SassaBird Fine Art Store - Shop Online

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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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 unpack and the pack become an art form in and of itself.

He is currently in the middle of a 33-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.

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.

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.

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.

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 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.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

The Greek Orthodox Cathedral of Denver. E. Alameda Ave. and S. Dahlia St.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

Central Presbyterian Church. E 17th Ave. and Sherman St.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

Trinity United Methodist Church. 18th St & Broadway.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

This series is, in part, a celebration of the architecture of the past that formed and shaped Denver as it is known today. As I produced more and more pieces and became intimately familiar with these places I was trying to capture, I kept returning to the question of, “How do people generally view these places?” For some, these places represent beauty and serve as reminders of their own spirituality and the temporal nature of life. For others, these structures truly are remnants. They may represent nothing more than baggage with the Church or the battle with one’s own beliefs at large.

Still, these spaces are often thriving and vibrant, providing hope within our neighborhoods and communities. Wherever people fall on this spectrum, it is important to at least recognize these structures for their role in shaping Denver’s identity. I’ve also included some pieces in this show that speak less about Denver's identity, and more about my own. This newer work is based less on architecture and more on figurative scenes that are intended to be reminiscent of the Old Masters. The scenes are often humorously juxtaposed with elements and situations found in everyday life.

Matthew Lay graduated from Fort Lewis College with a Bachelor's degree in Art. He was born and raised in the beautiful state of Colorado and grew up in the Denver Metro area. His curiosity and fascination in architecture originally stemmed from seeing some of the incredible Gothic cathedrals in Europe. This fascination has developed and transformed his work, bringing him to focus on architecture found in Colorado.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

"My work is a journal, a reaction of the life experience. Attempting to visualize the inner world, I let the instinct of exploration guide my every move. A meditation, a raw expression, I am always in search of higher meaning through the brush."

Exploring topics of life and death, Matthew Lindstrom explores the sensuous life experience. An exploration of reality, consciousness, and meaning. Raised in Colorado, he studied painting at UCD Denver and completed the BFA program in the Spring of 2016. Lindstrom expresses universal concerns by embodying the moment and encapsulating the emotive truths the we share. Truth is depicted into a tangible visualization, and emotion is the language that speaks it. Drawing inspiration from a myriad of experiences, he creates an individualistic style that is eccentric, yet honest. Buddhist philosophies, impressionism, mountain sides, melodies, poetry, mysticism. Depicting the eternal dance between good and bad, he poses inquiries of deeper meaning. An abstract artist at heart, his style has traversed many grounds and continues to expand through space and time.

This is a Maquette for a large-scale sculpture. At this scale, it may resemble an eroded river stone or perhaps bone, but at a monumental scale, this will resemble a boulder or desert crag shaped by millions of years of erosion. To me, it's an amalgam of seaside cliffs, river beds, and desserts from around the world. If ever re-created at a large scale, the surroundings will be heavily landscaped to create a place of meditative solitude within a world of chaos, industry, and commerce. A place of solitude within a world grasping to remember what wilderness is.

The color, at least on this scale is my way of mocking people's fixation with the superficial. So in recognition of people's tendency to gravitate toward the bright and shiny over substance, I have created a representation of nature in candy-coated blue.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

An ecotone is a transition zone between two ecosystems or ecological communities and shows characteristics of both. This piece embodies that idea by bringing together recurring patterns from different elements in nature.

This sculpture should probably be considered part of my Eternal Recurrence series and in fact, had it been cast in bronze it would have been. Instead, I chose to diverge from the cold steel or bronze, fluid-like surface seen in that series and went with a hand (literally hand, not brush) painted surface that resembles water or sky and creates a softer feel. Inspired by coral, bone, and other found objects, this is seen as a meditative piece, much like a scholar's stone would be, but with more motion and directionality that play off of the room as a whole.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

The title of this sculpture describes the remembering of things from a previous existence. A fitting title considering how this was created.

Anamnesis was created using a process where I sculpt a form from ceramic and then destroy it after making a mold. No one but me sees the original form, but all pieces that follow are highly altered variations of it. Almost like shadows of what existed before.

