Works on Paper Gallery

Collage, Three Fish, 21.25 x 17.50, $900.

21.25 x 17.50 inches, Collage, Ink, Acrylic Paint on Arches Oil Paper

Three Fish and One Fish combine painting with collage. Arches Oil Paper was layered with ink wash, acrylic paint and oil crayon and then other painted papers were cut and applied. These explorations of seascapes include fish, the moon reflected on the water, flotsam and gulls in the sky. The eye is asked to combine the elements into a cohesive narrative but at the same time to enjoy the various elements as purely abstract moments.

Collage, One Fish, 23 x 21.50, $900.

23 x 21.50 inches, Collage, Ink and Acrylic Paint on Arches Oil Paper

Three Fish and One Fish combine painting with collage. Arches Oil Paper was layered with ink wash, acrylic paint and oil crayon and then other painted papers were cut and applied. These explorations of seascapes include fish, the moon reflected on the water, flotsam and gulls in the sky. The eye is asked to combine the elements into a cohesive narrative but at the same time to enjoy the various elements as purely abstract moments.

Collage, Harbor Sunset, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage, Harbor Sunset is arranged from scraps and negative shapes left from other collages. As I pushed the shapes about the many blues gave me the idea that this should be a seascape with the suggestion of sailboats on the right and in the center bobbing in the waves. The sun is setting casting reflections of red and yellow on the water and on the sail of the boat.

Collage, The Blue Room I, 30x23, $1,500.

30 x 23 inches, Collage on Arches Oil Paper

Collages, The Blue Room I and II were sparked by a visit to Charlottesville by the talented interior designer Mark Sikes, renowned for his love of the color blue. The ‘wallpaper’ in these rooms is tissue from a beautifully wrapped gift of Matouk Linens. The decorative pots are from card stock with the same pattern as well as some from and invitation to a debutante ball. The flowers in the large pots are cut from fabric scraps and the scenes outside the windows are from an advertisement. The barstool in Room I and the window frame in Room II are cut from a sheet of papyrus from The Metropolitan Museum gift shop.

Collage, The Blue Room II, 30x23, $1,500.

30 x 23 inches, Collage on Arches Oil Paper

Collages, The Blue Room I and II were sparked by a visit to Charlottesville by the talented interior designer Mark Sikes, renowned for his love of the color blue. The ‘wallpaper’ in these rooms is tissue from a beautifully wrapped gift of Matouk Linens. The decorative pots are from card stock with the same pattern as well as some from and invitation to a debutante ball. The flowers in the large pots are cut from fabric scraps and the scenes outside the windows are from an advertisement. The barstool in Room I and the window frame in Room II are cut from a sheet of papyrus from The Metropolitan Museum gift shop.

Collage, Two Trees, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Two Trees was made from negative shapes - the scraps from cutting other shapes. It involved moving bits of paper around the page to form recognizable elements of the landscape. Random shapes become mountains, birds in the sky, rolling hills and the trees gently leaning away from one another in the foreground.

Collage, The Blue Window, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages The Blue window and The Gold Mirror are inspired by Matisse’s depiction of a model in an embroidered blouse. The tousled hair women are each show in a simple domestic scene of cutting fruit, perhaps a lemon to add to tea or an orange to share with a friend. The window and morrow invite us into a second realm adding depth to the composition.

Collage, The Gold Mirror, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages The Blue window and The Gold Mirror are inspired by Matisse’s depiction of a model in an embroidered blouse. The tousled hair women are each show in a simple domestic scene of cutting fruit, perhaps a lemon to add to tea or an orange to share with a friend. The window and morrow invite us into a second realm adding depth to the composition.

Collage, Green Pastures I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Green Pastures I and II lean heavily on the cutouts of Matisse. Organic forms cut from previously painted card stock dance and wave in a landscape suggested by the blue and yellow bits in the sky and hits of water spilling between the lush greens.

Collage, Kitchen Window I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Kitchen Window I and II show plants in a window at night. Geraniums rest in vases on a glass shelf above pots of succulents and leggy begonias and vases of tropical leaves are on a table nearby. Leaves and petals are cut from hand painted paper and applied to Arches Oil Paper painted with swatches of black.

Collage, Kitchen Window II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Kitchen Window I and II show plants in a window at night. Geraniums rest in vases on a glass shelf above pots of succulents and leggy begonias and vases of tropical leaves are on a table nearby. Leaves and petals are cut from hand painted paper and applied to Arches Oil Paper painted with swatches of black.

