Latest work

Here's what's cooking in the studio at the moment. The piece above is acrylic and ink on canvas, 12" H x 10" W. Just been born ... not yet named!



This next one is acrylic on paper, 30" H x 22" W.

Soothing the savage breast

Does the music you play in the studio while you're painting affect what you paint?

Does a certain musical mood cause you to choose certain colors or make certain marks that you would not have otherwise?

I made yesterday's painting while listening to Led Zeppelin. I remember the creative juices really kicking in when Sandy Denny joined them on "The Battle of Evermore."

I made the best painting of my life while listening to "Psychedelic Shack" by the Temptations. Would it have come out as well if I had been listening to "The Magic Flute," or "The Partridge Family Shopping Bag"?

This magic moment

Last month I blogged about those times in the studio when nothing seems to come out right, no matter what you do ("Trash or Treasure").

Well, today, I'm happy to report, I had one of those studio days when everything seems to come out right! I made the picture above, collaging some new marks on paper I made this morning over an old painting that I wasn't quite happy with but didn't know how to finish.

And it was one of those experiences when you KNOW you're not really making the painting; yours are just the hands that happen to be holding the brush.

So while this isn't the greatest photo in the world, it gives you an idea of what I wanted -- the feeling that what once were lines joined in a network have been broken apart, but they have not quite separated entirely. And the fresh area of the background can be seen between the breaks, implying that new possibilities are waiting in the wings.

The painting is 50" H x 30" W and made of acrylic, torn paper, and fabric on canvas.

The sublime Joseph Cornell

My husband took me to see the Joseph Cornell exhibition at the Peabody Essex Museum in Salem for my birthday yesterday.

To be honest, I hardly stopped crying the entire time we were there -- except for the occasions when I burst out laughing (for example, reading his parody of a small-town newspaper, or looking into his box of lobsters doing the can-can).

Partly I think I was crying because Cornell and I both have younger brothers with severe disabilities. When I stopped by Cornell's collage incorporating a drawing of a cartoon character made by his brother, Robert, who had cerebral palsy, I thought of my younger brother Scott who has autism and epilepsy, and I burst into tears.

But it wasn't just that connection that made my cry. I looked at one box and felt overwhelmed by a sense of loneliness, and again with the spontaneous waterworks. I read the blurb and discovered that this box had been inspired by Emily Dickinson. Other boxes, the Palace series especially, provoked the same reaction in me.

My only disappointment was that there was no mention or representation in the exhibit of Cornell's long-time friendship with the ballerina Allegra Kent, who is one of my personal heroines. The two carried on a correspondence of collaged letters, and Cornell made a number of boxes and collages inspired by Ms. Kent. At one point in her life when she was in great financial need, he kindly offered her a generous amount of money, first as a gift, and when she hesitated, as a loan. She was appreciative of his kindness but felt her acceptance would affect their friendship. I like this story because it shows what a decent man he was, above and beyond his public persona as an eccentric recluse.

Cornell was a genius at igniting the imagination. This show is a once-in-a-lifetime experience. I can't recommend it highly enough.

For more information click here for the museum's web site. (And, on a less emotional note, their cafeteria serves delicious food!)

Reflections on turning 45

I was born 45 years ago today!

My beloved friend, Wendy Soneson, an awesome watercolorist, gave me the beautiful painting above for my birthday.

Something about this picture captures exactly what I feel about turning 45. There is so much fear in our society -- among and directed at women especially -- about getting older, leaving one's youth behind, not being as physically attractive as we were in the past.

But growing older means finding your true self, as suggested by this woman's revealing of her body. When you are 45, you are no longer confused about your direction in life. You know and respect yourself, your body, your mind, your spirit. With this self-knowledge, you can move toward greater love of yourself and others, more profound and genuine self-expression, and you can contribute more of value to the world.

In honor of my birthday, yesterday Wendy served me a delicious home-cooked salmon meal, took me for a ride on the swan boats, then treated me to high tea at the Four Seasons Hotel -- and above all, her divine company. What more wonderful gifts could one ask for on her birthday?!

