I created this piece for the Oceans show at Anthony's Woodfire Grill in Everett. I was very pleased and surprised that it sold the night the show opened.
This piece is a new interpretation of a digital painting I first created in 2001. Since then I have tried various different techniques and combinations of media to try to evoke the mysterious underwater vision I had in my mind's eye. I am pleased with how this piece turned out, because the translucency of wax and the texture it is able to take on lends itself so well to depicting water.
My encaustic pieces are hard to photograph because the translucency and texture of the surface are hard to capture without glare. So my encaustic pieces (as well as most of my 3D pieces) look much better in person than they do in photographs, and this mermaid is no exception.
This is one of the first encaustic mixed media pieces I created, and is still one of the ones I am happiest with. The photographs are of my grandmother - she is about 15 in the large portrait. I believe she was married and pregnant with her first daughter in the photo in the background. I prepped the images in Photoshop to colorize them and add the other vintage motifs.
This piece is on display as part of the November show at Art Not Terminal, but is not for sale - I promised it to my mother.
I am very drawn to antique things. One of my favorite things to do in antique stores is to spend hours poring through bins of antique photographs, looking at the faces and trying to imagine their stories. I have a pretty big collection now. I don't know who these men were, but I decided they looked like they could be called Walter and Eli. This piece is also on display at Art Not Terminal during November, and is available for purchase.
In 2014 I was thrilled to get the chance to study with Rogene Manas, whose work I have greatly admired ever since I first saw it in a gallery in Portland, Oregon. I participated in a two-day workshop in Eugene, in which she taught her special bas-relief technique. After the workshop I intended to go home and immediately do many more, but for some reason I found myself being intimidated, and this is the only one I have done thus far. One of these days I will try it again! This piece is on display at Art Not Terminal during November.
I painted this portrait of Tesla on a vintage guidebook to the Edison Museum. It seemed fitting.
In this portrait and the next one, I was emulating the style of Russian Orthodox ikons, which are stylized religious paintings. Often they are ornamented with beautiful embossed silver, bronze, or tin gold overlays or facades. For my portraits of Salamander, I used thin layers of brass which I embossed with images of tuna cans, fish, fish bones, and catnip mouse toys.
Here's the other painting in this set. I used slightly different methods for antiquing and sealing the metal facades, so the tuna tin and fishbone designs are a bit easier to make out on this one.
I created this piece specifically for an art show, the theme of which was "Spring." But because I did not know the exact submission deadline, my piece was too late to be in the show. For two weeks I'd done nothing but build this triptych and paint for hours every evening after work to get ready for it, so I was crushed... so disappointed I went home and cried.
It's hard to tell in this photo, but her hair is ferns and ivy, her skin is woodgrain, and her dress is bark. There is a bird's nest with blue robin's eggs in it on the altar, in front of her belly.