I am happy to share that I am included in Artists of the Bay Area, Vol. 2, a two volume book set curated by Jen Tough (Jen Tough Gallery) that features "the best contemporary artists living in and around the Bay Area of California."
The above before and after photos were taken in April of 2020 (left) and December of 2021 (right) and mark the challenge of completing the largest and most complex work in my I Believe in Ghosts series to date.
I am pleased to share that We Hunt the Doe was awarded first place in the All About Women virtual exhibition organized by the Marin Society of Artists.
All About Women is a nationally juried virtual exhibition featuring work about women by 84 artists from 22 states. The collection of work was juried by Josh Otten and Josh Paquette of J. Willott Gallery in Palm Springs, California.
The collection of works are viewable in an alphabetical slideshow here or you can peruse still images here.
This week I bid farewell to 'We Hunt the Doe' as she embarks on her journey with Atelier 4 to Washington D.C. to the Smithsonian's National Portrait Gallery for the final round of judging in the Outwin Boochever Portrait Competition 2022.
The finalists will be announced publicly in spring and exhibit in Outwin 2022: American Portraiture Today, followed by a national tour.
A big thank you to both the National Portrait Gallery, Atelier 4, and Kevin and Angel of Atelier 4, for exceptional experiences working together :-)
Work in process rose and lemon details with palettes from a new piece from my "I Believe in Ghosts" series.
"Title TBD," oil on linen, 34 x 28 inches (86 x 71 cm).
Here I've compiled detail photos of the head in "We Hunt the Doe" in order to show a glimpse into my process. The images progress from the development of the black and white "dead layer" through various color glazes to get to the final result.
Throughout my series, I Believe in Ghosts, I reference vanitas — 17th century Dutch still lifes — to draw on the tradition of sharing a moral lesson. Vanitas paintings present an array of objects as symbols to remind us of the transience and vanity of human existence and earthly possessions and pleasures. My modern interpretation of vanitas puts the female figure directly in the composition, exploring transience of innocence, value, and agency relating to female identity. I use symbolism and allusion to convey the tension between objectifying the female body and recognizing the rich interiority of the female subject.
Objects have histories, yet are unable to speak them — what does it really mean to treat women as objects?
I created this space to showcase my past work, chronicle my current projects, and share my inspiration.