Oh, what a relief it is

Phew! This morning, I have that wonderful sensation that comes from knowing you have taken all the logical steps you can to reach a goal, and all that remains is to sit back and let destiny take its course.

Yesterday I went to the post office and mailed off a pile of packets to prospective gallerists, curators and art consultants. As the postal worker stuck the postage label on the very last envelope, I felt such a sense of relief! For months, I have been doing research on possible places to apply, having new cards printed up, having my art work photographed and my web site updated, burning CDs of my jpgs, polishing my resume and artist's statement, printing labels and stuffing envelopes.

Now that the work is out there in the world, there's nothing left to do but let it go and see what comes back.

Now ... should I turn my attention to those giant dust bunnies that are blowing across my living room like tumbleweeds across a Western movie set, or sit out on the patio with an umbrella drink?

An opportunity to empty your wallet

Wow ... I was just combing through one of my favorite web sites that lists opportunities for artists (nyfa.org), and I came upon one "opportunity" that blew my mind.

I have spent the past six months or so working on a cohesive new body of work. While this new series has been coming together, I have been entering juried shows, submitting images of new pieces that don't quite fit the general new direction, or older works. Most of these juried shows have entry fees, typically of $15 to $25 for three images. It's expensive, but I figure these shows keep my work in the public eye while I'm gearing up for a full-scale PR campaign of the new stuff, and they look good on the resume and keep it current.

But at nyfa.org, I just saw a listing for a juried show that costs $45 to enter three images, and $5 for each additional image. That crosses a line for me, as far as what is reasonable and what is not. This show does not involve a prestigious juror, as many of them do; it's a commercial gallery in NYC. (I'm sure they would cite their Chelsea location as a plus, but there are plenty of remote, tiny rooms in Chelsea that few art viewers ever go to see. And when you're making $45 a pop, you don't need to worry about sales to collectors.)

For this particular show, if you fork over your $45 and are invited to participate, you are asked to create a piece ESPECIALLY FOR THIS SHOW (an additional expense), one that is ten inches or smaller. (In other words, even if you sell it, which is unlikely, you won't be getting a big price for it, and doubtless the gallery takes 50% of your asking price.)

GET REAL! This seems like extortion to me. Artists have to take a stand somewhere, and $45 seems as good a place to take one as any. If artists refuse to enter at this outrageous cost, these rip-off-priced juried shows will dry up and disappear. Besides, you can buy a lot of art supplies (not to mention groceries) for $45.

This said, however, I do recommend nyfa.org as a resource; they have wonderful leads for shows, residencies, etc. This listing is an exception -- at least, for the time being.

My painting at the Hera Gallery

Good news -- my painting "Cascade" (pictured above) has been accepted into "Essential Elements," an exhibit at the Hera Gallery in Wakefield, Rhode Island, juried by Judith Tolnick, director of the Fine Arts Center Galleries at the University of Rhode Island. The exhibit is on display from July 14 to August 18, 2007. For more information, call 401-789-1488 or visit the gallery's web site.

"Cascade" is 30" square and made of acrylic and spray paint on canvas.

What appear to be white lines are actually a bright blue; the painting is meant to give the feeling of water pouring through the hot red-orange lines and the yellow background. (Of course, a reproduction can never convey the impact of the real thing in person!)

Review of Queer Art show at Gallery X

Today the New Bedford Standard-Times published my review of "Q@X2: An Exploration of Queer Art, Gender and Identity" at Gallery X in New Bedford. The show was juried by David B. Boyce.

Read the review here.

For more information on Gallery X, visit their web site by clicking here.

Roger Kizik's profile and solo show

Here is my latest edition of In The Studio, a monthly series of artist profiles I'm writing for the New Bedford Standard-Times. This one features the amazing painter Roger Kizik.

Roger is currently featured in a solo show at the Borowicz Gallery in South Dartmouth, MA. Visit and enjoy!

You may view more of Roger's paintings here.