The mold is used as a starting point for a new incarnation of the destroyed ceramic sculpture. In this case, the original form was cast twice from wax and then combined into one mass from which I began the process of carving away and creating a new sculpture that holds only a faint resemblance to the original ceramic form. Once finished, the wax is then cast in bronze using the lost wax method. No mold is taken of the new form, and though more pieces are made with the same mold using this method, each sculpture in this series is a unique piece and can't be recreated.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

Gravitropism is the process where plant roots grow towards gravity and new foliage grows upward.

In the presentation of this sculpture, the ambiguous organic form is held by a chain creating tension between the cold industrial object and the soft abstract form that seems to have been pulled from the Earth yet still makes a fruitless attempt to reach for it. Thus illustrating the tragedy of species loss and a global environmental crisis.

Gravitropism was created from a traditional Korean paper called Hanji which is made from mulberry trees. While living in Korea for 5 years, I was fascinated with the traditional crafts using this material.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

This work was created in a flow state where I sculpted based on momentary intuition without stopping to reassess and refine the form as I usually do. The result is something I'm extremely happy with as it taps into some highly organic, raw formations that I don't often see in my work. The materials were also a detour from my standards. This form was created using studio waste materials some of which are very dynamic and aren't as predictable as more traditional ones adding to the organic nature of the piece. The angular sections created by cardboard resemble crystalline or inorganic structures in nature, while the organic drips represent the growth and cycles of life.

I find it interesting to represent nature with materials as cold and lifeless as bronze and cardboard. To me, it's a subtle way to illustrate the tension between human industry and the environment while only showing forms and patterns that are associated with nature. There's a great irony in using materials that were originally ripped from the earth at great cost to the environment and using them to represent that exact same environment from which they were pulled. It's a poetic way to illustrate the insanity and absurdity of humanity's disconnect and lack of accountability regarding our planet.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

Epochs was one of my early bronze created using a method of casting known as sand casting. This unique bronze is based on recurring patterns in nature and draws from both microscopic imagery, and unique geologic and botanic patterns that I saw during my time living in Korea.

Originally brown, Epochs was cut in half and displayed as two separate pieces with the hollow interiors sculpted and flocked for my 2016 solo exhibition "Naked Memories". In 2019 it was finally welded back together, reworked to improve the overall form and the color was changed to blue.

Bio Jason Mehl is known for his sculptures and for being the designer of the world's largest neurodegenerative research award. (The Rainwater Prize).

Informed by recurring patterns in nature, Mehl’s work is self-referential in that his sculptures are realized by reinterpreting an original form numerous times. Each iteration references the previous rather than pulling directly from the original inspiration, ultimately making the completed work a non-literal interpretation of an idea that has been reworked to the point of abstraction.

Mehl primarily incorporates traditional sculpting methods with the occasional use of new technology, such as 3D scanning and printing, in his work. His process is one of continuous editing and recontextualizing of forms, layering various techniques and changing mediums to distill them down to their fundamental elements.

Also holding a degree in environmental science, Mehl often confronts the Anthropocene. He has had numerous domestic and international solo exhibitions, been Artist in Residence at both Seoul Artspace (Mullae) in the Republic of Korea and at the Fairmont Hotel in Dallas, TX, where he later served as residency director. He’s originally from Dallas and has had studios in DFW, South Korea, Portland, OR and Aspen. He currently lives in Colorado.

Artist's Statement My current body of work has been built by appropriating and reinterpreting the same forms based on the intuitive geometry of nature. Each new work is a reflection of the last.

Over time, memories become fragmented, broken down, and reconstructed. Though the root is the same, the structure is constantly being re-translated and restructured each time we remember an event. Memories are built upon memories, and the further we get from an actual event, the more divergent they become. This doesn't make them any less beautiful, only less literal. Focus and perspectives shift from one piece to the next.

Using the language of erosion, decay, growth processes and the passage of time, each unique work is meant to recreate a moment of discovery; something of interest that grabs our attention, something familiar, but can't be defined.

These represent found objects tied to a place, event, or moment in time. Each unique sculpture is the reinterpretation of an original that represents a past experience as if it's been carried from another place -- a remnant or reminder of the past. Instead of displaying these originals, only representations of them are displayed; fragmented, rebuilt, and retold over time, just as memories have been.

Limited edition print of original oil painting.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

(Matted print.) My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

(Matted print.) My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

My paintings belonging to the series “Unnatural” are abstraction based on nature. I start with photos I’ve either taken myself or stolen from friends on social media, then manipulate them with whatever software I’m currently obsessed with – recently GANs (AI) found in RunwayML – but mostly (still!) Photoshop. The subject and process should be familiar and uniting to anyone – we all experience nature at some level, and most people have used photo filters and even GANs, in Snapchat, to distort and edit images.

