Saturday, March 31, 2012

Sunday, March 18, 2012

New butterflies over Prague

studio, dinning room, living room

Wednesday, March 14, 2012

Revisiting old friends

Saturday, March 10, 2012

Adding On

clean clean sanitize


mop fold iron


fold pay attention get it right

prevent the inevitable accident

dust pay attention to myself but don't be too selfish

always give always give always give

pay attention monitor scrutinize swarm


sweep encourage uplift


monitor mend careful of the cracks

another thing dirty another thing clean

encourage wash check up on

be calm be gentle be warm

scrub put away even out


vacuum wash don't get too impatient

tend to this tend to that

wash fold apply


referee dance make art

steady the hand

put away respond take calls


fold watch supervise


respond collaborate nourish

counting not sleeping

pay write play


mop pay scrape


sanitize offer food take out trash

fill up the tank

manage support lifeline

disregard sleep

support uplift constant attention

constant supervision

uplift be uplifted accept

problem solve problem solve problem solve

always find a solution

mince brush take out the knots

press steam dry clean

inspire cut slim down

very good come here come here come here

brush cook stir


cook inspire/be inspired wring chop


wash water fix washer

oil is low

clip listen work

eat last

chop rinse work

put away

maintain pick bundle

we can never run out of coffee

rinse rip

First of Eighteen Layers

A Second Pass (in process)

"Within/Without Project"

I object to the texture of the paper. Your image feels velvety, like deep charcoal on a smooth surface, my interpretation has too much roughness. (I'm not sure why other's call this watercolor paper good quality. At the moment I had no other.)

In the image I feel within, within your run, your breath connected to the blue atmosphere surrounding you.
I use all the 'left-over' blue from the last session to re-cover the surface.

I'm interrupted by "mom"...
and a reminder by husband of laundry sitting in the washer.


I'm aware of the symmetry, of my own symmetry. I use brushes in both hands and lose myself in the woods. The two points of brushes guide one another.

It is not just to do with the painting of it anymore. It is this dialogue. (Need to get lost in your space. Scale of work therefore has to be larger for me to lose myself into.)

Monday, March 5, 2012


Completed application and emailed it today.
In advance of the Wednesday deadline!

NYFA Mark program application - draft

I'm applying to the NYFA Mark Bootcamp program, and have been working on the statements all day. Here's a peek - application is due at end of day on Wednesday. Wish me luck xo


10. Please use 100-250 words to state your goals as to why the NYFA MARK'12 Bootcamp is important to you at this time.

The NYFA Mark program offers an immediate boon to my active art practice. I want to improve my professional communication skills, gain access to a larger network of art professionals, and garner attention for my work. I am very interested to connect with other dedicated artists, and I could benefit from guidance and advice about the business.

For the last 15 years I’ve improved my technical and conceptual levels of art making. Many express that my painting skills are very good. Under mentorship of teachers Rosenclaire I studied art history extensively and its implications. It’s disconcerting to observe a lack of such knowledge base by many educated artists, as well as a market that largely fails to value that heritage. We should restore depth to contemporary fine art.

Although I’ve remained independent, produce my own exhibitions and sell privately, that shouldn’t preclude connection with professionals that help elevate my practice to the next level. I’m eager to employ new ways to promote, and my new studio space promises more production, so I’m inviting the exposure. I will hone my skills and improve the way I present my work to the world. I sincerely believe that the collective would benefit from access to my art, especially since it resonates with a motive to find meaning and integrity at a time perhaps when we need it most.
Please provide a narrative bio that details your artistic career (100 - 300 words)

I’ve been an artist my entire life. As a child, I participated in the Guggenheim’s Learning To Read Through The Arts program; my work was not only shown in the museum, but was chosen to be the poster for the program that year.

I earned my Bachelor of Fine Arts degree from the University of California at Santa Cruz in 1996, graduating with High College Honors. My junior year was intensely enriched at the Scuola Lorenzo de' Medici in Florence Italy, where I studied under Rose Shakinovsky and Claire Gavronsky ("Rosenclaire”). I have studied with the collaborative duo, via workshops and private residencies, in the United States, Europe, and South Africa. During many years of training, I have also continuously worked in studio, having been encouraged by selling early pieces in small shows and also to private patrons. Subsequently I chose to prioritize a deeper meaning of art over merchandising product by remaining faithful to the content of the work.

I have exhibited and performed both nationally and abroad. I was an Artist in Residence at the Michaelis School of Fine Art (Cape Town), in 2007, and participated in the Domestic Departures workshop (Santa Ana) the same year. In 2009 I was selected to join the New York Studio Gallery’s summer residency, and was in the Art In Everyday workshop (New York City). Recently, I performed atop Rosenclaire’s Soap Boxes in collaboration with the South African National Gallery, and entered two group shows; at Roos Arts (Rosendale, NY), and Linksoul Lab (San Diego, CA). My first solo show in the Hudson Valley was at Roos Arts in 2011. Currently I am curating an exhibition in an empty storefront in Kingston – to extend my exposure in the area, and in an effort to find the right forum for my work.

12. Please include your Artist Statement (work statement) here. This statement should talk about you as an artist as well as specifically reflect the work samples you've submitted and explains your work to the panel. (Up to 250 Words)

My paintings are an exploration of the human condition. I work predominantly with the human figure as the vehicle through which all sensations of life are experienced: love, heartbreak, loss, and the possibility of redemption. I draw from art history to underscore painting’s philosophical and alchemic lineage, and am interested in communicating deeper emotional states of being through the metaphoric use of color, brushstroke, and composition.

Beginning with experiences from my own life and then moving outward, I draw connections between my personal history and the stories of others. The subject of each painting may refer to my own individual pain or misfortune, quietly captured in a moment of stillness, but it is my intention to allow for a space of catharsis by simultaneously revealing an inner strength and endurance of the spirit.