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This painting was one I did using the techniques from the Milan Institute The  first layer in acrylics, followed by oil paint.  I tried to break away from my typical rigidity and just let it flow. Not thinking as I worked seemed to help it become what it wanted to be. Once done, it felt like the woman in the image was reminiscing about another time; another her.

This painting in acrylic, oil and gold leaf took me completely out of my comfort zone. Implementing abstract shapes and colors gave it a whimsy feeling that took on a life of its own. It was a great opportunity to add gold leaf. I like this image as a new theme in my work; something outside the box.

In this painting I wanted to try texturizing and staining the canvas before I drew the image. I applied gel glosses of varying types as well. Once stained, the canvas felt Native American. I was able to find a model of a Warrior Woman that spoke to me and let myself go. Once painted I added gold leaf for highlights.

​In this painting I wanted to indicate a woman’s power to visualize and experience a rich inner world. She becomes one with all of nature; the sky, the sea, the sunset and the swallows flying by. The birds were first molded with gesso to give them depth. 

In this painting I felt called to express the darkness and the light within each of us. Carl Jung calls it the Shadow Self and tells of the importance of acknowledging it in ourselves.

Half of the painting is in gold leaf, a full expression of Light as I see it. But, as I painted, I became intrigued by the shadow side, which is as beautiful to me as the Light.

In this painting, the tea-staining determined the image I chose. The staining appeared as Chinese symbols to my eye and the image I found spoke perfectly to the canvas.

Many women live within a golden shell, never revealing all they are feeling and thinking, perhaps because society or relationships repress their true expression.

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In this painting, I wanted to create the idea of a woman’s inner world, rich and full despite her restrictions.

Loving the theme of Native American Warrior Women, I found a model that basically says, “Don’t mess with me.”  

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Discovering cultures and roles within those cultures adds excitement to creating the painting. This one impowers me to take my own stance in my work.

Once again, I pre-prepared the canvas using gel gloss with additives of limestone, graphite, tissue paper collage and instant coffee stains. The canvas told me which image I should use within it, and I was pleased to find such a lovely model to complement the canvas. I find the Polynesian Culture to be a pleasant, happy people that is reflected in their faces.

This canvas was pre-prepared with tea and coffee stains. I wanted to use colors outside my usual pallet and create a ‘lighter’ feel. I played with complementary colors and found that the model’s coloring leant itself to the splashes of pastel surrounding it.

The Empress commands attention in her ability to be fully herself; centered, confident, mystical. She becomes one with the universe and the stars above her.

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I loved painting this image with her long limbs, fingers and flowing hair. She embodies a woman fully evolved in my view.

This painting was a new technique for me. I pre-prepared the canvas by using gesso to sculpt a design first. I then placed the image within the natural contours of the sculpture.

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I wanted the image to become one with the sense of territory that the design suggested. She and the land are merged together.

Once again, I became intrigued by the masks we all wear and Jungian Psychology that explains how we are not our masks that we show the world, but we are really what is revealed when we remove the mask.

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I especially loved the pose in this image and how the woman ponders who she is without the colorful outer self she has been up until this moment.