Monday, November 14, 2016

Too much elapsed time, lot going on

Well posting once a year whether I need it or not seems far too rare. Will endeavor to get better but this last year has been a doozie with lots going on. We moved for the first time in 27 years. Not a great distance - less than 20 miles but to a much smaller house with a much bigger studio. Big win all around but the process has been more than a little strenuous.

I have had a couple solo shows in the past that didn't make it here. New one up right now at the Dexter District Library in Dexter Michigan. The show, Field of Vision part II - paintings will be up through mid-December. This show was curated by Joy Naylor of Distinct Designs. The opening is Friday November 18 from 6-8pm if you're in the area.
Some of the work in the show below:

Summer Blues, 12" x 24", encaustic & mixed media on panel

Over the teal sea IV, encaustic & mixed media on panel, ~15" x 15"

Cottonwoods Looking up, encaustic & mixed media, 19" x 28"
And also have a lot of work in Art Off the Wall at the Ann Arbor Art Center - also on Friday November 18th.

And watch this space for more info about the Westside Art Hop coming up Saturday December 10th from 11-5 and Sunday December 11th from 12-4pm. I will be in downtown Ann Arbor in Margaret Parker's studio at 210 S Ashley St, Ann Arbor, MI 48104 above Downtown Home & Garden.

Wednesday, September 30, 2015

Upcoming solo show at the Village Theater at Cherry Hill

I'm having a solo show at the Village Theater in Canton Michigan in November. These works are a mix of aerial and ground based landscape abstractions, all in encaustic and ranging in size from  about 11 x 30" to 24" x 48" in size.

 I connect deeply with the outdoors.  Places I’ve walked, hiked, sat, lived and imagined figure prominently in my work.   As the only non-scientist in my family I have lived with scientific discussion of the world from a very early age and it profoundly affected the way in which I understand the world and how I make art. I've spent a lot of time looking at scientific visualization from the macro to the micro in scale and have been fascinated with aerial views of landscape for many years  -  often beginning  work from satellite or astronaut photography.

I am drawn to painterly abstraction even when I am painting in a representational way. I enjoy the materiality of working in encaustic and want that lushness to come through whether I am painting from an aerial or a conventional perspective. The pieces in this show inhabit a space that hovers between representation and abstraction - they can be read somewhere in between and are as much about painting as they are about specific places although they almost all do refer to a specific location not a generic idea about place. That relationship with place is important to me and these pieces, even the aerial views, are all places I have been and have strong feelings about. 

 Below you see some of the work in the show. It's a big space - there are 34 pieces in the exhibition and I will post more of them as the time gets closer.

Arapaho Sky, encaustic & mixed media, 18" x 24" ©2015

Green Hillside, encaustic & mixed media, 20" x 24", ©2015

Overlaid Rivers
encaustic & mixed media, 11" x 29" ©2015

Blue/black/white braided channelsencaustic & mixed media, 22" x 48", ©2015

Platte River Point III, encaustic & mixed media, 18" x 24", ©2014

Scribed Canyon, encaustic & mixed media, 24" x 24", ©2015

Monday, August 18, 2014


Bloghop post.  
I’m late in getting this up - anyone who thinks of summers as lazy calm time is living in a different world than I am.  At any rate thanks to Supria Karmakar for inviting me to participate and here is my long overdue post.

What am I working on?
I’ve been working on a group of linked series in response to a monthlong residency at Canyons of the Ancients National Monument last September. Lots more about that residency here. The residency was wilderness based and left me with a strong sense of being between ground and sky as we spent days hiking in high desert during a month of dramatic storms.  In response I have been working on paintings and monotypes which are somewhat abstracted but experiential in mixed media and encaustic. The monotypes in particular are very storm focused but loose and painterly in approach.
2 trees, encaustic monotype on kozo
Storm over desert II, encaustic monotype on kozo
How does my work/writing differ from others of its genre?

My work connects me with science and environmental understanding of the environment while not always directly incorporating data or scientific imaging.  In the past I have incorporated these elements more specifically but these days it informs what I do without necessarily directly showing up in the work. So I do landscapes - from both aerial and conventional points of view which are somewhat abstracted and science connected.  My work is influenced also by my interest in Asian sumi brush painting and color field abstraction - I want the pieces to read as successfully as abstractions as representational images. These are pieces about texture, composition and color as well as environment and the experience of being in that environment.

Desert Clouds III, encaustic monotype on Rives Lightweight

Why do I do what I do? 