My work is an interpretation of their digital selves. I like to think of my sketches as dehydrated paintings, not a blueprint. I like to see where paint leads me rather than force an image into what it started as digitally.

My mother gave me crayons as soon as she was pretty sure I wouldn’t eat them, and I’ve been making images ever since. I have included some sort of technology in my process since before I knew what I was doing; I would send my dad to work with my drawings to copy on the Xerox so I could cut up and reassemble the results to be copied again and again until there was nothing recognizable. Then I’d start over.

By the time I started my undergrad degree at Michigan State University, I’d had a few computer classes and spent entire summers building canvases and painting with my first mentor, Elaine Perret. When I graduated with a Bachelor’s of Fine Art with a year off in there as an Americorps*VISTA, I had learned HTML and started referencing my digital work I did in my paintings. I used the first iterations of Adobe Photoshop and whatever other tools I could find on the computers in the graphic design lab.

After graduating and 20 years of teaching computer classes, working at a software company, and then a tech-oriented position at an association, I was burned out and wondering about painting again. After two years of struggling, I left my full time position and started doing just that, plus contract web development, digital marketing and design.

Artist Statement by Juliette O’Brill Botanical Narratives - February 2022

When times are dark - artists have the privilege to make light. In the spirit of manifestation, these recent works of art started with conscious efforts to display bright joyful scenes of the natural world. Wild Ones and Families in Bloom by Juliette O'Brill embody spiritual metaphors, artistic journeys and many therapeutic hours building these magnificent landscape views.

Both compositions set the viewer directly into the rocky mountain landscape with dense floral plant life in the foreground and colorful skies above. As the layers were built up, each of the flowers became characters with their own nuanced personalities. The inspiration came in the last month of my mother’s life, she suggested painting large flowers. While still in Illinois, I began sketching the corky cone head flowers; echinacea growing in the backyard with plans to develop a large-scale painting. The entire process this past summer was cathartic as I moved through the grieving process.

Families in Bloom was next up. When I developed the foreground with washes of paint, I was looking for any images resembling faces, figures, or plant life, allowing the paint to speak to me. Because in moments being awestruck by the natural world, my thoughts turn to wonder who was there before me, imagine how they traveled through the landscape and the stories they might tell. I rendered any images showing up, believing my paintbrush was being channeled by my inner guides to honor the presence of history. Most faces got painted over, not seen anymore, like real life… but there are a few still peeking through.

The Castilleja flower, commonly known as Indian Paintbrush or Prairie Fire flower, revealed itself in the paint as well! I did research, to find out they are hemi-parasitic, meaning they partially live off other plant life, often found paired with blue lupine. The fiery flowers can survive on their own, but they do better connecting their root system to another plant- not dissimilar to the human experience. Largely a personal metaphor as I titrate between spiritual awakening, introversion and building meaningful relationships.

Botanical fun facts: Dried echinacea is used by herbalists to help fight infections. The fiery botanicals have been used by Native tribes in baths for shiny hair, feminine health and to treat rheumatism. The soft Stachys Byzantine, aka lamb's ear is related to the mint family, is nature's toilet paper.

Meet Juliette
Juliette O’Brill works with fine art materials in recreating aspects of the natural world through imperfect images. A large part of making art, for Juliette, is for the mental health benefits; the goal is finding ‘flow’ or being in a state of relaxed attention. By inviting experimental processes into the studio, she feels less rigidity, or resistance in her approach which in turn encourages production of brain waves known as theta, typically occurs during meditation. This is when she is best able to react confidently and intuitively based on many years of experience baked into the formula. Most of her efforts are using paints, the artist reflecting on moments seen, imagined, or revealed serendipitously and her interest in painting natural sensations is largely influenced by the Impressionist movement. Being inspired to capture colors, natural light, atmosphere, and the play of shadows across space informs her desire to teach about the region and to evoke human experiences in the process.