Collage, Green Pastures II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Green Pastures I and II lean heavily on the cutouts of Matisse. Organic forms cut from previously painted card stock dance and wave in a landscape suggested by the blue and yellow bits in the sky and hits of water spilling between the lush greens.

Collage, Tropical I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Tropical II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Orange Hibiscus I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Indigo I, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Indigo II, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Pink Hibiscus II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collages, Tropical I and II, Hibiscus, Indigo I and II, Orange Hibiscus and Pink Hibiscus show us beautiful women adorned with earrings and flowers peering from behind leaves. Their languid poses and direct gazes meet our own gaze with a regal and confident air.

Collage, Planting Bulbs I, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Planting Bulbs I is a joyous celebration of swaths of tulips. Tulip bulbs have to be planted in late fall and protected from animals looking for a tasty treat. Bone meal, chicken wire just below the ground and red pepper are some remedies for this. Despite some trouble, the rewards are great. The tulips are cut from previously painted paper allowing the random color of the paper to determine where cuts are made. An illusion of the receding field comes from the careful diminishing size of the flowers. Renaissance artists first perfected this technique of providing three dimensional perspective on a two dimensional surface. The collages of Matisse also provide inspiration.

Collage, Planting Bulbs II, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Planting Bulbs II is a joyous celebration of swaths of tulips. Tulip bulbs have to be planted in late fall and protected from animals looking for a tasty treat. Bone meal, chicken wire just below the ground and red pepper are some remedies for this. Despite some trouble, the rewards are great. The tulips are cut from previously painted paper allowing the random color of the paper to determine where cuts are made. An illusion of the receding field comes from the careful diminishing size of the flowers. Renaissance artists first perfected this technique of providing three dimensional perspective on a two dimensional surface. The collages of Matisse also provide inspiration.

Collage, Blackbirds, 51x36, $3,000.

51 x 36 inches, Collage on Oil Paper

Blackbirds takes a classic motif in art of a pair of birds, exotic and with extravagantly long tails. One bird presents an offering to the other of a choice berry as they perch on a twisted branch studded with blossoms. Their sweeping tail feathers bend toward one another in another tender gesture of love.

Collage, Coneflowers I, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Collage Coneflowers I and II celebrate one of my favorite flowers, Echinacea. These hardy colorful blooms last into fall and are quite animated with their long stems catching the breeze. The leaves and petals are cut from multihued pieces of painted paper to add depth to these happy flowers.

Collage, Coneflowers II, 35x27.50, $2,300.

35 x 27.50 inches, Collage on Oil Paper, Framed

Collage Coneflowers I and II celebrate one of my favorite flowers, Echinacea. These hardy colorful blooms last into fall and are quite animated with their long stems catching the breeze. The leaves and petals are cut from multihued pieces of painted paper to add depth to these happy flowers.

Collage, End of Season, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage, End of Season is a landscape with distant hills behind a patch of late blooming colorful Cone Flowers. Pods of pants that have lost all blooms nod toward the Echinacea in greeting. Random colors of painted paper served as the cut shapes in this composition.

Collage, Mixed Bouquet I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Mixed Bouquet I and II are my renderings of a gift of flowers brought to the studio by a friend and fellow painter. Various colored papers along with painted card stock are cut to form the flowers and the water in the vase is indicated by subtle curves and an oval of delicate blues.

Collage, Mixed Bouquet II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Mixed Bouquet I and II are my renderings of a gift of flowers brought to the studio by a friend and fellow painter. Various colored papers along with painted card stock are cut to form the flowers and the water in the vase is indicated by subtle curves and an oval of delicate blues.

Collage, Amarylis and Cactus, 23x30, $1,500.

23 × 30 inches, Collage on Oil Paper

Collage, Amaryllis and Cactus shows two blooming indoor plants that also feature in a painting “Two Black Chairs”. These interior scenes reference a long line of interiors by artists such as Fairfield Porter, Nell Blaine and Matisse. Collages emphasize the negative shapes and force the distillation of complicated forms to simple elements.

Collage, Pink Dogwood, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Pink Dogwood and White Dogwood have branches spilling down the length of the paper with the native dogwood trees shown in full bloom. The pink blooms tend to be smaller than the showy white but each have the dark mounded centers and four petals. Negative spaces become as important as the subject matter. The long branches are extremely difficult to place on the paper once the glue has been applied and I needed a second set of hands to hold one end up while I let the shapes gently settle on the paper.

