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The path forward is never straight. A metaphor for all our dreams and ambitions for our country and planet.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

Just as star trails reveal the rotation of the Earth in the night sky, the day time sky is spinning too, as sensed perhaps by the rooted, stable trees. Jet trails crisscross in the sky above.

The brushstrokes of the sky echoes the original painting beneath this new composition. The actual inspiration for this piece is taken from Art Nouveau peacock motifs. I am charmed by the stylized artifice of the natural world in Art Nouveau. Here pine needle clumps from my world substitute for the pattern of the gaudy tail feathers.

Off trail in Buckingham Park/Joder Ranch, what you see, not in a singular view, but if you too spin like the earth. The sky is north, the mountains are west, the foreground ridge is looking south and the white rocks are from the ridge east.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

Through the Looking Glass compares the career of singer Yma Sumac to the story of Alice in Wonderland in order to illustrate the power we have to create our own destiny.

Claiming to be a descendant of Incan Kings and having learned to sing by imitating birds while wandering Peruvian jungles as a girl, Miss Sumac gained fame exploiting her colorful heritage in a full four octave range. However, rumors persisted that she was born in Brooklyn purely of European descent with the name Amy Camus, which spelled backwards becomes Yma Sumac. My painting depicts the rumored young Amy gazing at her reflection as the mature Yma in her bathroom mirror. Elements of the bathroom are transformed into the Peruvian jungle in the mirror and even her name Amy is reflected backwards as Yma, demonstrating since we can create our own reality thus we create too our own reflection. So unlike Alice, we do not have to go through the looking glass to find another world, all we must do is invent it. Therefore anyone can be an Incan Princess, or anything else that they strive to be.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

At benefit home concert I attended, the young promising contralto Makiko Narumi electrified the room when at one point she performed an animated, flirtatious vocal improvisation using only one vowel that shifted through the gamut of emotions. A curious and enchanted cat kept interrupting much to the amusement of Makiko. Makiko had flashing eyes, and a captivating star quality that was also had a strong visual component. It was a night I'd never forget and I knew right then I would have to paint her. I memorized her gesturing with one hand and occasionally leaning on the arm of the couch for support with the other. Little did anyone know then that her posture in her pose hinted at the illness in her foot that would soon take her life. The dress is similar to the lace collar and floral print she wore that magical night but with a nod to Ray Aghayan. In the background is the ever changing "ahhhh" of her playful vocalise.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

Both women in the portrait above share the same name: Louisa Fletcher. Toward the end of the dock the elder Louisa is dropping her "shabby old coat" - a metaphor of her journey moving forward in her most famous poem written during her divorce from Booth Tarkington:

"I wish that there were some wonderful place
Called the Land of Beginning Again,
Where all our mistakes, and all our heartaches,
And all of our poor selfish griefs
Could be dropped like a shabby old coat at the door,
And never be put on again."

She is seeking a new beginning as is her runaway niece seen in the foreground. The younger Louisa has just been expelled from a second school. This Bohemian Louisa is committing the then daring and shocking act of chopping off her hair and disguising herself as a man. It is 1920, she is about to steal a boat and ride the river to cast off the legacy of her name and wealthy family to live under the alias of Willie Sullivan. The building clouds symbolize the change and turbulence everyone faces when choosing a new course for their life to follow.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

Most awestruck travelers do not know its sad history as the path on which the Jews were taken out of Italy to concentration camps and the meeting place of Hitler and Mussolini. The painting evokes the beauty with haunting echoes of the dark purpose the place had in our recent past. Simultaneous day and night reveal a collage of then and now. Transport trains departing the Ghetto of Venice are on the same tracks as the historic Brennerbahn and a modern Italian FS passenger train climbing the pass above golden fields that become a Nazi Swastika. Flags of Poland, Italy, Austria and contemporary Germany fly over the mountains of the far reaching landscape. The charming houses of Brennero morph into Auschwitz as they pass thru the chimney smoke. Faces representing a few of the transported Jewish people appear in the smoke of the Brennerbahn. Onion domes cap the churches as you journey northward and impressive highway bridges and tunnels dominate the valley but mimic in form the horrible ovens.

The legacy of the Holocaust still influences our world. It was a profound event full of countless stories. Knowing them, sad though they are, enriches my life in the same way that the arts and education do.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

My formal education took me from Los Angeles to Rome, and back to Colorado to earn my MFA with life altering experiences in between. My portrait of Yma Sumac was featured on the cover of her biography. The bracelet she is seen wearing on the Peruvian stamp honoring the centenary of her birth now graces my own arm. I’ve authored some books and had numerous exhibitions of my paintings. The Library of Congress has preserved a digital archive of my work and career because of "its cultural and historic significance." My works and collaborations have been included in exhibitions at the Kinsey Institute and are in their permanent collection as well as belonging to the Museum of Boulder.

These images are intended to express the power and confidence that comes with a woman believing in herself. My figure paintings grow out of experience with life drawing. Some use a photo as a starting point but more often the pose grows out of the process: an arm moves, a body twists. The underlying drawing shifts as I paint. It's important to me to capture movement with big strokes of the brush, and create mood through color choices.

I am a professional graphic designer and visual journalist, with a "side hustle" as a painter.

These images are intended to express the power and confidence that comes with a woman believing in herself. My figure paintings grow out of experience with life drawing. Some use a photo as a starting point but more often the pose grows out of the process: an arm moves, a body twists. The underlying drawing shifts as I paint. It's important to me to capture movement with big strokes of the brush, and create mood through color choices.

I am a professional graphic designer and visual journalist, with a "side hustle" as a painter.

