Paintings

These paintings were constructed under a desire to understand the relationship between the body and the landscape. It is my belief that both the body and the environment share a porous skin; allowing experiences of the physical world to affect the psyche of both land and body. Thus, body is not a static, fixed, or singular entity – rather, it is constantly in flux. The mediums employed include encaustic, oil, acrylic, and paint skins. The encaustic process is significant to the concept as it too relies on external forces (heat and pressure) to form a semi-malleable skin. All three representations of my work demonstrate a bold approach to working with the encaustic process. I have poured, buried, uncovered, and immersed my own representation as an artist into the medium itself.

The Space Between - SOLD

Oil on Copper mounted to wood. 36" x 48" x 3".

What We Bring - SOLD

Oil on copper mounted to wood. 42" x 30" x 3".

Charting Love Cluster

Oil on brass. 36" x 20" x 3". 2016

Blessed and Censored - SOLD

Blessed and Censored. Oil on aluminum. 36" x 12". 2017

Avatar

Oil in copper. 12" x 12" x 3". 2017

Medusa

Acrylic and copper on paper. 22" x 30" 2017

The Re-Telling of Medusa

Oil on brass mounted to wood. 18” x 24”

Frau im Mond

Oil on copper mounted to wood. 18” x 24”

The Third Sister - SOLD

Oil on brass mounted to wood. 18” x 24”

Deus ex Machina - SOLD

Acrylic on wood. 24" x 24" x 3". 2016

My Cosmology, My Pantheon, My Myth

Acrylic on paper mounted to canvas. 24" x 20" x 2" 2017

Empathy Management

Acrylic on panel. 28.5" x 12" x 2". 2016

Without (Pan)ic

Oil on copper. 36" x 48" x 3".

Fault Lines of a Saint: Saint Simon of the Penny Farthing

Oil and acrylic on canvas. 53" x 42.5" x 2".

Faultlines of a Saint: Saint Derrick of the Fixie

This is a continuation of the Faultlines of a Saint series. 48" x 36" x 2". Oil and acrylic on canvas.

Fault lines of a Saint: Saint Gerald of the Witty

Oil and acrylic on canvas. 48" x 36". SOLD.

Faultlines of a Saint: Six Hands, After Patinir

Based off of a flemish painter Joachim Patinir, this is the earliest known painting wherein women were depicted playing music. Previous to this, any feminine display of a known talent was strongly discouraged.

Oil on Canvas, 48" x 36", 2015.

Femme Atlas

Acrylic on paper mounted to canvas. 24" x 18" x 2". 2016

Clairvoyant Faultlines - SOLD

Oil on Copper. 8" x 10" x 2.5". 2015.

Burnished Fate

Burnished Fate. 10” x 11” x 1”. Oil on copper., 2015.

Shtetl - SOLD

Oil on copper. 12" x 12" x 2.5"

Saint Alex of Combustion

Saint Alex of Combustion. 10” x 11” x 1”. Oil on copper, 2014.

Saint by a Tether

Saint by a Tether. 19” x 13” x 1” Oil and image transfer on copper, 2015.

Roadtrip

Roadtrip. 13” x 19” x 1” Oil and image transfer on copper., 2015.

Tectonic Saints

Tectonic Saints. 10” x 11” x 1”. Oil on copper, 2015.

Faultlines of a Saint: Saint Charlie of the Universal

Oil on copper with image transfer, 24" x 20" x 3", 2015.

Faultlines of a Saint: Saint Ramona, Saint Jesse, and Saint Claire of the Highway Patrol

Oil on canvas, 18" x 24", 2014

Bilocation - SOLD

Oil and acrylic on canvas. 48" x 36" x 2". 2014.

Oil on acrylic on canvas. This work references the idea of being in multiple places at the same time be it physically or psychically.

Keywords: physical world, abstract expressionism, bilocation, spiritual world, einsteins theories, figurative

Totem

Oil on brass mounted to wood. 23" x 20" x 3". 2014

The Greeting - SOLD

Oil on oxidized copper. 18" x 18".

Petroglyphs - SOLD

Oil on oxidized copper. 18" x 18".

Connectivity - SOLD

Oil on oxidized copper. 18" x 18".

Spiderwebs in the Sky - SOLD

Oil on oxidized copper. 18" x 18".

Grace Under Pressure - SOLD

Oil on copper sheet mounted to wood panel, 13" x 9".

This marks a new body of work. I am lucky to have inspiration for this one. This started as an experiment on copper sheet. I wanted to work with the oil medium with a more aqueous approach and started to experiment with diluting the pigment with turpentine. This process, oil pouring, requires a certain "controlled chaos" approach. I found that I really had to work with the medium when and how it wanted to work.