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2021 intaglio with relief, stencils and hand coloring with acrylic.
2021 Intaglio with relief and stencils, three layers, two plates.
2021 Intaglio with relief, stencils and acrylic. Two plates printed four times.
Intaglio with two plates printed multiple times, with relief, stencils and acrylic. 28”H X 29” W.
Intaglio with two plates, relief, stencils and acrylic. 26”H X 28” W.
Intaglio plate printed twice, with reverse. Stencils, relief and acrylic.
Single plate intaglio, with stencils, relief and acrylic.
Intaglio with 4 plates. Relief color printing of packaging materials.
Drypoint Intaglio with relief and embossments.
Another printing experimentation using relief and intaglio printing of the same plates, multiple times. Plus relief printing of various shaped stencils and hand-coloring.
Intaglio with stencils, relief and acrylic.
Intaglio experimentation with one plate printed relief and intaglio, with stencils.
Intaglio with relief and acrylic. 6” H X 4” W.
Drypoint intaglio.
Intaglio experimenting with many different ways to print using the same plate.
Intaglio monoprint. Four plates with stencils.
Two color experiments with the same plates. Intaglio Prints drying (above) with stencil plan and copper & zinc plates (below).
Intaglio monoprint.
Intaglio monoprint.
This is how the intaglio plates look before inking. The artist works in reverse, as when the plate is printed the image prints in reverse.
Note the bas relief made by engraving, dry point and etching.
Note the bas relief with engraving, dry point and etching.
Plates on the press bed, inked, wiped and ready to be run through the press and printed.
A La Poupee’ is a process to apply mulitiple colors of ink selectively to an intaglio plate and run through the press at the same time.
Plates ready to lay damp paper over them and run them through the press.
Four plates run through the press two plates at a time.
Final monoprint with four plates, two runs through the press.
Works Initiated at Women’s Art Institute
In June 2018, I received a scholarship to attend the Women’s Art Institute, a month long intensive where I developed a portfolio of work.
We studied art history, the status of women artists, visited contemporary women artists’ studios, attended guest lectures by artists, curators, museum executives, developed a body of work and participated in rigorous critiques. Find out more about this exceptional and unique program at https://www.stkate.edu/participate/wai.
Intaglio print with stencils & chine colle’ colored dots. Variable Edition of 3.
18 inches W X 14 inches H, print only.
Exhibited at Women’s Art Institute Exhibition 2018 and Highpoint Center for Printmaking
Close-up detail showing dry point, mezzotint, chine-colle’ and stencils
Graphite drawing triptych with india ink pencil enhancements and intaglio stencils. Created during Women’s Art Institute, June 2018.
Drawing triptych with dry point marker enhancements and intaglio stencils.created during Women’s Art Institute, June 2018.
Graphite Drawing Triptych with india ink pencil enhancements and intaglio stencils. Created at Women’s Art Institute, June 2018.
Intaglio with chine-colle’ experiment using pressure-sensitive fluorescent yellow paper. 15”H X 21”W
Final intaglio monoprint created from Confluence. One plate printed vertically, run through the press twice with different inks, stencils and chine colle’ (unique).
15 inches X 21 inches H
Intaglio color experiment Japanese Awagami washi paper with chine-colle’. Same copper plate as Confluence was used for this print.
Breaking boundaries/ eliminating preciousness:
Reworked an intaglio print by paper cutting and collaging parts of old water colors. 10”H X 8”W.
Drawing shapes from nature, shells, wood grain with graphite and colored pencils.
Used the shapes made in the previous drawing experiment and collaged ruby-lift, acrylic painting and graphite drawing on transparent sheets.
8”H X '8”W
Wood Nymph Artist Statement
This series of intaglio prints was inspired by the Japanese aesthetic, Wabi-Sabi, which is based on the acceptance of transience & imperfection. There is beauty in imperfection, mistakes, accidents, aging, weathering, & the natural cycles in nature & our lives. From new growth & joy to decay, sorrow & acceptance of mortality.
Like we humans, my work is flawed. But these flaws are the evidence of the life and process of the piece - the scars and “happy accidents” that give it depth, richness and a sense of personal history. I do not strive to be perfect in my art, but rather authentic.
Intaglio print with stencils & hand coloring
Intaglio print with stencils & hand coloring
Intaglio print with stencils & chine colle’
Intaglio print with stencils
This intaglio print with hand coloring was the original piece of art from which the Wabi Sabi series was created. It was exhibited in 2015 Transitions. WARM (Women’s Art Resources of Minnesota) Members Exhibition. Gallery Cafe. Bethesda Hospital. Allina Health. St. Paul, MN.