These images are intended to express the power and confidence that comes with a woman believing in herself. My figure paintings grow out of experience with life drawing. Some use a photo as a starting point but more often the pose grows out of the process: an arm moves, a body twists. The underlying drawing shifts as I paint. It's important to me to capture movement with big strokes of the brush, and create mood through color choices.

I am a professional graphic designer and visual journalist, with a "side hustle" as a painter.

It is important as much as possible to celebrate the unique strength, tenderness, wisdom, and compassion that women bring to our world, often in the face of overwhelming odds and barriers.

Disability Pride, LGBTQ+, and Multi-Racial Families Advocate In my art I work with wood, paint, graphite, ink, and collage to explore important stories from around the world as well as celebrate the beautiful things that make life worth living.

It is important as much as possible to celebrate the unique strength, tenderness, wisdom, and compassion that women bring to our world, often in the face of overwhelming odds and barriers.

Disability Pride, LGBTQ+, and Multi-Racial Families Advocate In my art I work with wood, paint, graphite, ink, and collage to explore important stories from around the world as well as celebrate the beautiful things that make life worth living.

It is important as much as possible to celebrate the unique strength, tenderness, wisdom, and compassion that women bring to our world, often in the face of overwhelming odds and barriers.

Disability Pride, LGBTQ+, and Multi-Racial Families Advocate In my art I work with wood, paint, graphite, ink, and collage to explore important stories from around the world as well as celebrate the beautiful things that make life worth living.

I just think that maybe water sprinklers would prefer to be used to make rainbows instead of putting out burning patrol cars…

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

This is the image I make when I wake up and the first album I put on is "Take Care" by Drake.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Maybe the wind is saving you from yourself. Maybe you actually don’t need that smoke right now.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

This is what my phone looks like when my friends call me. I lay on the ground with my feet on the wall turning the light switch on and off with my toe.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

I hope to be as stoic as a boat when I get older so I have begun making versions of myself as a boat.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Had this image burnt into my mind when I was leaving Portland very much on fire after living in my car for two weeks while painting a mural.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

There is an entire ecosystem existing underneath your table that you accidentally disrupted when you dropped your fork.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

I was always taught to respect snake eyes, if you roll six dice and you get a pair of snake eyes, you cannot split them up. They are like senior dogs - you must take the pair.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

I just wanted to celebrate Eugene's brows. Nothing more. Nothing less.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Meh.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Dog is very much okay and well taken care of. You just throw them on your neck backwards… like a dog scarf.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Made this image at the beginning of COVID when I was so lonely that my body was cold.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

I am tall and sometimes I feel people in the grocery store feel the same thing. I have to slow my pace by half and I am the “go to” guy for top shelf items.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

If my feet could fit a railroad track, I would have been a train. But they don’t and I make paintings.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

I made this sculpture, then I built the box, then I shipped it from Portugal to New Mexico, then I lost the parcel slip, it has never arrived. So here are two photographs because as a human I try to squeeze a little credit for myself whenever possible.

Mick Burson is an artist originally from Waco, Texas. Growing up in a train yard he developed a sense of non-permanence towards objects and paintings he made. He makes large paintings outdoors on the sides of buildings and smaller objects indoors derived from an impulsive need to touch surfaces and pick things up. The work contains joy, nostalgia, and overarching humanness. Lines are consistently crooked, surfaces rely on one another and objects are propped up as if they are a tired human. The work that is made is usually made in a transient state where the un-pack and the pack become an art form in and of itself.

He is currently in the middle of a 32-year-old project where he consistently wanders around while appearing to have a destination. The return is always back to Albuquerque. He received his MFA from University of New Mexico where the decision to attend was decided by flipping a coin in a Texas kitchen.

Using the smooth and bold pigmentation of Prisma colored pencils along with digital tools to create a mixed media experience, I draw to manifest goddess vibes, enjoy the beauty of vibrant flowers, celebrate the whimsy in fun creatures, and nerd out with fan art.

My art is a conduit to step into my power, to find my beauty, to celebrate my gifts, to embrace my whimsy, & to boldly take up space. I hope my art helps you find these things too.

For decades, I was afraid to take up space. I allowed others to define my value and worth. I could see everyone's hidden potential but failed to see the power inside of me. Not anymore.

My art exists to remind people that they are and always have been enough, even in their brokenness. There is beauty in the broken - it is how the light gets in.

My use of deep rich colors of Prisma color pencils combined with the unlimited creativity of digital and mixed media art reminds people of the graceful, beautiful, complicated power within.

I provide art for people who are looking to manifest their inner light, grow with purpose, and spark joy and playfulness in their lives.

Hi I'm Vicki Davis. I am an artist out of Boulder, CO. I am adorable, charming, and delightfully awkward. I am likely one of the most passionate and enthusiastic people you will ever meet. I have been drawing and painting for almost 15 years. I am now in the space to know and appreciate my value and worth. I am enough. Thank you for adding art and beauty to the world.

Using the smooth and bold pigmentation of Prisma colored pencils along with digital tools to create a mixed media experience, I draw to manifest goddess vibes, enjoy the beauty of vibrant flowers, celebrate the whimsy in fun creatures, and nerd out with fan art.

My art is a conduit to step into my power, to find my beauty, to celebrate my gifts, to embrace my whimsy, & to boldly take up space. I hope my art helps you find these things too.

For decades, I was afraid to take up space. I allowed others to define my value and worth. I could see everyone's hidden potential but failed to see the power inside of me. Not anymore.

