 This acrylic painting was an assignment for Susan Lichtman's workshop, "Start With a Part." I painted this with a limited palette. I started with the watering can.
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 These two are characters in a book, "On Beauty," by Zadie Smith that I absolutely loved. It was a Gibbes Museum/CCPL Book Club pick. I am in the middle of my last virtual workshop and it is so completely engrossing even though I have had two of the instructors before. This time things have really clicked. My paintings are going to change and I am so excited to work in a new way, that will be related to my collages.
 So this is from another great virtual workshop. This is by California artist Jennifer Pochinski. I hope it is okay to post this. One good thing to come out of the pandemic, is the abundance of online access to great art and artists. Painting is challenging enough but with guidance all things are possible.
 This image is going to Art Harbor Gallery in Georgetown, SC. Again borrowing heavily from a Diebenkorn collage/painting. It has a lot going on. Seeing photos of my work always makes me want to change it. This week I will be in a radically different painting workshop with J Pochinski. At some point after 2020 is mostly over, I hope I will settle into a consistent painting approach. My collage journey continues to lead me in unexpected directions.
 "Young Mother Sewing," is a painting by Mary Cassatt whom I hold in the highest regard. Especially her color etchings, because having done some etching I know how tedious and labor intensive it is. This is for the Charleston Artist Collective November theme "Gratitude." I chose it because I enjoyed sewing for my two daughters when they were little and it also reminds me of my mother who taught me to sew.
 This collage will be on the Charleston Artist Collective website on Nov. 1st along with another themed collage. I looked at a very minimal drawing by Diebenkorn and added the rest. I used a photocopy of eyes for the first time. because I tend to obsess over the faces and I want to treat them like the other shapes. I just went with it without thinking about it too much.
 This is where I stopped on my painting for month long workshop with Zoey Frank,"Painting Change: Still Life in Motion. This arrangement went through a lot of changes. There are a few more changes I would make if I were going to continue. The commentary was so good and helpful. Mostly about color and composition. You can go over and over something and make changes without completely wiping out what was there. Next painting I will show more of the process. Keeping the painting open is something I learned that I want to do more of.
 This poster is an original silk screen from about 1972. I decided to reframe it after being in a drawer for many years. It is the (possibly no longer standing) statue of Robert E. Lee on his horse in the Fan district in Richmond, Virginia. I used to walk past this statue almost everyday when I lived there while attending the art school at VCU. My love of architecture began here.
 This is a small unfinished collage after a painting by Gauguin. I usually don't like posting unfinished work but I am working on a painting for a workshop I am in right now. I struggle with a geometric hard edge approach versus a more natural organic one in both media. Change does not come easy. I have to say this Zoey Frank workshop has provided some incredibly useful and insightful commentary. The entire workshop is great. She is very knowledgable about painting and art history and talented beyond her years. I would post the painting I am working on but it is a work in progress.
  I use Matisse's paintings for inspiration in a lot of my collages. I never know how they will turn out. After a certain point I have to say that's enough and put it aside, even though I feel it is not resolved. Sometimes he uses the same objects and models. There is a book about it, "Matisse in the Studio." I don't know why her face turned out lavender but I kept her hair, except for a few pieces, the same as the original underpainting. I like to leave some of the painting showing because it's more spontaneous.
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