Collage, White Dogwood, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Pink Dogwood and White Dogwood have branches spilling down the length of the paper with the native dogwood trees shown in full bloom. The pink blooms tend to be smaller than the showy white but each have the dark mounded centers and four petals. Negative spaces become as important as the subject matter. The long branches are extremely difficult to place on the paper once the glue has been applied and I needed a second set of hands to hold one end up while I let the shapes gently settle on the paper.

Collage, Potting Shed I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Potting Shed I shows a sunny window where a begonia is waiting to be divided and two recent divided sprigs of Christmas cactus are growing. The random colors of paint guided me as I cut the shapes for the clay pots and then darker shadows were added just under the rim of each pot. Randomness shows in the branches of cactus and well as the color of the begonia leaves. The spots on the begonias were added with paint once the collage was finished. Beloved Ranunculi are in a glass with the water line indicated by curves of cut paper.

Collage, Pachysandra and Sweet William I, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Pachysandra and Sweet William I and II are a love poem to my father whose name was Bill. I always try to have Sweet William in my garden wherever I have lived. The greens are cut from two tones of a construction paper with good colorfast properties and the petals are heavy card stock I painted prior to cutting. The knobby stems and delicate leaves form a nice pattern on the page topped by the pink hats of the blooms. Pachysandra, which has fallen out of favor as it is suspected of being a carrier of boxwood blight, has fallen out of favor as a ground cover but it was a favorite for shade areas for a long time.

Collage, Pachysandra and Sweet William II, 30x23, $1,500.

30 x 23 inches, Collage on Oil Paper

Collage Pachysandra and Sweet William I and II are a love poem to my father whose name was Bill. I always try to have Sweet William in my garden wherever I have lived. The greens are cut from two tones of a construction paper with good colorfast properties and the petals are heavy card stock I painted prior to cutting. The knobby stems and delicate leaves form a nice pattern on the page topped by the pink hats of the blooms. Pachysandra, which has fallen out of favor as it is suspected of being a carrier of boxwood blight, has fallen out of favor as a ground cover but it was a favorite for shade areas for a long time.

Pink Dawn I, 30x23, $1,500.

30 x 23 inches, Mixed Media on Oil Paper

Pink Dawn I celebrates a variety of climbing rose known for its masses of blooms. They are a favorite snack of horses if grown along a fence where the horses can reach.

Field of Poppies I, 30x23, $1,500.

30 x 23 inches, Oil and Oil Stick on Oil Paper

Field of Poppies I and II are oil stick on Arches Oil Paper and retain the immediacy of being in the presence of these ephemeral garden visitors. The papery petals are well suited to being depicted on paper allowing the white to come through capturing the translucent nature of the petals. The leaves dance and wave, not sitting still long enough to be caught in any one position.

Field of Poppies II, 30x23, $1,500.

30 x 23 inches, Oil and Oil Stick on Oil Paper

Field of Poppies I and II are oil stick on Arches Oil Paper and retain the immediacy of being in the presence of these ephemeral garden visitors. The papery petals are well suited to being depicted on paper allowing the white to come through capturing the translucent nature of the petals. The leaves dance and wave, not sitting still long enough to be caught in any one position.

Collage, Fruit, 30x23, $1,500.

30 x 23 inches, Collage on OIl Paper

Collage Fruit and Vegetables are joyous celebrations of life in the kitchen. Pre-painted papers in random colors were carefully considered as I cut the shapes using the subtle changes in color to enliven each object. Everything is carefully lined up in rows referencing old charts with illustrations of types of fruits or vegetables. The knives and cuts and parings indicate that cooking work is going on echoing the cutting of the paper to make art.

Collage, Oranges, 10x7.50, $200.

10 x 7.50 inches, Mixed Media and Oil Pencil on Arches Oil Paper, Framed

Collages Oranges, Lemons and Apples are cut from abstractly painted papers. They are on a reflective surface indicated by the colored shadows beneath each piece of fruit. Each piece glows with energy and tensions is created by the careful decisions to place each piece of fruit just near, touching or overlapping one another.

Collage, Lemons, 10 x 7.50, $200.

10 x 7.50 inches, Mixed Media and Oil Pencil on Arches Oil Paper, Framed

Collages Oranges, Lemons and Apples are cut from abstractly painted papers. They are on a reflective surface indicated by the colored shadows beneath each piece of fruit. Each piece glows with energy and tensions is created by the careful decisions to place each piece of fruit just near, touching or overlapping one another.

Collage, Vegetables, 30x23, $1,500.