My art exists to remind people that they are and always have been enough, even in their brokenness. There is beauty in the broken - it is how the light gets in.

My use of deep rich colors of Prisma color pencils combined with the unlimited creativity of digital and mixed media art reminds people of the graceful, beautiful, complicated power within.

I provide art for people who are looking to manifest their inner light, grow with purpose, and spark joy and playfulness in their lives.

Hi I'm Vicki Davis. I am an artist out of Boulder, CO. I am adorable, charming, and delightfully awkward. I am likely one of the most passionate and enthusiastic people you will ever meet. I have been drawing and painting for almost 15 years. I am now in the space to know and appreciate my value and worth. I am enough. Thank you for adding art and beauty to the world.

I’ve always been intrigued by pathways that offer an adventure. I often try the path not known just to see where it leads. Sometimes you look up and it beckons you in. So walk in with no expectations and let the story begin…

I live in the beautiful state of Colorado. As an artist and photographer, I am witness to the beauty around me and it inspires my work. Using my camera, I will photograph my composition and then play with it in several digital photo apps. I print them on canvas and sometimes acrylic paint is added to highlight areas of interest. I have been a professional artist since the early 80s and I have worked in over 13 different art mediums. Digital photo manipulation is my newest passion. What I like about photography is that I get to recognize the gift of the beauty in front of me, capture it and play with it! It’s all about capturing a moment in time. Sometimes you look up, and there it is!

I’ve always been intrigued by pathways that offer an adventure. I often try the path not known just to see where it leads. Sometimes you look up and it beckons you in. So walk in with no expectations and let the story begin…

I live in the beautiful state of Colorado. As an artist and photographer, I am witness to the beauty around me and it inspires my work. Using my camera, I will photograph my composition and then play with it in several digital photo apps. I print them on canvas and sometimes acrylic paint is added to highlight areas of interest. I have been a professional artist since the early 80s and I have worked in over 13 different art mediums. Digital photo manipulation is my newest passion. What I like about photography is that I get to recognize the gift of the beauty in front of me, capture it and play with it! It’s all about capturing a moment in time. Sometimes you look up, and there it is!

I’ve always been intrigued by pathways that offer an adventure. I often try the path not known just to see where it leads. Sometimes you look up and it beckons you in. So walk in with no expectations and let the story begin…

I live in the beautiful state of Colorado. As an artist and photographer, I am witness to the beauty around me and it inspires my work. Using my camera, I will photograph my composition and then play with it in several digital photo apps. I print them on canvas and sometimes acrylic paint is added to highlight areas of interest. I have been a professional artist since the early 80s and I have worked in over 13 different art mediums. Digital photo manipulation is my newest passion. What I like about photography is that I get to recognize the gift of the beauty in front of me, capture it and play with it! It’s all about capturing a moment in time. Sometimes you look up, and there it is!

During the Pandemic I concentrated on portraits of historically forgotten figures and marginalized people who were harmed by law enforcement or the legal system. During March 2021, for Women's History Month, I attempted to draw a significant woman in history every weekday.

I am forever pulled to the simplicity and complexity of the human figure. I attempt to capture a pose quickly and fluently. The figure is so personal, so close and I am so very aware of its image. I, therefore, feel that I must work within the confines of the figure again and again. I strive to draw the ideal figure and the perfect mood of the pose while conscientiously trying to create a well-designed work of art. Lately I've been consumed with just the drawing: lecturing on figure drawing, drawing in 2-4 workshops a week, choosing the colors, catching the gesture or movement, and exploiting the mood.

During the Pandemic I concentrated on portraits of historically forgotten figures and marginalized people who were harmed by law enforcement or the legal system. During March 2021, for Women's History Month, I attempted to draw a significant woman in history every weekday.

I am forever pulled to the simplicity and complexity of the human figure. I attempt to capture a pose quickly and fluently. The figure is so personal, so close and I am so very aware of its image. I, therefore, feel that I must work within the confines of the figure again and again. I strive to draw the ideal figure and the perfect mood of the pose while conscientiously trying to create a well-designed work of art. Lately I've been consumed with just the drawing: lecturing on figure drawing, drawing in 2-4 workshops a week, choosing the colors, catching the gesture or movement, and exploiting the mood.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title: We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title: We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My paintings reflect my feelings of the moment. I select my colors as to how I feel and then let the paint flow onto the canvas. I do not have expectations and do not plan or judge. Thus I never know what is going to appear but accept it as that is what was to happen that particular day. Each person sees something different in an abstract painting. It is important to honor this. A title can lead the viewer to see a certain image in a certain way, and once seen it cannot be forgotten. By leaving a work of art “untitled,” it becomes possible for viewers to create their own titles and to see the painting uniquely, thus making a personal connection.

Why I don't title:
We live in a world of technology where we have learned to want answers immediately. In contrast to this instant gratification, it is possible for untitled art to be observed and contemplated at a slower pace and provide a greater and often multiple meanings.

(Betsy Cole was also featured in our “Journeys and Pathways” exhibit.) One of the most fascinating discoveries I’ve made as an artist is realizing just how much needed to be unlearned. To be sure, one must grapple with the history and techniques of art, but the real challenge for me has been undoing my rigid ways of seeing the world through fear and judgment and rediscovering long-lost joy.

That may sound rather cliché, for in art (as in life) each of us strives for a bit of originality, but for me, it has been a wonder, perhaps an epiphany, to discover at the innermost part of myself there wasn't emptiness or dread, but a genuine curiosity that soon had me eager to travel and explore. I began to take risks — and enjoy them.