Intaglio printmaking is a very old, labor intensive process that Rembrandt used that results in rich dramatic works. I fell in love with the process studying under Leo Lasanksy & his father Mauricio Lasasky (http://www.lasanskyart.com).
Today I combine intaglio with other methods of printmaking & love to experiment with images, colors & multi-media processes. It is a great joy & professionally enriching experience to be a current member of Highpoint Center for Printmaking. https://www.highpointprintmaking.org/
Intaglio with two plates, stencils, relief and acrylic, printed three times.
2021 Intaglio with stencils, acrylic and relief.
Intaglio print, 4 plates, 48 stencils, chine colle’ colored dots, hand coloring. Awarded Best in Show Artistry, 2019. Awarded 1st Place Printmaking, 43rd Arts North International Exhibition, 2020 and awarded Merit Award, Robbin Gallery, 2021..
27 inches X 29 inches print only. Unique monoprint.
Intaglio print, 16 inches W X 20 inches H. Awarded 1st Place Minnesota State Fair Art Exhibition 2020.
2018 Intaglio with hand-coloring (used by Grandmother’s doilies)
13 3/4 inches H X 15 inches W
Intaglio with stencils. Exhibited in Heart of the River Exhibition, 2018, in celebration of the 1st 150 years of the St Croix National Scenic Riverway, at Phipps Center for the Arts, Hudson, WI.
Recycle. Rediscover. Treasure.
I save pieces of paintings & prints that do not achieve the final result I am striving for, keeping elements of the imagery I still like.
This "waste material" is valuable & is given new life in a mixed media piece, achieving affects not possible by direct mark making. Treasure - hidden tiny gems are excavated & saved, cherished even, recycled & incorporated into a new piece.
2017 Collage, hand colored relief print with watercolor imagery.
We are taught in meditation that God is in the Gap - the Whitespace. Seeking God's guidance through prayer requires stillness, silence, whitespace to hear the still small voice of God. My piece has a large whitespace hovering above an image of two moths in reflection, representing our physical and spiritual sides, above a room-divider/doorway. Which way do we go in our lives? What is important? How shall we live? I have used the lowly moth instead of the exquisite butterfly to represent us. The whitespace is essential, not extraneous in my piece - it asks us to quiet our hearts & minds to listen for the still small voice of God.
Exhibited 2018 Seeing God - A Juried Exhibit of Sacred Art at St Paul's Monastery. Benedictine Center. St Paul, MN. First Place Award Recipient.
Intaglio print (4 plates), handmade paper, watercolor, collage. Exhibited in Wabi-Sabi Solo Exhibition, Highpoint Center for Printmaking, Minneapolis, MN. April - June 2018.
2015 Collage, intaglio print, hand cut & colored.
Created for the Women & Money program at the Katherine Nash Gallery, U of MN. Bitcoin is a new universal global monetary system, potentially more egalitarian. Circles represent coins, & the female value of cooperation vs. competition & hierarchy.
Exhibited 2016 Art From My Perspective. Women’s Caucus for Art - Georgia Chapter. Member Exhibition. Jim Cherry Learning Resource Center Gallery. Georgia Perimeter College. Atlanta, GA.
2015 Collage, multi-color plate intaglio, hand coloring, cut outs.
Inspired by my trip to Cuba - the incredible vibrancy of the people & culture. The title is a phrase our guide often used when asked a question. Cuba is complex, often contradictory, what appears obvious hides something completely different or the opposite
2010 Collage, hand-made paper, paste paper, acrylic painting.
Created for the Women & Water Rights exhibit at Katherine Nash Gallery, U of MN. Water is a natural right for all people. The female form represents nourishment & water is a life-giving resource which is to be cherished, not commercialized & destroyed by pollution.
Exhibited 2011 Art As Gateway for Community Engagement: Sustaining Nature and Culture. Living Green Expo. Fine Arts Building. MN State Fairgrounds. Falcon Heights, MN
2010 Collage, handmade paper, multi-color relief print, acrylic.
Exhibited in the Women & Water Rights exhibition, Katherine Nash Gallery, U of MN. Globally women are responsible for obtaining water for their families, often walking many miles & hours each day.
My piece supports water rights for all people. Water is central to survival, women (water carrier) are responsible for their families survival, the problems & potential solutions for water rights are complex (center relief print). The handmade paper flowers represent the lushness of nature & life-giving qualities.