30 x 23 inches, Collage on OIl Paper

Collage Fruit and Vegetables are joyous celebrations of life in the kitchen. Pre-painted papers in random colors were carefully considered as I cut the shapes using the subtle changes in color to enliven each object. Everything is carefully lined up in rows referencing old charts with illustrations of types of fruits or vegetables. The knives and cuts and parings indicate that cooking work is going on echoing the cutting of the paper to make art.

Collage, Apples, 10x7.50, $200.

10 x 7.50 inches, Mixed Media and Oil Pencil on Arches Oil Paper, Framed

Collages Oranges, Lemons and Apples are cut from abstractly painted papers. They are on a reflective surface indicated by the colored shadows beneath each piece of fruit. Each piece glows with energy and tensions is created by the careful decisions to place each piece of fruit just near, touching or overlapping one another.

Greens and Pinks, 21x17, $800.

21 x 17 inches, Mixed Media on Paper, Matted and Framed

Greens and Pinks suggests a landscape seen from above with trees above a watery landscape or it could be a still life of organic matter on a colorful cloth. The energy of the piece emanates from the center in a exuberant celebration of nature.

Red and Green, 17x21, $800.

17 x 21 inches, Mixed Media on Paper, Matted and Framed

Red and Green is an abstract of shapes and colors nudging one another that may suggest fruit nestled in a bowl or a landscape lush with plantings. The painting doesn’t quite resolve itself leaving it open to interpretation from the viewer.

Daffodils in a Bowl I, 30x23, $1,500.

30 x 23 inches, Mixed Media on Oil Paper

Daffodils in a Bowl I and II follow the progression of making a picture from the suggestion of a chalk drawing at the top, actually oil stick on a painted black rectangle and moving to more opaquely painted sections including the bowls. It is night and the daffodils act as little suns emanating light from within.

Daffodils in a Bowl II, 30x23, $1,500.

30 x 23 inches, Mixed Media on Oil Paper

Daffodils in a Bowl I and II follow the progression of making a picture from the suggestion of a chalk drawing at the top, actually oil stick on a painted black rectangle and moving to more opaquely painted sections including the bowls. It is night and the daffodils act as little suns emanating light from within.

Golden Flowers, 24x18, $900.

24 x 18 inces, Mixed Media on Bienfang Paper

Golden Flowers is on one hand an abstract representation of luminescent flowers perhaps in moonlight. Look again and read them as people, three in the center with tender arms reaching to hold one another, a pair of lovers kissing on the right and a lone spectator on the left.

Morning Walk I, 16x11, $800.

16 x 11 inches, Mixed Media on Paper, Matted

Morning Walk I and II are small paintings capturing the magical time of day when the sky is just beginning to lighten and things in the landscape remain indistinct. Dark shadowy areas give way to a luminous pink sky.

Morning Walk II, 16x11, $800.

16 x 11 inches, Mixed Media on Paper, Matted

Morning Walk I and II are small paintings capturing the magical time of day when the sky is just beginning to lighten and things in the landscape remain indistinct. Dark shadowy areas give way to a luminous pink sky.

Fall Afternoon, 24x18, $900.

24 x 18 inches, Oil and Oil Stick on Bienfang Paper

Fall Afternoon is an abstract landscape showing the fields, plants, fences and mountains of rural Virginia. The sun is setting burnishing the sky gold and turning the mountains into a vibrant green gold. The repetition of circular shapes reminds of the the circle of life with the seasons following on after another.

Pelargonium I, 18x11.75, $800.

18 x 11.75 inches, Mixed Media on Bienfang Paper

Pelargonium I and II illustrate branches of this fragrant geranium which emit distinct fragrances from the oil in the plants. They are used in teas, herbal remedies and to ward off mosquitos. These small paintings reference botanical drawings with their close observation of the leaves and stems.

Pelargonium II, 18x11.75, $800.

18 x 11.75 inches, Mixed Media on Bienfang Paper

Pelargonium I and II illustrate branches of this fragrant geranium which emit distinct fragrances from the oil in the plants. They are used in teas, herbal remedies and to ward off mosquitos. These small paintings reference botanical drawings with their close observation of the leaves and stems.

Orchard Walk, 24x18, $900.

24 x 18 inches, Mixed Media on Bienfang Paper

Orchard Walk fives us a row of trees with mountains in the background all reflected in water in the lower half of the painting. It is hard to know just where the mountains and sky meet or where the water meets the land in this luminous and somewhat hazy landscape.

Lunch in the Park, 23x30, $1,500.