It was in Bali where I began to understand what this meant for my art and life. I gained confidence and discovered that art is really play. Painting need not necessarily depict a “thing,” but can actually become a “dance of color” that expresses how I feel.

I once saw a de Kooning exhibit of his most famous paintings and was most drawn to the final simplistic pieces that he created after the onset of Alzheimer’s. I was completely mesmerized because these loose lines of bright color were joyous and free, as if released from all influences, expectations and judgments. I wanted to paint from this place.

Art heals, and it does so by bringing the inside out. It’s certainly no great insight to say that life isn’t always easy — but art can bring light and joy and color to the darkness, the pain, the fear. As I began to untangle my life and view it as a journey, I allowed my love of bright colors to be expressed and to acquire a new healing purpose.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

(Framed)

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

Mixed media piece of a Sioux Man with the map of Montana. Digital, charcoal, pen, oil, encaustic and spray paint. Back framed and ready to hang!

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

Mixed media painting. Digital, oil spray paint, paper and encaustic.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

My work focuses on the human story.

Since I was a child, I have been interested in themes of human migration, adaptation and cultural preservation. I earned a Bachelor’s degree from the University of California at Berkeley studying ancient history and art history, and continue to explore characters who bring an interesting back story, or use my imagination to bring their historical past to light.

My mixed media work begins with research into late 19th and mid-20th century black and white photographs. I typically paint from those photographs using charcoal, oil, and encaustic, or alter them digitally before painting onto them with the same materials. This results in a body of work that is intricate and highly layered due to the multitude of steps and mediums I use. This process and mixture of mediums speak to the complexity of human nature and ontology as well as the many layers of the human story. I use symbolism in my work to tell stories or illustrate how connected we are to the lives of others or to show how little we know about the truth of others, particularly in the digital age.​

My deepest hope is that I take my work to a level that will reach viewers at their subliminal core, thereby bringing them into that innate place of understanding the whole of humanity possibly without knowing exactly why the work creates that experience for them.

A couple stands, intimate and exposed, the world they thought they were building together broken. This piece won Best of Show in Viral Hope, which exhibited in Bitfactory Gallery in Denver, from August 20 to September 9, 2021.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

(Limited edition print of original oil and acrylic on canvas painting.) One day several years ago I was strolling down the west bank of the Willamette River in Portland, killing some time, and I happened on dragonboats racing. Of course I took out my phone - when I was looking at the pictures later, I realized the two lead boats in one heat both reached their flags at the same time.

This study of movement and color tries to capture the event.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

(Limited edition print of original oil on canvas painting.) Layers of ultramarine brighten this seemingly unperturbed spherule.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

(Limited edition print of original oil and acrylic on canvas painting.) One day several years ago I was strolling down the west bank of the Willamette River in Portland, killing some time, and I happened on dragonboats racing. Of course I took out my phone - when I was looking at the pictures later, I realized the two lead boats in one heat both reached their flags at the same time.

This study of movement and color tries to capture the event.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

(Limited edition matted print of original oil on canvas painting.) A couple stands, intimate and exposed, the world they thought they were building together broken. This piece won Best of Show in Viral Hope, which exhibited in Bitfactory Gallery in Denver, from August 20 to September 9, 2021.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

Limited edition matted print of original oil on canvas board painting.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

(Limited edition prints of original oil and acrylic on wood painting diptych.) The Riot began as an exploration trying to capture the ephemeral qualities of tear gas in paint, but it quickly escalated. Conceived at a time not only of polarized politics here in the US but also one of unrest manifesting around the world: from Venezuela to France, Iran to Hong Kong; seemingly everywhere you look over the past decade. The Riot is not an exhortation to violence; it takes stock of an empirical fact: the youth are angry, and everywhere met with force.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

Saturated color photo reminiscent of reeds on water.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

One day several years ago I was strolling down the west bank of the Willamette River in Portland, killing some time, and I happened on dragonboats racing. Of course I took out my phone - when I was looking at the pictures later, I realized the two lead boats in one heat both reached their flags at the same time.

This study of movement and color tries to capture the event.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

You know those overcast days you are wandering around a landfill, watching the dozers?

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

A couple stands, intimate and exposed, the world they thought they were building together broken. This piece won Best of Show in Viral Hope, which exhibited in Bitfactory Gallery in Denver, from August 20 to September 9, 2021.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

Layers of ultramarine brighten this seemingly unperturbed spherule.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

The Riot began as an exploration trying to capture the ephemeral qualities of tear gas in paint, but it quickly escalated. Conceived at a time not only of polarized politics here in the US but also one of unrest manifesting around the world: from Venezuela to France, Iran to Hong Kong; seemingly everywhere you look over the past decade. The Riot is not an exhortation to violence; it takes stock of an empirical fact: the youth are angry, and everywhere met with force.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

The pandemic has had a dark influence on my recent work. This painting was motivated by the pandemic and events that happened throughout 2020. It shows a collage of interpretive versions of real stories, interspersed with ghosts and inspired by historic plague paintings, such as the "Chronicles of Gilles Li Muisis" (depicted bottom-middle).

The backdrop is reminiscent of [Denver's] Santa Fe Drive, and forces global events into a local setting. It tries to deny viewers their natural human urge to compartmentalize things as overwhelming as this thing we're all going through.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

One day several years ago I was strolling down the west bank of the Willamette River in Portland, killing some time, and I happened on dragonboats racing. Of course I took out my phone - when I was looking at the pictures later, I realized the two lead boats in one heat both reached their flags at the same time.

This study of movement and color tries to capture the event.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

Layers of ultramarine brighten this seemingly unperturbed spherule.

