Through the darker themes of my early works, the beauty is in the poignancy of the last exhausted effort to escape, the sad eyes of the seductress, and the vacant stares of the downtrodden. They mirror the battles of my youth with depression and financial survival.
Looking back, I wonder, if I’d had it easy, would I be filled with such overwhelming gratitude today? Would I still cherish the time left to me to for its opportunities to express my continuing joy?
Life is good.
To enlarge and see options for print, click on any of the images below.
Bathsheba at Her Bath, 1969 An 8.75” x 11.5” brush and ink, she could be robing, disrobing, or performing the dance of the seven veils.
Salomé, 1973 An 18” x 24” acrylic on canvas, she stares into nothingness with sad, vacant eyes.
Salomé, 2020 A digitally enhanced version of the original Salomé.
Madonna of Willendorf, 1973 A 14” x 18” acrylic on canvas, inspired by the iconography of the Madonna and the ancient Venus of Willendorf, an over 27,000-old mother goddess figure discovered in Willendorf, Austria, in 1901. With her bodhisattva smile, she radiates resplendent sun goddess glory.
She Who Silently Watches, 1972 A 13” x 17” batik on cotton, the mask of a female face tilts to the side with her earring hanging down.
Peter Contemplating, 1969 An 8.75” x 11.5” brush and ink, in non-chalance, he readies the gate.
Man’s Inhumanity to Man, 1969 A 7” high bronze sculpture created using the ancient lost wax process.
Self-Portrait, 1978 An 18” x 20” pastel self-portrait. Okay, I admit it: I made the nose smaller and the face wider. And the mouth is way too small!
The Artist Manifesting as Ruth, 1973 An 18” x 24” acrylic on canvas, the painting evokes my primitive feelings of femininity and kinship with the biblical Ruth. The deep earth tones, like those of a tree trunk, symbolize her passive feminine strength. The reds are the color of Muladhara, the first of the seven chakras, which in the yogic tradition are the major subtle energy centers of the body. The Muladhara chakra represents her foundation and sense of belonging. On her forehead is a circle symbolizing Ajna, her third eye, the sixth chakra, which represents wisdom and intuition. In a gesture of self-care, she raises her left hand to her right cheek. While she has a strong sense of belonging within her family and her tribe, it is her own inner strength and faith in her Lord that sustains her.
The Purple and Blue Bla’s, 1973 Self-portrait of the artist in a blue and purple funk.