From an early age, as the youngest in a family of six children growing up in suburban Chicago, Juliette developed a deep relationship with art making. Following graduation from the College of Visual Arts in St. Paul, Minnesota she trained in the culinary arts which led to her current employment at Rocky Mountain College of Art and Design in Denver where she inspires youth in pursuing their artistic endeavors through high school presentations and artist workshops. She enjoys also maintaining a small business as a fine artist with private commissions and some public art projects.



Watch my art grow on Instagram: @juliette_fineart

Artist Statement by Juliette O’Brill Botanical Narratives - February 2022

When times are dark - artists have the privilege to make light. In the spirit of manifestation, these recent works of art started with conscious efforts to display bright joyful scenes of the natural world. Wild Ones and Families in Bloom by Juliette O'Brill embody spiritual metaphors, artistic journeys and many therapeutic hours building these magnificent landscape views.

Both compositions set the viewer directly into the rocky mountain landscape with dense floral plant life in the foreground and colorful skies above. As the layers were built up, each of the flowers became characters with their own nuanced personalities. The inspiration came in the last month of my mother’s life, she suggested painting large flowers. While still in Illinois, I began sketching the corky cone head flowers; echinacea growing in the backyard with plans to develop a large-scale painting. The entire process this past summer was cathartic as I moved through the grieving process.

Families in Bloom was next up. When I developed the foreground with washes of paint, I was looking for any images resembling faces, figures, or plant life, allowing the paint to speak to me. Because in moments being awestruck by the natural world, my thoughts turn to wonder who was there before me, imagine how they traveled through the landscape and the stories they might tell. I rendered any images showing up, believing my paintbrush was being channeled by my inner guides to honor the presence of history. Most faces got painted over, not seen anymore, like real life… but there are a few still peeking through.

The Castilleja flower, commonly known as Indian Paintbrush or Prairie Fire flower, revealed itself in the paint as well! I did research, to find out they are hemi-parasitic, meaning they partially live off other plant life, often found paired with blue lupine. The fiery flowers can survive on their own, but they do better connecting their root system to another plant- not dissimilar to the human experience. Largely a personal metaphor as I titrate between spiritual awakening, introversion and building meaningful relationships.

Botanical fun facts: Dried echinacea is used by herbalists to help fight infections. The fiery botanicals have been used by Native tribes in baths for shiny hair, feminine health and to treat rheumatism. The soft Stachys Byzantine, aka lamb's ear is related to the mint family, is nature's toilet paper.

Meet Juliette
Juliette O’Brill works with fine art materials in recreating aspects of the natural world through imperfect images. A large part of making art, for Juliette, is for the mental health benefits; the goal is finding ‘flow’ or being in a state of relaxed attention. By inviting experimental processes into the studio, she feels less rigidity, or resistance in her approach which in turn encourages production of brain waves known as theta, typically occurs during meditation. This is when she is best able to react confidently and intuitively based on many years of experience baked into the formula. Most of her efforts are using paints, the artist reflecting on moments seen, imagined, or revealed serendipitously and her interest in painting natural sensations is largely influenced by the Impressionist movement. Being inspired to capture colors, natural light, atmosphere, and the play of shadows across space informs her desire to teach about the region and to evoke human experiences in the process.

From an early age, as the youngest in a family of six children growing up in suburban Chicago, Juliette developed a deep relationship with art making. Following graduation from the College of Visual Arts in St. Paul, Minnesota she trained in the culinary arts which led to her current employment at Rocky Mountain College of Art and Design in Denver where she inspires youth in pursuing their artistic endeavors through high school presentations and artist workshops. She enjoys also maintaining a small business as a fine artist with private commissions and some public art projects.



Watch my art grow on Instagram: @juliette_fineart

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.

Limited edition giclee print.

Alyssa is a proud native of Golden, Colorado and an award-winning artist. She is also a geological engineer and an aspiring author who hopes to one day publish as well. She enjoys painting and drawing the beauty found in nature and combining the precision of engineering with the creative expression of art.

Alyssa has displayed her artwork throughout the Denver metro area in numerous art shows and exhibitions, has provided artwork for professional geotechnical societies, and is currently exhibiting a series of 14 pen-and-ink drawings in the newly renovated Marriott Hotel in the Denver Tech Center.

Alyssa’s inspiration for her artwork comes from the play of light and color within nature. Her style and medium range from ink, to acrylic, to watercolor—whichever best captures the presence and emotion of a scene.

Alyssa Schwarz was featured in our Female Alchemy show June 5 - September 5, 2021.