I am a Denver-based painter who is largely self taught. I always loved drawing and took art classes all through high school, but my interests branched out. After college I picked up a lot of graphic arts jobs (including design, printing, and framing) before I picked up a paintbrush again and fell in love with oil painting. I like to play in various mediums and push my own boundaries.

I often work at the confluence of information and imagery. I seek beauty in things people might ordinarily look away from. A common theme is the juxtaposition of the individual with others and their relationships with the changing world around them.

I am so grateful for the many women who made sacrifices for women’s rights. Here are just three of the countless heroines who have helped fight for the fundamental rights of women in our country. Ruth Bader Ginsburg who sat in our Supreme Court for many years speaking up for sexual equality, Bella Abzug, who led the women’s movement in the 1970’s and Ida B. Wells who spoke up for women’s right to vote as well as brought to light the mistreatment of blacks in our country.

As a society, we have much to talk about concerning women’s rights and equality. As an artist, I believe my role is to make observations and reflect them back to the viewer. With this series of encaustic portraits, I aim to stimulate thought and begin conversations about how we can make an even better nation. My artwork focuses on my experience as a woman, both in society and within my own skin. My creative process is central to my artwork. It starts when I become curious about a concept. Then I reflect or investigate the idea, and finally I take a creative action. The concept of the artwork, and the discovery of its meaning, is often more important to me than the media itself. And thus, I feel free to switch media to better express my meaning.

Recently I have been painting with wax, both encaustic and cold wax with oil paint. I love the experience of working with wax, both the feel and smell of it. I have discovered many layers of meaning hidden within this media. Wax is sensual and fragile, yet still durable, like my own skin. Like the experience of me as a woman.

My process of curiosity to creative action is evident within my series of suffrage portraits. I became curious about my own history as a woman. Then, I began to investigate the individual leaders involved in woman’s suffrage. From this research I created a series of almost fifty portraits and twenty assemblage pieces telling the story of women’s suffrage. Sometimes my creative action manifests with the actual artwork, but other times it comes in the form of social activism such as registering voters.

I am so grateful for the many women who made sacrifices for women’s rights. Here are just three of the countless heroines who have helped fight for the fundamental rights of women in our country. Ruth Bader Ginsburg who sat in our Supreme Court for many years speaking up for sexual equality, Bella Abzug, who led the women’s movement in the 1970’s and Ida B. Wells who spoke up for women’s right to vote as well as brought to light the mistreatment of blacks in our country.

As a society, we have much to talk about concerning women’s rights and equality. As an artist, I believe my role is to make observations and reflect them back to the viewer. With this series of encaustic portraits, I aim to stimulate thought and begin conversations about how we can make an even better nation. My artwork focuses on my experience as a woman, both in society and within my own skin. My creative process is central to my artwork. It starts when I become curious about a concept. Then I reflect or investigate the idea, and finally I take a creative action. The concept of the artwork, and the discovery of its meaning, is often more important to me than the media itself. And thus, I feel free to switch media to better express my meaning.

Recently I have been painting with wax, both encaustic and cold wax with oil paint. I love the experience of working with wax, both the feel and smell of it. I have discovered many layers of meaning hidden within this media. Wax is sensual and fragile, yet still durable, like my own skin. Like the experience of me as a woman.

My process of curiosity to creative action is evident within my series of suffrage portraits. I became curious about my own history as a woman. Then, I began to investigate the individual leaders involved in woman’s suffrage. From this research I created a series of almost fifty portraits and twenty assemblage pieces telling the story of women’s suffrage. Sometimes my creative action manifests with the actual artwork, but other times it comes in the form of social activism such as registering voters.

I am so grateful for the many women who made sacrifices for women’s rights. Here are just three of the countless heroines who have helped fight for the fundamental rights of women in our country. Ruth Bader Ginsburg who sat in our Supreme Court for many years speaking up for sexual equality, Bella Abzug, who led the women’s movement in the 1970’s and Ida B. Wells who spoke up for women’s right to vote as well as brought to light the mistreatment of blacks in our country.

As a society, we have much to talk about concerning women’s rights and equality. As an artist, I believe my role is to make observations and reflect them back to the viewer. With this series of encaustic portraits, I aim to stimulate thought and begin conversations about how we can make an even better nation. My artwork focuses on my experience as a woman, both in society and within my own skin. My creative process is central to my artwork. It starts when I become curious about a concept. Then I reflect or investigate the idea, and finally I take a creative action. The concept of the artwork, and the discovery of its meaning, is often more important to me than the media itself. And thus, I feel free to switch media to better express my meaning.

Recently I have been painting with wax, both encaustic and cold wax with oil paint. I love the experience of working with wax, both the feel and smell of it. I have discovered many layers of meaning hidden within this media. Wax is sensual and fragile, yet still durable, like my own skin. Like the experience of me as a woman.

My process of curiosity to creative action is evident within my series of suffrage portraits. I became curious about my own history as a woman. Then, I began to investigate the individual leaders involved in woman’s suffrage. From this research I created a series of almost fifty portraits and twenty assemblage pieces telling the story of women’s suffrage. Sometimes my creative action manifests with the actual artwork, but other times it comes in the form of social activism such as registering voters.

Linen, cotton, organa, acrylic paint, dyes. Direct application, marbling, wax resist, deconstructed screen printing; machine pieced and quilted.

I have been making fiber art for 35 years and have recently switched to oil painting. In dealing with the transition from one medium to another, I reviewed several different triptychs by laying them out, side-by-side and they began communicating with each other as if they were going down memory lane with me. I realized I could cut back certain pieces and add to others to create one long last salute to my time with fiber art.