Why breathe? Making work feels essential to me and I expect it always will. Specifically making art about environment and climate comes back to my love of the outdoors and my deep concern that we our destroying the only place we have.  I don’t make specifically didactic work since that would be boring to make and worse to view but sharing my love of wild places and wild weather while making what I hope is visually compelling drives me to keep making. It’s a push pull situation between the ideas behind the work and the visual elements that develop as I explore in the studio. Recently going through old family photos and letters I came across an elementary school newsletter quoting me as a 3rd grader writing about the environment so I guess the obsession has been there for a very long time!

How does my writing/working process work?

lively juniper - from sketchbook

My work starts outdoors with drawing, photography & journaling.  Those elements come back to the studio where I develop work using collage, encaustic paint, mixed media, digital printing to make monotypes and paintings in series.  I work in layers on multiple pieces at once, adding and subtracting elements and a process that involves scraping away as much as adding media when painting.  Monotypes are more direct and spontaneous in process and the dynamic between working on paintings and monotypes is very stimulating for me with one being loose and the other more considered. 
Storm/ground, encaustic on panel 

Storm over Cannonball mesa, encaustic on panel, 24" x 48"

I have invited 3 other artists to participate in the blog-hop and their information is below.  They are Candace Compton Pappas, Kim Trail Rhoney and Natalie Abrams.




Through exhibitions across the country, Abrams’ work has increasingly focused on symbolic use of materials to explore environmental and social issues. Her process utilizes both organic materials such as beeswax and wood, and increasingly inorganic materials otherwise destined for landfill, to create works representing theoretical landscapes.The incorporation of these new materials creates a more thorough representation of the issues Abrams explores, as well as will become the foundation for a long term life-as-art project focused on the parallels of life and viability amongst bio-diverse ecosystems and the urban landscape. In its simplest terms, a circumnavigation exploring environmentally threatened areas and the populations dependent on those areas, with the findings being used to develop site specific installations, exhibitions and publications.

Abrams’ work has been exhibited in national invitationals including the Third Annual Encaustic Invitational, as a highlighted artist at Ball State University with Encaustic Works 07, as well as the 2010 book “Encaustic & Beyond”. “Losing Ground, Gaining Perspective”,Abrams’ first curatorial project, was held at Gallery X at Castle Hill, Provincetown, MA including work by noted artists Laura Moriarty, Lorrie Fredette and Paula Roland and herself. Additional exhibitions include “Dear Nature” at Artspace, Raleigh and “Objects in Perspective” with Aspen Hochhalter at the Gaston County Museum, a solo exhibition “Beneath the Fold” at City Ice Arts in Kansas City, MO and an expanded presentation of “Objects in Perspective” with Aspen Hochhalter at CPCC in 2014. Residencies including the McColl Center for Visual Art, Escape to Create and the Sam and Adele Golden Foundation for the Arts have helped Abrams’ further explore our relationship to our surroundings in the form of multimedia sculptural landscapes and topography.

Kim Rhoney is a painter working predominantly in oil paint often mixed with cold wax medium. She paints with brushes and painting knives in layers that develop into a textural surface. Bees wax adds luminosity and depth to her subjects. She paints predominately regional flora and landscapes with recent special interest in wild flowers, prairie flowers and the bees that pollinate them. Kim finds her inspiration in rural Michigan both at her family's small farm in Milan, MI and on her travels camping and hiking along the Lake Michigan shoreline. "My family plays on the beach while I am over looking at the beautiful grasses and wildflowers". Kim earned her Bachelor of Fine Arts degree from Eastern Michigan University. You can follow her at

I work at home in Michigan, in a studio overlooking a beautiful landscape with a lot of bird and wildlife activity. My work is influenced by this landscape, as well as the quiet and space that surrounds me in my studio. 

I work in both 2-D and 3-D using imagery that is close to me. The birds outside my studio have shown me what flight and return, character and persistence can be. Chairs represent a solitary place, a throne, a place to land. Houses are templates, made of solid or disintegrating materials, raising questions of permanence.

The search for home, both literally in my surroundings  and metaphorically in my Self has been a constant theme underlying my work.

Tuesday, June 17, 2014

Some thoughts about the Eight International Encaustic Conference

Far too long since my last post and I’ve been busy.

I recently attended the 8th International Encaustic Conference. I had not been for a number of years since the timing has coincided with kids graduating from high school and college but this year was finally able to go.  Better still, I had a professional development grant from the Michigan Council for the Arts and Cultural Affairs (MCACA) to help with the costs.

