Study of tall sunflower outside the studio window, 2000
Oil on gessoed arches paper, 44 x 30 inches
Study of flowers on a stool, 1999
oil on gessoed arches paper, 44 x 30 inches
Study of Pink Camellias on Red Stool, 1999
Oil on canvas, 24 x 20 inches
Study of Three Eggplants, 1999
Oil on gessoed arches paper, 36 x 44 inches
Detail, Study of Three Eggplants
Still Life Study with Pink Tablecloth and Yellow Bowl of Fruit, 2000
Oil on oil over acrylic gessoed heavyweight Arches paper, 42 x 34 inches
Detail, Still Life Study with Pink Tablecloth and Yellow Bowl of Fruit
Apples in Pyrex Bowl, 1998
Oil on panel, 16 x 20 inches
Tomato, 1996
oil on canvas, 8 x 10 inches
Self-Portrait study in Braids before Yoga, 1999
Oil on panel, 20 x 20 inches
In around 1999/2000 I worked almost every morning on self portraits, most of them were done with graphite on smooth Hahnemule paper, and I look forward to one day documenting them all (maybe a total of 75 or 80 or so) and putting them on the website. Beginning around 1994 I made many oil self-portratis from life. Some were included in a show of LA Artist Self Portraits at Rio Hondo College Gallery. These will also be documented and put onto the website when time allows.
Detail, Self Portrait study in Braids before Yoga
Self Portrait Study with Plastic Hair Clip before Showering, 1999
Oil on canvas, 20 x 16 inches
Self Portrait Study in Braids and Striped Sweater, 1999
Oil and oil pastel on oil over acrylic gessoed Arches paper, 30 x 20 inches
Squash Portrait, 1998
oil on panel, 14 x 16 inches
Bread and Butter, 1998
Oil on canvas, 8 x 10 inches
Study of Squash
Oil on panel, 12 x 16 inches
Study of Two Squash, 1999
Oil on heavyweight gessoed Arches paper, 15 x 22 inches
Study of Multi-color California Garden Tomatoes, 1994
Oil on canvas, 20 x 20 inches
Detail, Multicolor California Tomatoes
From Mendel to Linnaeus (Family, Genus, Species), 1997
Installation View, Art Center College of Design, Pasadena, CA. Oil on panel, oil on canvas, oil on masonite, found cabinet, encyclopedias (encyclopediae)
My process here was that in putting together my paintings from garden-grown peas, oranges and lemons, I referenced the earliest work done in genetics from Mendel’s pea experiments to the classification/nomenclature of all living things by Linnaeus, equating the volumes of encyclopediae containing all the information in the world (or the concept of such a thing). This piece was completed some years before the genetic code was broken, and at the time, my search for information about the genetic code always left me coming up short, despite many trips to the Cal Tech library in Pasadena.
Squash Study, 1998
oil on panel, 16 x 20 inches
Backyard Lemons, 1993
oil on masonite, 19 x 25 inches
Backyard Oranges, 1992
oil on masonite, 12 x 12 inches
Backyard Grapefruit, 1993
oil on masonite, 18 x 25 inches
Detail, Backyard Grapefruit
Backyard Lemons, 1994
oil on linen, 18 x 24 inches
Bowl of Apples, 1992
oil on masonite, 12 x 16 inches
Backyard Lemons on Bill's Sleeve, 1992
oil on masonite, 12 x 17 inches
Backyard Grapefruit Study, 1991
oil on paper, 12 x 16 inches
Mixmaster I, 1992
oil on paper, 40 x 46 inches
Mixmaster II, 1993
oil on paper, 40 x 46 inches
View of Two Palms from my back porch in Altadena, 1993
Watercolor on paper, 19 x 14 inches
(My husband at the time worked at a restaurant named Twin Palms in Pasadena during the 1990s.)
Nectarines, 1991
Oil on wood panel, 14 x 17 inches
The Fruit Piece (Matilda's Eye), 1991
Oil on linen, oil on canvas, oil on panel, oil on wood, oil on board, embroidery hoops, 60 x 70 inches
Part of my MFA Thesis Exhibition at Cal Arts
Study of Grandma B's Bundt Pan, 1991
Oil on linen, 9 x 12 inches
Study of Grandma B's Bundt Pan, 1991
Oil on linen, 9 x 12 inches
Study of Grandma B's Bundt Pan, 1991
Oil on linen, 9 x 12 inches
Study of Grandma B's Bundt Pan, 1991
9 x 12 inches
Study of Grandma B's Bundt Pan, 1991
Oil on linen, 9 x 12 inches
Life Studies/From Life (Eariler)
Observational painting from life has always been and continues to be essential to my practice, centering me while providing a meditative respite — I always “come home” to a practice of oil studies from life. They are usually completed in only one or possibly two sittings. Sometimes they find their way into my wall installation pieces. I was very inspired by the “Unfinished: Thoughts Left Visible” exhibition at the Met Breuer in 2016. Often times (although not always) I leave my studies and “fragments” in an intenionally questionable state of finish, compelled by a “non finito” aesthetic, embracing the unresolved and open-ended. I’ve also frequently used white (the white of the paper or gessoed canvas), or prepared raw linen or canvas, as a generous part of the composition. I began doing this after reading “On the Spiritual in Art” by Kandinsky as a student.