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Opening in October, the New Mexico Museum of Art included some of my work in the Alcoves 16/17 #5 Exhibit.  The Alcoves exhibitions focus on current work by contemporary NM artists and change every 7 weeks.  It is truly amazing how many accomplished, exciting artists are working here.  16/17 #5 happened to include two of my cohorts in the Lady Minimalists Tea Society, Shaun Gilmore and Signe Stuart, along with Kelly Eckel and Mira Burack.  Curator Kate Ware did an outstanding job of selecting artists whose work is strongly related and set up a 5-part dialogue among our individual spaces in the large hall of the museum.

Kate chose 5 paintings from the Elegy series that I made after my husband, Wayne, passed away.  As always, the work is watercolor on translucent Yupo paper (a synthetic paper).  Elegy #19, above, epitomizes my intuitive, receptive painting process and conveys the mixed emotions of grief, calm, and wonder I was feeling at the time (2014).

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Here I am speaking to a crowd at the Museum about my work.

The show is down now, but was chosen as one of the 10 best art events of 2016 by the New Mexico critic for art ltd. magazine.  Thanks, Jon Carver!  We also got positive reviews in the Santa Fe New Mexican Pasatiempo magazine, THE Magazine, and Visual Art Source, an on-line publication.

 

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Every once in a while someone says something about my work that absolutely floors me, and I know  I’ve succeeded in what I set out to do, which is to present the beauty of being.  Recently, Devon Lind wrote that “it’s as though the fabric of the universe is woven through your work.”   Thank-you so much, Devon, for putting into words what I have a hard time saying.   This painting, Driftwood #1, seems the perfect expression of her idea, with its vertical rhythms and horizontal visual flow.

Zane Bennett Contemporary Art in Santa Fe has two of my Portals in their holiday show.   It’s an exciting exhibit of mostly small, affordable work by lots of the gallery’s New Mexico and Southwest artists, so come by and see it.

The Portals, though small (19 x 16″) are a significant aspect of my studio practice.  Because of their size, the flow of paint is highlighted.  There is really nothing else to see in these works but paint, rectangle and space, with two or more layers of painted surfaces suggesting a milky depth.   To me, these are little spiritual exercises.  Alan Watts wrote (and I paraphrase from memory) that the human being is an aperture through which Source sees itself.  The Portals present that aperture in abstract form.

In a little explosion of creativity, over the past few weeks I’ve learned to combine the circle grids and the bar/stripe grids in the paintings. something I thought I’d never do.  This takes the work a little farther from the monochrome minimalist look and into richer, more complex territory.  What factors led to these changes are mostly mysterious to me, but I did find myself listening to Schubert instead of  Reich in the studio.   Some “old-fashioned” sense of composing calls to me now that wants more than repetition – maybe even a start, middle and finish to the visual experience.

Gold Light River, at 42 x 41,” is one of the smaller paintings in this series so far.  I’m particularly excited about some tall vertical paintings that will soon be making their appearance on the blog.  These paintings challenge my notions and rules of what is allowed into my art.  It’s a good stretch that strengthens my thinking and intuition and lets even more light into the work.

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