Jo Fitsell has taught art and developed integrated art curriculum for all ages, from preschool to high school (and their teachers). Rewarding collaborations with young people have included installations in schools, offices, theatre performances, and hospitals.

She has worked for Think 360, Denver Public Schools, the Art Students League, Art Street, Denver Public Library’s Plaza Program, the Denver Art Museum and the Denver Women’s Correction Facility. Her art has been exhibited nationally and internationally and can be found in medical offices, public buildings and homes in Colorado.

She is one of the founders of the vital and exciting organization, Front Range Contemporary Quilters. Interweave Press has published her DVD on Surface Design. Jo contributed to The Denver Art Museum’s Thread Studio exhibit.

Her art leads her to ask questions of the workings of “Nature” as teacher and is interested in the profoundly beautiful and yet broken relationship humans have with the natural world. She works with fabric, paper and stitch creating art quilts, collage and paintings.

Bio Born in Uruguay, Elisa grew up immersed in the sounds of Tango and other Latin American music. At an early age, Elisa demonstrated an affinity with the arts, from singing and dancing to drawing on her bedroom walls. At the age of eight, Elisa moved to Boulder, CO with her family. Her interest in different cultures as well as discovering her own roots led her to study anthropology at the University of Colorado at Boulder. Thanks to the artistic touch of her grandparents and her mother, Elisa learned different creative techniques and has delved into pencil portraits, acrylic and oil works, mixed mediums, and her most recent passion: watercolors. Musically, Elisa is a singer and guitar player focusing on Latin American folk music. She has performed original music with Pan-American band, NuMundo, as well as played with different bands while living in Singapore. Currently she plays with her percussionist husband, Leo Munoz Corona, and as a trio with Venezuelan pianist Victor Mestas.

Artist Statement Since I was young, my family has instilled a passion for creativity especially around art. My work has included pencil portraits, acrylics and oils, but most recently watercolors. In my square series, I play with different effects of watercolors and create stunning and strong contrasts using color, soft and hard lines, filled and empty space. I guide the paint across the paper with intent, but ultimately watercolors have a life of their own and the effects can be mesmerizing. I'm always hesitant to name abstract pieces because it is giving my meaning or one meaning to something that could have infinite meanings depending on the viewer.

I've fallen in love with Mexico and it's music, art, culture, so this has also influenced my artwork. The shadowbox pieces are tributes to Mexican culture.

Bio Born in Uruguay, Elisa grew up immersed in the sounds of Tango and other Latin American music. At an early age, Elisa demonstrated an affinity with the arts, from singing and dancing to drawing on her bedroom walls. At the age of eight, Elisa moved to Boulder, CO with her family. Her interest in different cultures as well as discovering her own roots led her to study anthropology at the University of Colorado at Boulder. Thanks to the artistic touch of her grandparents and her mother, Elisa learned different creative techniques and has delved into pencil portraits, acrylic and oil works, mixed mediums, and her most recent passion: watercolors. Musically, Elisa is a singer and guitar player focusing on Latin American folk music. She has performed original music with Pan-American band, NuMundo, as well as played with different bands while living in Singapore. Currently she plays with her percussionist husband, Leo Munoz Corona, and as a trio with Venezuelan pianist Victor Mestas.

Artist Statement Since I was young, my family has instilled a passion for creativity especially around art. My work has included pencil portraits, acrylics and oils, but most recently watercolors. In my square series, I play with different effects of watercolors and create stunning and strong contrasts using color, soft and hard lines, filled and empty space. I guide the paint across the paper with intent, but ultimately watercolors have a life of their own and the effects can be mesmerizing. I'm always hesitant to name abstract pieces because it is giving my meaning or one meaning to something that could have infinite meanings depending on the viewer.

I've fallen in love with Mexico and it's music, art, culture, so this has also influenced my artwork. The shadowbox pieces are tributes to Mexican culture.

Bio Born in Uruguay, Elisa grew up immersed in the sounds of Tango and other Latin American music. At an early age, Elisa demonstrated an affinity with the arts, from singing and dancing to drawing on her bedroom walls. At the age of eight, Elisa moved to Boulder, CO with her family. Her interest in different cultures as well as discovering her own roots led her to study anthropology at the University of Colorado at Boulder. Thanks to the artistic touch of her grandparents and her mother, Elisa learned different creative techniques and has delved into pencil portraits, acrylic and oil works, mixed mediums, and her most recent passion: watercolors. Musically, Elisa is a singer and guitar player focusing on Latin American folk music. She has performed original music with Pan-American band, NuMundo, as well as played with different bands while living in Singapore. Currently she plays with her percussionist husband, Leo Munoz Corona, and as a trio with Venezuelan pianist Victor Mestas.

Artist Statement Since I was young, my family has instilled a passion for creativity especially around art. My work has included pencil portraits, acrylics and oils, but most recently watercolors. In my square series, I play with different effects of watercolors and create stunning and strong contrasts using color, soft and hard lines, filled and empty space. I guide the paint across the paper with intent, but ultimately watercolors have a life of their own and the effects can be mesmerizing. I'm always hesitant to name abstract pieces because it is giving my meaning or one meaning to something that could have infinite meanings depending on the viewer.

I've fallen in love with Mexico and it's music, art, culture, so this has also influenced my artwork. The shadowbox pieces are tributes to Mexican culture.