2008 Collage, relief print, stamping, weaving, cut outs, hand coloring.
My piece is about overcoming chronic fatigue. The woven black bars hold me back from living the full life I desire. However the fierceness of spirit, represented by "flames" & vibrant colors, breaks through the prison.
Exhibited 2015 Seeing God: A Juried Exhibit of Sacred Art. St. Paul’s Monastery Gallery. Benedictine Center. St. Paul, MN.
Exhibited 2010 Cross View Christian Art Festival Juried Exhibit. Cross View Lutheran Church. Edina, MN.
Monoprints and monotypes are created by painting directly upon a plastic plate with watercolors, and waterbased or oil based intaglio inks. Dampened paper is placed on the plate and the sandwich of plate and paper is run through an etching press. With the pressure of the press roller, the ink transfers from the plate to the paper.
As a painter I love the spontaneity I can achieve with monoprinting, the instant images and the fluid brush strokes. And I can mix print media such as printing with copper intaglio plates over a monoprint. Intaglio creates delicate detail & lush 3D marks, while the monoprinting process results in painterly affects.
2014 Water-based Monotype and hand coloring.
Exhibited in Portals and Passages. WARM (Women’s Art Resources of Minnesota) Members Exhibition. The Phipps Center for the Arts. Hudson, WI. 2015
2014 Water-based Monotype with hand coloring
2014 Water-based Monotype with hand coloring & cut-outs.
2017 Monotype; exhibited in Prints On Ice, Highpoint Center for Printmaking 2017
2017 monotype; exhibited in Prints On Ice, Highpoint Center for Printmaking 2017
2017 Multi-color Intaglio (3 plates) over Akura Monoprint; exhibited in Prints On Ice, HighPoint Center for Printmaking
2017 Multi-colored plates (3) Intaglio over Akura Monoprint.
2017 Monotype
2017 Monotype
2017 Monotype
2017 Monotype
2010 Water-based Monotype
2008 Monotype with gold collage Hebrew figure
2006 Monotype
2005 Monotype; exhibited in Re-Visioning. Women's Caucus for Art Southeast Regional Juried Exhibition. Maitland Art Center. Maitland, FL. 2005
"la sirena" means "the siren" literally. In Spanish and Italian it means "mermaid" and is used to describe a strikingly beautiful woman. In this series of intaglio prints I experimented with color to portray the feminine mystique with high energy, & sexy overtones. The siren can be seen negatively as a warning about the power or lure of the female. Instead I intend the image to portray her confidence in knowing who she is & how she wants to live her life. The colors and movement in the prints are intended to display an optimistic, playful spirit.
2016 Multi-plate intaglio; exhibited at Hot Off the Press, Highpoint Center for Printmaking
Multi-plate intaglio with hand work
FIRE OF FEAR SERIES
In the fall of 2016 during the height of the U.S. presidential campaign there was a palpable sense of fear, which was enflamed by political rhetoric, demonizing of immigrants, & denigration of women. I was taking a printmaking class at the University of MN at the time & felt the fear & intensity of emotions rising among the students & my friends & family. My international colleagues & family asked me what is going on in America(!!!). This series was work I did in response to that time & it is still sadly even more relevant now.
ARTIST STATEMENT
Fear spreads like wildfire damaging everything in its wake. We The People must stop it by our concerted resistance, actions & assertive, respectful, inclusive conversations, Water the Fire of Fear.
2017 Photolithography with 3 color plates and hand coloring
Photolithography, 2 color plates with monoprint and hand coloring.
2016 Photolithograph, 2 color plates.
Photolithography with 2 color plates.
2017 Photolithography, 4 color plates, hand coloring with cut-outs.
2016 Photolithography with monoprint
2016 Photolithography with monoprint
2016 Photolithography with monoprint
2016 Photolithography with monoprint
![Hear. [Detail of Hear. See. Do. No Evil.]](https://images.squarespace-cdn.com/content/v1/5a823ec67131a5244c15b792/1542563449809-HHM1PSTVX58IWJSDU4VU/IMG_7671.jpg)
![See. {Detail of Hear. See. Do. No Evil.]](https://images.squarespace-cdn.com/content/v1/5a823ec67131a5244c15b792/1542563682858-KRQ7OKHLWY4LT4ADEZ8E/IMG_7670.jpg)
![Say. [Detail of See. Hear. Say. Do. No Evil.]](https://images.squarespace-cdn.com/content/v1/5a823ec67131a5244c15b792/1542564034058-CRVZERP3SAZPK3T5FS0E/IMG_7669.jpg)
