For me it’s always bitter-sweet when an art show ends. The Visual Impressions exhibit at Ryan James Fine Arts was an eclectic show with 23 individual artists, working in a variety of media and subject matter. I was lucky enough to have one of my pieces accepted after appearing before a panel to defend my intent and practice in creating a body of work. I was happy, even anxious to stand before the panel of 5 artists and industry experts to talk about my passion in creating these paintings.

Ryan James works very hard to keep his gallery vibrant and firmly engaged in the community and the reception was testament to that. It was a large crowd, with people actively seeking me out to ask questions about the work and my process. I wish all receptions were as lively and vibrant as that. And so, as the show draws to a close I’m very happy to have been a part of it and very sad to see it go.

Women Painters of Washington is hosting a new juried show in their beautiful Columbia Center building in downtown Seattle. I’m lucky enough to have several paintings in the show. The show runs July – September and the reception is July 23, 11:00 am – 1:00 pm. Come by the gallery and see the roster of fantastic women showing their work.

I live in Seattle, not too far from the beach. All year around people walk the sand, rain or shine. As the sun sets, fires are started along the shoreline and people huddle together. The sight is primal and celebratory and it fills me with a nostalgia apropos of nothing since I’ve never been prone to that particular practice. I suppose a fire is embedded in our DNA as human beings.

I collected sand the morning after all the gatherings and cold embers dotted the grains. I like that idea. The soul of the fire still present, giving off warmth and conversation. This painting is about that togetherness. It has that same sand sifted onto the surface, as well as falling rain, instrumental in peeling away layers of paint to leave poetic rivers.

I can feel the world turn in this painting. I’d like to think we’re all huddling together, around our fires, against the darkness of the unknown.

I was pleased to have one of my paintings accepted to the Center on Contemporary Art (CoCA), On the Natural. The show examines various interpretations of the term ‘natural’. Does it apply to a lack of artifice? To what feels like it comes naturally? Or does the theme encompass organic nature? All very interesting interpretations and the accepted work did not disappoint. Artists from all backgrounds and points of view were curated and I am beyond thrilled to have my painting chosen for the catalog cover.

I examine the role of nature in urban landscapes in my work so I was very interested in the work in the show, which was wide-ranging and conceptual. I also participated in a 12-panel artist discussion on the topic, which was lively and, at times, very moving.

The show is particularly poignant because celebrated glass artist Ginny Ruffner was the juror. Ginny is known as an innovative, dynamic artist and collaborator and I was very much looking forward to speaking with her and thanking her for selecting my piece. Unfortunately, this Seattle icon passed away the day before the panel discussion and her absence was palpable. Her 20 foot high LED wall of color and light at the Nordic Museum is awe inspiring and she was very excited about using AI to produce interactive sculptures. I am very sorry we will not benefit from all work she had planned. All I can say is thank you to CoCA for this experience and thank you very much to Ginny Ruffner for all the beauty and color.

Got out in the hard rain to make a painting. Please note how the painting is continually changing with the rainfall. The white layer melts, exposing the dark background and the dark brush strokes melt, exposing the white middle layer. The rain, literally making a work of art. I hope you enjoy watching it as much as I did painting it. Fountain of Joy, 48″ x 48″ x 1″(122 x 122 x 3 cm), acrylic with rain water and oxidized brass leaf on canvas.

I often take photos of works in progress to watch the building of ideas and structure, changing course as needed. Paintings can start with a sketch but room is always left for collisions with inspiration and freedom of expression. As ever, I love working with natural processes like falling rain and oxidized metal. To me these works are sacred and tranquil pieces, conjuring ghosts from my past and pointing to the possibilities of the future.

I caught a snow pattern for a background on a little painting in the winter of 2022. I had now idea what I was going to do with it but I knew I wanted that snow. Earlier this year I became very interested in owls and I decided to paint this vibrant barn owl. All my work utilizes a lot of water and delicious, liquid effects. This painting is a favorite of mine. I hope you enjoy the process.

When I was a child a rainstorm was an event. My mother and I would stand in the doorway, watching the New Mexico desert transform. I’d breathe that earthy perfume and watch as the water collected, miraculously, into shiny pools.

I never lost that feeling of rain as transformative and when I moved to Seattle the rain eventually became part of my painting practice. Acrylic paint uniquely lends itself to this rain collaboration. The pigment dries quickly, acting as a ground for drops and rivulets to leave their mark. The planned and accidental merge to form a beautiful juxtaposition of human exertion and the simple, natural process of water falling to earth.

The world in which we live can be noisy, jarring, overwhelming. These works are, for me, sacred. They are a shelter from that constant storm. A quiet place to hide and listen to the rain.

I was delighted to be informed that I got into the Spring issue of the international arts magazine Women United. The caliber of the work from around the globe is truly thought provoking and inspiring. Thank you to all who labor to promote women in the arts. It’s an exciting time to be a creative.