Tripple Portrait of Florine Stettheimer, 2016, Assembled Sand Cast Glass with Painted Inclusions, 32” x 11” x 4”, Private Collection Mexico

Florine Stettheimer referenced Manet's Olympia which itself was inspired by Venus of Urbino, by Titian. Manet's versions shocked 19th century viewers because the nude looked directly at them without apology or shame. Stettheimer went one step further by putting herself in the position of Olympia, which is a very daring move for an early 20th century woman artist. 

Transformations, 2017, Assembled Sand Cast Glass with Painted Glass Inclusions

46" x 8" x 6" 

The mythology behind women giving into their animal natures and becoming freaks, as shown with the mermaid, harpy and tree-woman. What does it take to make these changes and how do the myths compare with the truth of our experience? Where is the fine line between beautiful creature and monster?

Tertiary Colors, 2017, Assembled Sand Cast Glass with Painted Glass Inclusions. 18”x16.5”x4.5" 

Tertiary Colors is a reference to the third tier of the color wheel where colors are more nuanced. It is also my reference to American women artists who are not always considered to be the most well-known in art history.  These artists are beginning to be noticed by mainstream culture. Initially, I was going to put a chair below each woman to show her place at the table but after some research, I found each artist had created her own seated self portrait. Each woman is placed above her own self-portrait that I have taken from these paintings.

Alice Neel (1990-1984) was a visual artist who was particularly well known for oil painting and for her portraits depicting friends, family, lovers, poets, artists and strangers. She had a tumultuous personal life as she struggled to pursue her art and be a mother. Her brave self-portrait is a nude she did of herself in her 80’s showing her own body in a natural way without any sort of flattering embellishment or positioning. This is the 3rd piece I have made that references Neel. 

Florine Stettheimer, (1871-1944) was a surrealist painter in the 1920's. I was always looking for women artists throughout history, and she was the only contemporary woman artist among early 20th century artists that I recall studying in art history. This is my second piece with Stettheimer, I made a triple portrait of her last year. 

Elaine DeKooning (1918-1989) was an artist in her own right but frequently overshadowed by her more famous husband. I am drawn to her portraits, perhaps because like me, she worked in abstraction as well as figuratively. 

9.5” x 5” x 4.5”

Assembled Sand Cast Glass with Inclusions

13.25" x 11" x 3.75"

Collaboration with Popelka

2019

Assembled Sand Cast Glass with Painted Glass Inclusions

18.5 x 16.5 x 4.5"

Private Collection

2016

Business men is an homage to the men from my childhood who commented on the commuter train from the suburbs to downtown Chicago. My father was one such man and he always wore a hat. Upon arrival he would smell of sweat, cigarettes and cold city air. We used to meet his train and drive him home. This era appears to have ended and this piece is a remmeberance of both transitions: the one we all as a family made at the moment he got into the car and the one we all, as a generation of a particular geography and class, made. 

Assembled Sand Cast Glass with Painted Glass Inclusions

15.25 x 13.25 x 3.5"  

2015

I remember my Jansen's 1980s art history textbook had very few women represented in it. Most educated non-artists have trouble naming 4 women artists from the 20th century and I find this shocking. Four Artists is a portrait of Freida Kahlo, Georgia O'Keefe, Louise Bourgeois, and Louise Nevelson, which are the 4 artists I thought most people would be familiar with. I was wrong.

Carlotta ONeil, 2016, Assembled Sand Cast Glass with Painted Inclusions, 46"x 8" x 6"  

After seeing an exhibit of the gifts given from Carlotta O'Neil to her husband Eugene, I wanted to look closer into the nature of their relationship as it related to the creative process. What I learned was that she supported his practice in many ways, including financial. Work exists because of her care of him as an artist.

Remembering Her, 2015, Assembled Sand Cast Glass with Painted Glass Inclusions, 32.5 x 10.5 x 4.5" 

Remembering Him, 2015, Assembled Sand Cast Glass with Painted Glass Inclusions, 32.5 x 10.5 x 4.5"

Dora Maar, 2014, Assembled Sand Cast Glass with Painted Glass Inclusions, 19 x 4.25 x 3.75"

Her Story, 2016, Assembled Sand Cast Glass with Painted Glass Inclusions, 14 x 15 x 3.75"  Private Collection

This is a portrait of how I imagine the wife of Paul Cezanne being surrounded by aspects of her life as the muse and caretaker of  her famous husband. 

This is an autobiographical piece that reflects myself drawing in my bedroom as a young artist. 

