I have always loved making things. As a child, I sold watercolor greeting cards and beaded jewelry in my father’s place of business. I made my own clothes. I painted and crochet and embroidered and set bezels and on and on and on. While reviewing an old diary, I see that at one point, I had wanted to be a world famous fashion designer. I did have a small stint at making playful fabric hats (Bell Hats Over The Pacific) and other children’s dress-up items, but I moved on to working completely on my computer.
And in the digital realm, there is no actual product. Yes, I can and do print on paper and aluminum substrates that can be used to dress up walls. But my earlier passion was to make garments and personal adornments. For this, I have had to wait for the technology to print designs on fabric. And it is quite an interesting world now that artwork can be translated into fashion on demand! The first manufacturer I used gave me a good looking garment, but the fabric was thin and I was worried about having a Lululemon moment. Fortunately, I have found a company that produces a fine product that I am proud to present.
I decided to use my artwork “LoveWins” for my first foray into digital printing on fabric. The piece was made in support of marriage equality and I think using it for fashion is an expressive way to share the love. The leggings and beanies I started with are a fun and cool way to take my artwork off the walls and share the love with the world. You can find them and other designs I’ve been working on over on my Art of Where site here!
This summer I had the opportunity to do a finite series of 50 small artworks in 50 days. I set up parameters for the work, one aspect was that I incorporate a technique I haven’t used before in the kaleidoscope pieces.
For the entire series, I designed a custom paint brush that I created in the program Studio Artist (Synthetik Software) to create the backgrounds from each of my base images. Studio Artist is a graphics synthesizer that can apply individual brushstrokes based on a photograph or image. The program looks at the contours, luminance, color and texture and then can either auto-draw or be specifically directed by the user.
Watch the animation and you will see the brushstrokes being applied in Studio Artist. From the resulting “painting” of the sunflower base image, I reflected a portion around into the background. The additional layers are more similar to my kaleidoscopic work. They are reflected and distorted, but still keep the starter image intact.
The Great Big Aloe Eye in the Sky is one of my more energetic pieces. The bright orange of the aloe bloom vibrates against the brisk blue sky.
I took the photograph used to create this work at the Los Angeles County Arboretum. It had rained only hours before I arrived. I usually focus in on the flower for my pieces, but the combination of the orange spikes and clear blue sky were irresistible.
The Great Big Aloe Eye in the Sky is featured as the cover of my 2017 calendar. I only have a limited number and they will sell out quickly.
Loving Day commemorates the 1967 Supreme Court decision of Loving v. Virginia, the case that legalized interracial marriage. Both the case and the holiday take their name from Richard and Mildred Loving, a couple that grew up and fell in love in Virginia. Although Loving v. Virginia was decided in 1967, the most reluctant southern states took until the year 2000 to repeal their miscegenation laws. This became pertinent in my life when our family became inter-racial when my son and his wife were married on Loving Day. The basis for this artwork is my beautiful daughter-in-law’s wedding bouquet.
This is the sixth year of my self-published calendar/portfolio. Before I started specializing in my current form of art, I was a graphic designer. I guess I still am. The calendar gives me a chance to revisit my prior occupation. Putting the calendar together also gives me an opportunity to look back on the art I have created this year and relive what was going on with my life for each piece. The creations are very personal for me. Each photograph is a reminder of my travels or my mother’s garden or whatever was going on the day I took the picture. Each finished work is a memento that relays clues for what was going on in my life.
I included the four kaleidoscope pictures I created early in the year as Artist-In-Residence at the Los Angeles Arboretum. I wandered the grounds early in the morning to take photographs I would work with throughout the day, ending in the afternoon, and these pieces were done. This was an exciting challenge, creating a piece of art in a single day, in front of an audience. You can find these artworks in the calendar in February, April, November and December.
The other big project I had this year is represented in the months of January, June and July. These artworks were part of an installation at Sanchez Art Center in Pacifica, California. In this project, I created 50 small artworks in 50 days over the summer. I decided to use this as an opportunity to incorporate a technique I have been toying with for years, even before the kaleidoscopes. The basic form continues with the use of a single photograph that I have distorted and reflected. But for these small works, I made the backgrounds with a technique I developed that brushstrokes to paint the image based on texture, shape and luminescence of a photograph.
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My husband has sub-titled this piece “Eggs and Orifices.” I think that is fitting for this powerfully feminine piece.
A bed of roses has been carefully arranged for a dance of fertility.
Open petals of the pink rose are transformed into fleshy openings. Each corner holds an egg perched on the edge of a cliff, awaiting a synchronized dive into the welcoming folds. Corseted hourglass figures suspend a circular fixture above the bed, almost obscuring it from view. There is a hint of something lurid, maybe a bit nasty.
I meditate on Bird OParadise when I am in need of powerful inspiration. There is nothing shy about this piece. The structure and boldness of the Bird of Paradise flower is apparent in the artwork.
The dominant motif is the vibrant orange square. Its double fortified walls are suspended from a blue perimeter above a featureless green field. Inside another blue boundary is a dynamic sun. The orb’s horned aggression is held in check, trapped inside crystal.
Base image (center) and two “foundlings” for “Bird O’Paradise.”
When creating this piece, I struggled with the warrior forms that were advancing. The orange is fierce and somewhat aggressive. It is from the “head” part of the bloom. The edges are hard and there are dangerously sharp points. But nature has balance. The flower itself provided relief from the forceful orange with its indigo petals that happen to be fused into the shape of a heart.
Blue is the complementary color of orange. They reside across each other in the color wheel. Nothing that is in orange is in blue and vice versa. Mix them together and you get mud. Keep them separate and they create tension. The hot orange does not overpower the cool blue, nor does the blue subdue the orange.
It was January of 2011 and I was struggling with where I wanted to take my art and my art career. I had been making Judaic artwork using some powerful graphic synthesizer programs. The goal was to print images to silk to make prayer shawls. The technology was new and expensive, and over the course of a year and a half, I found the whole process too frustrating to continue.
So now I find myself lost and unfocused. I am at the end of that journey. I’m out of a job, a job that I invented. I feel betrayed by the very thing that feeds my soul and gives me great comfort. For many months, I tinkered with various software programs looking for something new to do. I revisited prior projects to see if new insight would advance them to the front.
One day, I made the inspirational leap to use photographs with the math-based software that landed me in a place where I was able to regain my focus. So much so, that I have been concentrating on this series for almost six years, creating more than one hundred, forty pieces.
In the artwork Erythrina On Fire, I have constructed a large swath of smooth cream color against the very busy orange structure of the reflected flower. You can see in the animation of the piece how I altered the colors to give the viewer a place to rest comfortably in a calm place amid the surrounding chaos.