculate a population’s growth over a period of time. It’s a formula that takes into consideration how many females of a species are in a given area…
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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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A Mutiny. Oil on masonite board, 26” x 26”, Feb 2012
Many of the stories I’d read years ago~ like Treasure Island, Moby Dick, Toilers of the Sea, The Three Musketeers, etc.~ are unabashedly for boys and all of the activity centers around how men behave in groups, their moral codes, and an emphasis on brotherhood. I wondered what the art would look like if the story were instead written about women…
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