Francoise, 2014, Assembled Sand Cast Glass with Painted Glass Inclusions, 13.5 x 10 x 3.75"  

As part of a series on women as muses, this piece is a portrait of François Gillot

Portrait of Peggy, 2015, Assembled Sand Cast Glass with Painted Glass Inclusions, 17.75 x 15 x 4.5"

Portrait of Peggy depicts an elegant woman who ran her household in an artistic fashion. She set a beautiful table with creative flower arrangements and Wedgwood china. She collected fine art and enjoyed life. Laughter was often heard at her table. However, there was a side to her that was never fully realized and it was that of an artist. Because she had five children, all of whom were girls, she was never able to carve out the time necessary to become a professional artist. So instead she painted when she could and always pointed out the beauty of lavender fields and grey skies to her daughters, all five of whom became artists of sorts. The empty chair below her portrait represents the legacy as well as the self she didn’t become. Peggy is my grandmother and I had her in mind when I composed this piece. 

Condensation of Sensation, 2013, Assembled Cast Glass with Painted Glass Inclusions, 23 x 14.5 x 4.5"

"Art is a condensation of sensation," said Henri Matisse and I believe that statement works in a literal way where my work in concerned. We take our own experiences and condense them into art. Each object, either of nature or material culture, is singled out and given its own casting as a vignette. This piece shows Matisse with his wife in her youth, along with a portrait of her later in life. The backside of the piece showcases classic Matisse imagery.

Bloomsbury Vignette, 2015, Assembled Sand Cast Glass with Painted Glass Inclusions, 12 x 12 x 3.5"

San Angel Altar, 2012, Assembled Sand Cast Glass with Painted Glass Inclusions, 14.75 x 17 x 3.75"

Henrietta & Dave, 2012, Sand Cast Glass with Painted Glass Inclusions, 19 x4.5 x 4"

This is a portrait of Henrietta Lacks and her husband Dave Lacks

Louise and Her Son, 2010, Assembled Sand Cast Glass with Painted Glass Inclusions, 44.5 x 8 x 6"

A piece on the artist Louise Bourgeois and her son done after being inspired by a photo of her as a young mother. The sculpture pays tribute to her upbringing in a family whose business was tapestry making and repair. The background has "stitching" patterns in red and white which are reminiscent of her more recent patterned paintings.

Bloomsbury Secession, 2012, Assembled Sand Cast Glass with Painted Glass Inclusions, 20 x 16 x 4" 

Imagining Mrs. Dalloway heading out to do her errands. This is a portrait of the possible home. 

Mr. & Mrs. Delauney in the Studio, 2011, Assembled Sand Cast Glass with Painted Glass Inclusions, 30 x 10 x 5.75" , Private Collection.

Sonia Delaunay looks at the view in this piece while her husband, artist Robert Delaunay, turns his back to us in favor of his painting. She was a Renaissance women in that she worked in multiple mediums. I can imagine a dialogue between the husband and wife, both artists, Because she is the lesser known of the two she engages the public where he gets the privilege to focus on his own artwork. But because of her varied interests, including textile design and garment construction she is now as well known.

Sonia's Journey Circa 1925, 2011, Assembled Cast Glass with Painted Glass Inclusions, 12 x 22.5 x 5"

Emily with Sister Sue & Mabel, 2011, Assembled Sand Cast Glass with Painted Glass Inclusions, 39.5 x 11 x 6"

A piece on Emily Dickinson and her posthumous editors Sue and Mabel, women who were rivals for Emily's brother, Austin. The lower section is Emily's home, The Homestead, where Mabel and Austin had their assignations, and Emily's desk and Lamp are in the second section. The bird represents Emily's fragile spirit that, once gone, became a source of contention for the entire family. 

Dreamer, 2010, Assembled Sand Cast Glass with Painted Glass Inclusions, Private Collection. 

I read that Emily Dickinson wrote her poetry and did her gardening during the middle of the night. She was very private and that enabled her to remain so. 

Modular sand cast pieces with glass inclusions

Sand Cast Glass with Inclusions

14.25” x 13.5” x 3.75”

Sand Cast with Glass Inclusions

14.25” x 5” x 4”

$3200

Sand Cast Glass with Inclusions

14.25” x 13.5” x 3.75”

SOLD

11.75 x 8.5 x 3.75”

Sand cast glass w inclusion

View at Yerkes Observatory

Motherhood Trinity: A Portrait of Alice Neel, 2014, Assembled Sand Cast Glass with Painted Glass Inclusions, 16.5 x 15.5 x 5.5"

A portrait of the painter Alice Neel as a young women. She is flanked by her an empty chair beneath a portrait of her son, whom she raised in New York City, and on the opposite side her daughter, who was taken from her by her husband to be raised by his family. She was often a neglectful mother, sacrificing family needs for her artistic passions.  This triptych is a metaphor for the trinity, the mother, the son and the ghost. 

Sand Cast Glass with Glass Inclusions

14.25” x 4.75” 4”

SOLD