Bio Born in Uruguay, Elisa grew up immersed in the sounds of Tango and other Latin American music. At an early age, Elisa demonstrated an affinity with the arts, from singing and dancing to drawing on her bedroom walls. At the age of eight, Elisa moved to Boulder, CO with her family. Her interest in different cultures as well as discovering her own roots led her to study anthropology at the University of Colorado at Boulder. Thanks to the artistic touch of her grandparents and her mother, Elisa learned different creative techniques and has delved into pencil portraits, acrylic and oil works, mixed mediums, and her most recent passion: watercolors. Musically, Elisa is a singer and guitar player focusing on Latin American folk music. She has performed original music with Pan-American band, NuMundo, as well as played with different bands while living in Singapore. Currently she plays with her percussionist husband, Leo Munoz Corona, and as a trio with Venezuelan pianist Victor Mestas.

Artist Statement Since I was young, my family has instilled a passion for creativity especially around art. My work has included pencil portraits, acrylics and oils, but most recently watercolors. In my square series, I play with different effects of watercolors and create stunning and strong contrasts using color, soft and hard lines, filled and empty space. I guide the paint across the paper with intent, but ultimately watercolors have a life of their own and the effects can be mesmerizing. I'm always hesitant to name abstract pieces because it is giving my meaning or one meaning to something that could have infinite meanings depending on the viewer.

I've fallen in love with Mexico and it's music, art, culture, so this has also influenced my artwork. The shadowbox pieces are tributes to Mexican culture.

Bio Born in Uruguay, Elisa grew up immersed in the sounds of Tango and other Latin American music. At an early age, Elisa demonstrated an affinity with the arts, from singing and dancing to drawing on her bedroom walls. At the age of eight, Elisa moved to Boulder, CO with her family. Her interest in different cultures as well as discovering her own roots led her to study anthropology at the University of Colorado at Boulder. Thanks to the artistic touch of her grandparents and her mother, Elisa learned different creative techniques and has delved into pencil portraits, acrylic and oil works, mixed mediums, and her most recent passion: watercolors. Musically, Elisa is a singer and guitar player focusing on Latin American folk music. She has performed original music with Pan-American band, NuMundo, as well as played with different bands while living in Singapore. Currently she plays with her percussionist husband, Leo Munoz Corona, and as a trio with Venezuelan pianist Victor Mestas.

Artist Statement Since I was young, my family has instilled a passion for creativity especially around art. My work has included pencil portraits, acrylics and oils, but most recently watercolors. In my square series, I play with different effects of watercolors and create stunning and strong contrasts using color, soft and hard lines, filled and empty space. I guide the paint across the paper with intent, but ultimately watercolors have a life of their own and the effects can be mesmerizing. I'm always hesitant to name abstract pieces because it is giving my meaning or one meaning to something that could have infinite meanings depending on the viewer.

I've fallen in love with Mexico and it's music, art, culture, so this has also influenced my artwork. The shadowbox pieces are tributes to Mexican culture.

Brazilian-American visual artist, Luci Geller’s artistic pursuit began with her love for interior design. Finding the optimal orientation of furniture was a childhood fascination that continues to present day. She calls it her obsession. She has always enjoyed working with sophisticated colors, paying attention to lines and balance.

This constant arrangement of color and shape is infused in her artwork. For instance “Garment 1” is an assembly of suggestive clothing patterns, used in a themed idea, painted in oil in vivid colors.

She began working in handmade paper collage first as an interior design solution to cover up an unappealing wood panel wall. She installed on the wall a removable foam core with beautiful handmade papers, making it much more interesting.

Working with shape, color and composition keeps her art fresh and inviting. Her playful visions are influenced by the brilliant colors of Brazilian culture as well as her love for interior design.

Print of original oil on canvas painting. Fuji Crystal Archive Photographic Paper mounted on recycled wood.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

(18” x 24” without frame.)

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

Repeating patterns formed by the momentum of the ruler.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

My mother, artist Luci Geller, always collected vintage items for antique stores and estate sales. One day in 2006, I went fabric shopping with her. I saw these oversized Christmas Ornaments and decided to make a painting of them. They are glass and silvered on the inside. I accompanied them with a chartreuse lime green Thai silk. This painting is a still life homage to my mother and that heartwarming time we spent together shopping for fun clothing and home accessories.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

I'm Sara "Sassa" Geller, co-owner (with my partner Christopher Malone) and curator of SassaBird Fine Art. As an artist, professional singer, professional model and art instructor, SassaBird Fine Art is my boldest undertaking to date. We opened SassaBird Fine Art when I decided to dive headfirst into the center of the art world in the midst of the 2020 pandemic. After losing my job as an art instructor to adults with Alzheimer's and dementia, due to COVID, I made the leap. And we are am certainly glad we did, as I believe we have created some special places in the heart of Denver's Santa Fe Art District.

As for my art background, I have been in love with art since I was a child. I graduated with a BA in Art History from Clark University in Worcester, Massachusetts. With my paintings, I focus mainly on landscapes and portraits. I look for the magic that can be discovered in landscapes and aim to capture what is most awe inspiring. In my painting "River Bed in Motion", I was taken back by the sheer face of a rock in a dry river bed, sensing and feeling its fluid dynamics. For my portraiture, I capture the quintessence of the person’s very being. I believe that capturing the moment where the subject is most themselves is the key.

The surrealists have been one of my greatest influences. Even the name of my band, "Paranoid Image", was inspired by Salvador Dali’s surrealist term “The Paranoid Critical Method”.

I have expanded upon my work in a surrealist direction and aim to create a sense of wonderment and awe with my work. In a recent work, dancing bunny rabbits levitate in an abstract expressionist realm. “Dragon Pie” has a touch of the surreal as well with a small dragon landing on a pie.

