The Intersection of Humanity and the Natural World
This series of paintings displays the interconnectedness of humans and nature. Some of these works use the Surrealist technique called paranoiac-critical method, while others depict distinct human figures that match their environment.
Kymopoleia
19”x25” oil on wood panel
Kymopoleia is the Greek goddess of ocean storms. Standing in front of a brewing storm on Mobile Bay, her stance is confident while she stares into her crystal ball contemplating her ethereal power.
This artwork was painted on reclaimed birch wood paneling taken from a home damaged from flooding during Hurricane Katrina.
This painting is part of the Eastern Shore Art Center 2023 Member Show.
8”x10” study, gouache on paper
Using the Surrealist technique called "paranoiac-critical method," the artist creates a human form out of the two nebulas, NGC 2014 and NGC 2020. Thanks to modern technology, we can now visualize these nebulas that are 163,000 light years away. While the image invokes a sense of the diminutive nature of humanity, it also reminds viewers that we are all made out of the building blocks (matter, energy, and light) of the universe. The artist used reprinted newsprint pages from an HG Wells book and painted over it with gouache and watercolor.
Photo of NGC 2014 and 2020 by Hubble Space Telescope
NGC 2014 & 2020 (or Woman of Galactic Flames)
Elephant Trunk Nebula (or Space Dust Goddess)
8”x10” study, gouache on paper
Using the Surrealist technique called "paranoiac-critical method," the artist creates a human form out of the Elephant Trunk Nebula. Thanks to modern technology, we can now visualize this nebula that is 2,400 light years away. While the image invokes a sense of the diminutive nature of humanity, it also reminds viewers that we are all made out of the building blocks (matter, energy, and light) of the universe. The artist used reprinted newsprint pages about the Apollo Space Mission as a base and gouache and watercolor to paint the scene.
Photo of Elephant Trunk Nebula (detail) by Justin Katsinis - AstroLayne
A Commentary on Modern Dating
This series of three paintings tell a story that has become all too common in the modern dating world. Depicting shadows, a solitary figure, and a recurring theme of darkened doorways, these paintings reveal the loneliness and uncertainty that propels the desire for connection.
Dating A-la-Mode I
30”x40” oil on canvas
A lone figure sits in bed in a darkened room illuminated only by the cellphone in her hands. She smiles absentmindedly at what she is viewing on the screen. On the nightstand sits a book titled Bowling Alone. The wrought iron bed frame is made up of many twists and swirls but one in particular makes the shape of a heart, split in two by the shadow behind it. This, along with the book, and overall cool blue tone of the painting are used as symbols to suggest a sense of isolation. This is the first painting in the Dating A-la-Mode series.
This painting was featured in an online article. You can read it by clicking here.
Dating A-la-Mode I
30”x40” oil on canvas
A lone figure sits in bed in a darkened room illuminated only by the cellphone in her hands. She smiles absentmindedly at what she is viewing on the screen. On the nightstand sits a book titled Bowling Alone. The wrought iron bed frame is made up of many twists and swirls but one in particular makes the shape of a heart, split in two by the shadow behind it. This, along with the book, and overall cool blue tone of the painting are used as symbols to suggest a sense of isolation. This is the first painting in the Dating A-la-Mode series.
This painting was featured in an online article. You can read it by clicking here.
Dating A-la-Mode II
30”x40” oil on canvas
A woman hears a knock and looks to see who stands beyond her door. Though she has placed her hand on the chain to unlock the door, there is a sense of hesitation. She is literally letting someone inside but there is a deeper message here about forming relationships/bonds and the vulnerability that requires. This painting is second in a series of three which provide a commentary on modern dating. Although each painting is a standalone piece, when the Dating a-la Mode series paintings are viewed together, they tell a story.
Dating A-la-Mode III
30”x40” oil on canvas
A pensive woman peers through a foggy window. Can she see what is on the other side? What is on the other side? She has a calmness about her but the tension remains in her left hand and arm. The bookshelf represents pushing aside logic and knowledge (literally pushing it down) while emotion bubbles up (represented by the foggy window). She is clothed in a silk gown, but with no accessories (no jewelry or makeup), which suggests she is preparing for the arrival of someone, but is not yet ready. This is the third painting in the Dating A-la-Mode series.
This painting was included in an exhibition in Manhattan, NYC in March 2022. You can read more about this event by clicking here or by reading my blog post about it by clicking here.
Autumn Series
This series features quirky monsters, stormy skies, and unusual settings. They are all eery reminders of the Halloween season, yet somehow they are inviting and calm. It could be the beautiful gaze of a monstrous vixen that somehow makes you want to look again and again. It might be the vast power, but also, renewal, that a storm brings to the earth. This deluge forces you to recognize its presence and encourages you to seek cozy, indoor solitude.
Madame Witch
16”x20” oil on canvas
Madame Witch has learned quite a bit about how the world works over the last 200 years. She’s not fooled by anyone, but she can put on some clever disguises of her own. Though her green skin is her natural state, she uses potions (cleverly hidden in her earrings) to turn her skin a more human hue when needed.
Madame Ghouly
16”x20” oil on canvas
Featuring a ghostly, glowing pallor and orb-like eyes, Madame Ghouly is oddly appealing. Born in London, she was killed in the 1880s by Jack the Ripper. She forever haunts the Whitechapel District in hopes of finally revealing the identity of her murderer.
Madame Gorgon
16”x20” oil on canvas
Madame Gorgon’s real name is Stheno but she forever lives in the shadow of her sister, Medusa. While these sisters were close in their youth, Medusa quickly formed a notorious reputation for herself, bitter over the curse placed on her. Stheno, while also devastated, tried to leave her anger behind in order to endure her immortality. A piercing, but kind, gaze paired with a slight smile reveal an innocence but also mask her intense danger.
Storm I
36”x48” oil on canvas
The immensity of this ocean storm is juxtaposed by a faint sailboat bravely sitting on the horizon. An extra large canvas highlights the magnitude of the roiling clouds. This painting is based on real life observations (i.e. a photograph Elizabeth Brooks took on the Gulf Coast).
Storm II
36”x48” oil on canvas (Original has been SOLD)
Massive indigo-hued cumulonimbus clouds begin to dissipate as the sun rises on the deep horizon, signifying a beginning to the day after a stormy night.
Storm III
24”x36” oil on canvas
A sun shrouded by slate-colored fog and low-lying peach-flecked clouds serves to make this setting ethereal. What lies beyond the misty calm? Perhaps when the fog clears, the scene will make more sense.
Storm IV
24”x36” oil on canvas (original has been SOLD)
In a unique perspective, we drift above the storm raging below, freeing us to admire the brilliant, celestial bodies.
Storm V
36”x48” oil on canvas (original has been SOLD)
A storm was just beginning to break up, causing the sunbeams to radiate through the clouds and reflect onto a calm body of water below. This painting is based on scenery along the Gulf Coast.
Tranquil Abyss
24”x30” oil on canvas (original has been SOLD)
It seems scary—floating in a blank, blue space, slowly drifting away from the light with no idea what lies beneath us. However, sometimes this quiet solace is needed and should not be frightening.