Heirloom Inventory, acrylic paint, graphite, ink and tape on paper, 2012
Sunday, April 13, 2014
Monday, April 7, 2014
Monday, March 31, 2014
Riverside Real Estate
Monday, March 24, 2014
'Van Dyke Brown' and Portland
I just got back from an art trip to Portland! As per usual, I gave myself a limited amount of supplies to create with. I find that working within boundaries teaches me to use materials I normally wouldn't touch. I picked up a handful of crayons, a black marker and a used notebook at a scavenger store.
Portland feels brown to me. Not a 'blah' brown but an earthy, warm, inviting brown. Freight trains, brick and campfires.
| No, I didn't see Pussy Riot, it was a figurine in my favorite art show... |
Tuesday, March 4, 2014
Side project
I'm taking a printmaking course right now. New love? I think so!
Little Bird, lino-cut print on paper, 2014
Thursday, February 13, 2014
House Boat
House Boat, Collage on board, 6''x8'', 2014
"The River, she has a mind of her own...", I heard this a lot when I was visiting my hometown over Christmas.
"Five homes along the river, three or four of them vacation cabins, had been sucked into the river before noon, and many people were waiting to see if a sixth house threatened by the flood also would be lost."
Index Watched, River Took Homes. Everett Herald: Friday, Dec. 26, 1980.
Monday, February 10, 2014
How to survive a flood
The logical next step in my 'flood narrative'...
Maquette of a flotation device made from available resources (near Sultan, WA),
shotgun shells, string, paper target, dowels, glue, found bird, 2014
Thursday, February 6, 2014
I miss the stars
Sunday, December 1, 2013
Friday, November 29, 2013
Flood Narrative
The end of November found me opening my studio to the public for the annual event, 'The Eastside Culture Crawl'. I had 500 guests over the weekend! Below are some photos of the show I have been working on for the past year. Ladies and Gentlemen, may I present.... Rivers & Streams.
Rivers & Streams explores the ambiguous threshold between perception and reality. The pieces are rooted in the artist’s origins, her hometown, family and experiences. The narrative fluidly departs from fact into myth when familiar forms are used in unfamiliar arrangements; mirroring the fragmented yet resilient nature of memory.
The materials worked into the pieces are the remnants of a collective past; objects that have previous histories such as archived photographs, handkerchiefs and scraps of fabric. By compiling and redefining layers of physical history, the works provoke sensory and nostalgic reactions that are shrouded with mystery.
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