Untitled (NFS)
I created this March 1998 when I first began wanting to paint more. Little did I know that it would mark the beginning of journey, moving from a feeling of being invisible to being more visible.
I created this March 1998 when I first began wanting to paint more. Little did I know that it would mark the beginning of journey, moving from a feeling of being invisible to being more visible.
This was the first painting that I created in a formal art class with Dianna Shyne (http://www.gotzshyne.com) using acrylics. It was a breakthrough experience for me as I began being more visible about the invisible part of me that is an artist. The painting is taken from a scene that celebrates those who died from the atomic bomb in Hiroshima. When I was creating this painting, I heard the voice of my mother encouraging me to pursue art and the voice of my father discouraging me. I gave this painting to honor my mother and to honor those of our ancestry who had lost their lives. When my mother first saw it, she said that the she thought the laterns were like people, seeing the essence of the symbolism of this ceremony.
Seeing the invisible. This painting was done as part of a session with a client. It was an image that I saw during one of our sessions. It reflects the protecting of oneself while also wanting to be protected by another.
Despite all that I may never really know about the Universe, there is still great beauty and poetry. Everyday I search for ways to acknowledge and connect to the life-force that surrounds me, guiding and leading me with grace.
This was the first time I had tried to do a self-portrait. What is interesting about this painting is that I reflected my unconciousness about being invisible. A few months later I had a breakthrough about all of the events that led me to realiizing how invisible I had been in my life. But, would I be more visible?
36X48, oil, $700 - this painting was created shortly after my realization about my invisibility. I was surprised when Mikela Tarlow (http://www.digitalaboriginal.com) commented on how the rocks and water were also a reflection of invisibility and visiblity. Someday, I hope to take her advice to do an entire series on just rocks and water.
This ia an image of a person on a pier. When I finished this painting, I again saw how I was painting invisibility. Here too, I hope to do an entire series representing this concept of invisibilty. I would appreciate any photos that you may have to share.
30x40, oil, $600 - this painting was inspired by a scene from my fictional writing I located in the Pioneer Square neighborhood of Seattle. At that time it was a story about a character who is only visible to his closest friends. He provides ideas and advice that lead his friends to more exciting professional projects, yet is his unable to make decisions for himself.
This oil portrait of myself was one of two projects I worked on in my first oil portrait class. Looking at myself from class after class not only helped me to understand the contours of the face, but also gave me an opportunity to paint the visible part of me that other see. It makes me wonder about how people use what they see of another, or not.
This painting was taken from a photo that my brother-in-law shared with me during my visit with my sister and her familiy. I particularly liked the colors of fall that were reflected along the bank of the water. Andy Goldsworthy's books, which my brother-in-law showed me, were much of the inspiration for my choice of colors. Goldsworth's work inspires me in the way that he makes the invisible visible, and then how it returns to being invisible.
