When life gives you lemons, draw them, 11 x 14 inches dry pastels, graphite on paper

"When life gives you lemons, draw them". (Nikki)

"Trust your intuition, it's just like goin' fishin'; you cast your line 'til you get a bite." (Paul Simon)

"Color! What a deep and mysterious language..." (Paul Gauguin)

not for sale

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Brooke Isabelle

Wednesday, September 6th, 2017

Brooke Isabelle, born last week, 11 x 14 inches graphite on paper

Brooke Isabelle, my neice’s daughter born last week, 11 x 14 inches graphite on paper. She looks like a cherub in the photo used as reference, so I subtly impled wings in the background.

Mary Ann Pel’s Bench

Wednesday, October 20th, 2010


Mary Anns Bench, dedication to Mary Ann Pels, 11 x 14 inches graphite on paper

Mary Ann’s Bench, 11 x 14 inches graphite on paper

Illustration of a bench dedicated to a client’s sister by the staff at the University Arboretum, Madison, Wisconsin

Morning Light – commission for a second version

Wednesday, September 8th, 2010


Morning Light 02, detail of Phase 12 work in progress, almost finished

Above: Sept. 12th detail

Morning Light 02, Phase 09 upper detail, work in progress

Morning Light 02, above: upper detail of 60H x 40W x 3D inches acrylics on canvas in progress, commissioned work (NFS)

Morning Light 02, 60 x 40 x 3 inches acrylics on canvas in progress - phase 01 Morning Light 02, Phase 03 work in progress Morning Light 02, Phase 07 work in progress Morning Light 02, Phase 09 work in progress

Phase 01, 03 and 07 show various changes and adjustments made as I attempt to paint Morning Light 02 as close as possible to the original version. As this is a unique individual painting in its own right, copying is not the goal. As work progresses, the most important thing is to find the same light and ethereal qualities as in the first version.

The Fourth Of July – moving on

Saturday, October 18th, 2008


  The Fourth of July, 36H x 48W x 2D inches, acrylics on canvas

The Fourth of July, 36H x 48W x 2D inches, acrylics on canvas, wrapped sides painted

The Oxide Gallery in Denton had an open call today for Artists to bring in three paintings that best represented current work, to be judged for upcoming space openings.  Even though I didn’t think The Fourth of July was finished, I brought it in because it has the cheerful colors and bold marks that I’d like to inject more into future work. Usually there are lots of colors used, but they get layered over each other on the canvas and can become muted. The gallery owners informed me that it is finished! OK, great, I’ll take their advice. I’m quite happy to move on to another painting.

Especially toward the final stages when so much time and study has been invested, we can be so involved in the work we don’t see it with a fresh perspective the way others do. Other people’s eyes and opinions are so valuable.


Mt. Assiniboine

Friday, January 11th, 2008


Mt. Assiniboine, Alberta 12H x 9W inch watercolor and graphite study from antique books of hand-colored "Vandyck Photogravures" of Canadian Rocky Mountains scenery, cards only

Mt. Assiniboine, about forty miles southwest of Banff, Alberta. 12H x 9W inch watercolor and graphite, study only.
Available as set of ten signed 4 x 6 inch signed cards with envelopes.

I inherited some charming antique books of hand-colored “Vandyck Photogravures” of Canadian Rocky Mountains scenery as it was at the turn of the twentieth century. The monotone sepia and few other pale colors add such a warmth to the already beautiful scenery in the 1910 photographs, and since I haven’t tried watercolors for years I thought they would make perfect studies.


$25.00 Set of ten 4 x 6 inch signed cards with envelopes        Buy Now Using PayPal


Andra’s New Hat

Sunday, May 27th, 2007


  Andra's New Hat, 11 x 14 inches graphite on paper

Andra’s New Hat, 14 x 11 inches graphite on paper


Saturday, May 26th, 2007

Evelyn, 11 x 14 inches graphite on paper
Evelyn, 11 x 14 inches graphite, eraser on paper. When drawing I use the eraser as much as the pencil. Taking advantage of smudges that build up gradually is a good way to keep adjusting the placement of things  and clarify details. This is especially effective with portraits.

Pre-Columbian Jaguar Beads

Thursday, February 1st, 2007


 Pre-Columbian Jaguar Beads - polymer clay, acrylic paints, tray re-purposed and paper-mached, painted and varnished

          1. the tray  2. the beads  3. a picture of the original necklace.

The Pre-Columbian Jaguar Beads  are made of Polymer clay, a permanent material once baked, acrylic paints, varnish, tray re-purposed and paper-mached, painted and varnished for durability.

I was drawn immediately to this Pre-Columbian Mayan necklacewith jaguar beads upon seeing a photo of it, and would love to own it. Well, making one is the next best thing! The original necklace of gold jaguar head-shaped beads was made over 500 years ago, discovered in a tomb in Guatemala.

Like much of the pre-historic and tribal art that looks crude or seems like it should be easy to recreate, there is a lot more here than meets the eye. One of the things that’s so enjoyable about a project like this is experiencing the same design dilemmas that the original artist might have encountered. There is a lot of engineering in that simple-looking necklace! I think the goldsmith who created the original might have used a mold because each individual jaguar head-shaped bead needs to be identical, and so do the small round ones in order to string the beads together and obtain the exact uniform semi-circle shape. Mine were individually shaped, less than perfect, and did not fit together well unfortunately. I’ll need to make a mold from one of the more perfect beads in order to replicate this better.

The jaguar beads are glued onto a useful tray, a recycled film case that was paper mached then painted with acrylic, and it’s as if a moment in time is recaptured, a moment when the original artist had beads on a surface, ready to be strung together. The refurbished tray is varnished, durable and useful. Hand wash gently with damp soapy cloth, and the crevices with a wet paintbrush, dabbing the area softly to absorb excess moisture.


Tuesday, April 11th, 2006


Eneggma 01   Eneggma 02

Eneggma 03   Eneggma 04

Eneggma, set of 4H x 4W dry pastels on paper, part of sketches prepared for “The Perfection of Small Birds” by American Poet Hannah Gerber. Frames use crackle glaze and off-white acrylics over robin-egg blue.

Chickadee 02

Sunday, April 9th, 2006

Chickadee 02, 4H x 6W inches charcoal on paper
Chickadee 02, 4H x 6W inches charcoal on paper, another sketch for Hannah Gerber’s The Perfection of Small Birds

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