I aim to create narrative pieces that tell a story. This is a motif imbued in both the poetry of the lyrics I write for Paranoid Image as well as my paintings. A landscape of a riverbed with years of weathering watershed carving out a groove through sheer rock were you can feel the movement in the very trees, for example. Or in my portraiture, such as my painting “Lauren” - a painting of a dance student dancing with flowers springing from her movement.

I grew up in Washington, DC until moving to Boulder, Colorado in 2001. My mother, Luci Geller, is Brazilian and I have always found inspiration in the vibrant colors of Brazil.

During college, I had the great fortune of curating a show for The Worcester Art Museum. This experience along with visiting my professor’s co-curation at the Boston Fine Arts Museum really sparked my love of curation. One of the highlights of my art career was working in art restoration where my specialty was restoring works of art on canvas and board (mostly paintings). Working so intimately with paintings using art conservation practices often informs my own painting methods.

Woman are often so busy with life's expectations that they don't get the time to do much self reflection. It would be wonderful if we were all able to find a moment of quiet on a daily basis to reflect on our strengths and marvel at how incredible we all are.

Jeanne Gray is a self taught artist living in Colorado for over thirty years. She dabbles in mixed media by exploring the combinations of fiber and cloth, paint and paste, threads and embellishments. Her work table faces nature which influences her on many levels to feed her creativity.

This was the very first mask the artist ever made. It was originally a tester for another mask concept but turned out so well that it became its own mask. 6/10 visibility.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

This mask was inspired by Shibari artist and rigger, Hajime Kinoko, and his signature style of red rope webs. Mask is flexible and can stay on the head with or without the ribbon strap. Great visibility.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

After I discovered that crocheting masks wasn’t that hard after making the Flower-Head Mask, I decided to make another one. This mask came about because buttons were on sale and because I love the movie Coraline. Vision is questionable at best in this mask.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

I wanted to make something with long hair because it would be a first. It turns out that long hair is a pain in the ass, so I spent much of the creative process cursing myself and the mask. All the same, it turned out exactly as frightening as intended! Visibility is a solid 3/10.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

This mask came about because I wondered if I was capable of crocheting a mask. It turns out that the answer is yes. This mask was intended to be bizarre, weird, and ill-fitting for the express purpose of being a fun prop to pose nude in. Because there is something fun about a nude female body and a wacky mask. Visibility is terrible in there, but it is very warm.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

This faceless moss mask came into existence because fake moss was on sale at the craft store. And because the artist has a hot glue gun and no self control. Must be transported inside a bag because no matter how many times it is clear coated, it still sheds everywhere. Visibility is 2/10, but it smells very earthy in there.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

This mask is slightly inspired by The Glow Cloud in the podcast Welcome to Night Vale (“All Hail the Glow Cloud”). It requires 4 AA batteries and has zero visibility. The base is made from lace that was starched and put on a form to give it a head-like shape.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

Description: This veil of pearls happened because the artist was bored one afternoon and had some leftover pearls. Mask is fluid, adjustable, and has phenomenal visibility.

I wish I could say that what I do has deep and profound meaning, but it does not. I am merely a woman who is doing her best to not be bored. I am equipped with a hot glue gun, a pint of modge podge, a box of wayward crafting materials, and an addiction to Pinterest. The pieces (usually masks) that come out of that combination reflect an answer to the statement: “I bet I could do that.”

My work is primarily about the process, but the results do come in useful. Most pieces are made with the intention of posing with them for photography - usually nude.

When I am not naked and wearing a funky mask, I can be found doing shibari self-suspension or tying rope art on others.

My inspiration comes primarily from the materials that are closest within reach, though I most often use yarn or chain as a medium. I also have a B.A. in History and Classics from Smith College, which I occasionally use to give fun names to the masks.

Social Media @ahnagreenie

Ahna Green was featured in our Female Alchemy show June 5 - September 5, 2021.

Women are rare blooms - flowering under the attention of care, abiding in resiliency in times of drought, and stirring hope of the spring to come.

Alexandria Hamm is a queer disabled mixed media artist specializing in abstract acrylic painting and collage. Alex desires to create work that inspires others to embrace, celebrate, and connect with themselves and one another, especially amid challenges. Her work translates the experiences of questioning identity and living with chronic illness while exploring themes of community, healing, and the joy of journeying.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original framed photograph of model Ahna Green wearing her self-made mask.

Jerrie Hurd has been photographing and showing fine art nudes for fifteen years. A published novelist (Pocket Books) who turned to photography later in life, she now considers herself as much a photographer as a writer. She’s listed in Who’s Who in America as both.

She had shown in many galleries including Cultural Center of Cape Cod; Barrett Art Center in Poughkeepsie, NY; Providence Center of Photographic Arts in Providence, RI where she won 2nd best in show; Center for Fine Art Photography in Fort Collins, Griffin Museum of Photography in Winchester, MA (show juried by Karin Rosenthal); Peter Miller Fine Art Gallery in Providence, RI; Orange County Center for Contemporary Arts in Orange County CA, and Greg Moon Gallery in Taos, NM.

She had a one-woman show at the Dairy Center for the Arts in Boulder, CO. and has repeatedly shown her work at Nude Nite events in both Orlando and Tampa Florida.

She grew up on a sheep ranch in Idaho, graduated from University of Colorado and got a master's degree from University of Oregon.

She lives in Boulder, CO with her husband and two dogs.

Jerrie Hurd was featured in our Female Alchemy show June 5 - September 5, 2021.

Original fr