 "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.
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 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.
 This was a fun one I did for Charleston Artist Collective's theme for October, "Monochrome." It reminds me of me and best friend in high school, dressed in our designer clothes, smoking in the girls room.
 Not really, it doesn't feel like fall in the slightest. That is the name of my collage for September for Charleston Artist Collective. I borrowed heavily from a Diebenkorn painting that I have done before but I love the pose. My friend looked at it and thought she was wearing a mask..... she is holding a cup because it is almost fall and coffee will be a lot better then. It's incredibly hot here. I am working on some small collages for this fall before I start painting again. I am looking forward to a virtual workshop with awesome painter Zoey Frank, Painting Change, Still Life in Motion. Then painting a lot more.
  how so much stuff results in so little production.
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