I attended two pre-conference workshops as well as the conference and return home overwhelmed with the amount of information I need to assimilate and incorporate into my studio and professional practice. Sessions on art-making, on expanding the reach of one’s practice, on the business of art, the history of the medium, teaching standards and pedagogy, of course technical sessions on materials and techniques and lots of looking at work both in person and on screen gave me a great deal to think about.  Networking with other artists and gallerists was tremendously useful.  I sold some work in the hotel fair, bought some work, traded some too. Of course bought lots of paint at the vendor room too.

It’s a funny thing - often the most useful and memorable things one takes home from a conference are the encounters that happen around the sessions.  This in no way is meant to denigrate the sessions which were outstanding - Joanne Mattera and Cherie Mittenthal put together a wonderful, mind-expanding range of programming but one of the great things about an event like the conference is the chance to talk to so many other focused artists about what they do and why.  It’s interesting too the way social media has changed and expanded the reach of this kind of connecting since the conversations start well in advance of the event and continue well afterwards.

The last time I attended the encaustic conference was year 2. At that conference I saw Paula Roland demonstrate encaustic monotype which led to a major change in my work  allowing me to work more fluidly and spontaneously, hearkening back to my training as a printmaker and painter with a deep affinity for paper. Since then I have studied further with Paula and focused much of my work in monotype. This year’s conference did not produce anything which will deeply alter the direction of my work but rather provided more depth and knowledge to my current practice, especially in both art business and project scope. Somehow that seems appropriate since attending was funded by a professional development grant!

Monday, February 17, 2014

CANM residency blog posts in one place.

In the interest of making it easier for those who are interested I am putting links to the blog posts from my September 2013 residency here in one place since there are multiple bloggers at the Aldo & Leonardo blog.

The Aldo and Leonardo Project placed artists in wilderness settings in 6 different biomes across the USA.  The project blog includes all of the artists plus posts by the directors of the organization behind the project Colorado Art Ranch.  The project was also funded by the Aldo Leonardo Wilderness Research Institute which is part of the Forest Service. There is a lot to see on the blog and it's worth a look.  My two co-resident artists were Esther Rogers and Benjamin McCarthy.  Esther in particular posted a great deal on the blog and her insights are very worthwhile.

My posts are below, in chronological order.

Going to the desert

On the way

First few days

Discussion of our final presentation

Reflections afterward

Friday, June 7, 2013

Been a long time...but have some exciting news.

I found out earlier this week that I've been accepted to the Art + Science + Wilderness residency at Canyons of the Ancients sponsored by Aldo + Leonardo.  I'm blogging about this residency here - at the residency blog.

Friday, October 12, 2012

Images from Paula Roland's Advanced Encaustic Monotype workshop

Recently I was able to spend a couple weeks in New Mexico culminating in taking Paula Roland's Advanced Encaustic Monotype workshop.  What a wonderful experience!  Paula is a fabulous teacher and was ably assisted by Hylla Evans.  Hylla's deep knowledge of color and paint-making added a great deal.  The other participants in the class brought  interesting ideas and work to share making for a tremendous, immersive art retreat with lots of interesting discussion of technique, materials and approach to art-making.  

I have been fighting with  being blocked for months  after completing a large body of work for a solo show.  Best possible cure:  surround yourself with other artists and wonderful teachers, bringing focus and clarity while exploring new ways to use a  medium I've worked in for many years. 

 Below are a few of the pieces created in that week in  Santa Fe.  They clearly continue to build on the aerial landscape theme I've worked with for  years. My interest in the form and meaning of landscape and  waterways continues.  I'm working to combine my  formal interests in painterly abstraction of landscape from on high with my concerns about climate change and how human intervention in the environment puts us all at risk.
big river bend, encaustic monotype on hosho
blue arcs, encaustic on kozo 
river branches I, digital print & encaustic monotype on Rives BFK
river branches II, digital print & encaustic monotype on Rives BFK

river branches III, digital print & encaustic monotype on Rives BFK

river and inset river, monotype and graphite transfer on Shikoku paper

green figures, rust ground, encaustic monotype on kozo
While in Santa Fe I was able to connect with two other artists who also work with aerial landscape with interest in both painterly concerns and environmentalism.  Jean Davey Winter is an English artist.  She found me online and we were lucky enough to overlap in Santa Fe. She had some interesting work with her - paintings on paper that folded like a map, expressive images of landscape from above.

Jean and I also met Jean Arnold.  Her recent paintings of strip mines painted from an aerial viewpoint are raw and political in tone - powerful and inspiring work.