23 x 30 inches, Mixed Media on Oil Paper

Lunch in the Park abstracts the sidewalks, trees and plantings of a city park, seen from above. One imagines meeting a friend away from the busy city streets to share a sandwich on a shady bench.

Two Figures in the Landscape, 27x22, $900.

27 x 22 inches, Mixed Media on Oil Paper, Matted

Two Figures in the Landscape show two circular heads with the taller one leaning tenderly toward the other. They meld with the landscape and the red circles on the right could be buttons on a shirt or flowers on a field. The figures dissolve and reappear representing for me loved ones lost in death but present all around me in nature.

Winter Trees II, 30x23, $1,500.

30 x 23 inches, Mixed Media on Oil Paper

Winter Trees II uses earthy colors of tan, gold, dusky lavender and steely blues to depict a landscape punctuated by lashes of purple barked bare trees. The trees were painted first and the landscape carefully fitted around them leaving a halo around the branches suggesting light glinting off of the branches.

River Walk I, 30x23, $1,500.

30 x 23 inches, Mixed Media on Oil Paper

River Walk I with its diagonal slashes in the sky and fields suggests strong wind gusting through the trees tossing the leaves and rippling the reflections in the winding stream. It suggests early spring with clear air and warm sunlight mitigating the harsh breezes.

Cows in Winter, 23x30, $1,500.

23 x 30 inches, Mixed Media on Oil Paper

Cows in Winter is the landscape of high North Carolina mountains where I spent a winter next to a cattle farm. The cows become one more dark element against the snow along with the fence posts, trees and rocks. A wan pink winter sky provides light but no warmth. The cattle were fed every couple of days with the bales being dropped at opposite ends of the field from the cattle to get them up and moving to create warmth.

Three Trees, 23x30, $1,500.

23 x 30 inches, Mixed Media on Oil Paper

Three Trees has exuberant staccato marks of oil paint. It is painted on Arches Oil Paper, a heavy stock infused with gesso as it is made freeing artists to paint directly onto it with oil. The trees were painted first and the subtle background of pink hills was carefully added around the tree shapes giving a light-infused feeling to the leaves and branches.

A Visit to The Park I & II, 5x7, $125. Each

Each 5 x 7 inches, Acrylic and Collage on Canvas Board

A Visit to the Park I and II uses previously painted bits of brightly colored papers against vivid green. These postcard sized works use some found die-cut paper to suggest a fence.

Chroma Postcard I & II, 3.50x5.50, $100. Each

Each 3.50 x 5.50 inches, Collage on Standard Issue Postcard, in Acrylic Standing Frame

Chroma Postcard I and II were a Covid era lockdown project using collage. The words reflect thoughts of life and death and the turbulent time of isolation. The stars still shine and things are in bloom symbolizing life renewing itself. The string tied about the panel makes it into a small gift or offering of the promise of better times.

Collage, Spike, 23x30, $1,500.

23 x 30 inches, Collage on Oil Paper

Collage Spike was in reaction to some dire life events making me want to create a very fierce dog to ward off all evil. No matter how hard I tried this dog refused to be fierce but rather looks like an imposter trying to look tough by raising his hackles and attempting to frown. I named him Spike to inspire him to try harder not to look like the funny, gentle soul pictured.

Monotype, Rocking Chair, 15x11, $350.

15 x 11 inches, Framed

Monotype, Rocking chair depicts the front room of my house that became my studio because of the abundant sunlight. The shutters are open allowing the chair and easel to be lit by the beam of light.

Monotype, Trash Cans, 15x11, $350.

15 x 11 inches, Framed

Monotype, Trash Cans shows shiny plastic wheeled trash cans beside a garage in an alley in Richmond’s Fan District. These cobbled-stoned alley ways were a visual feast for an artist with tiny garden plots, collections of cast off objects and various gates and doorways into backyards of townhouses.

Monotype, After Bellows (Boxing Ring), 13x20, $350.

13 x 20 inches, Framed

Monotype, After Bellows reduces this dynamic painting into black and white heightening the tension as two boxers compete in the ring. The ropes of the ring hold everything into place above the silhouetted heads of spectators.

Monotype, Footed Coffee Mug, 15x11, $350.

15 x 11 inches, Framed

Monotypes Footed Coffee Mug, Book, Coffee and Chocolate are small intimate glimpses into life in the studio with the press pot for coffee, the coffee vessels and sterling spoons. A chocolate wafer with its lines is repeated int he lines of the pages of the book behind the coffee cup.

Monotype, Book, Coffee and Chocolate, 15x11 (First Pull), $350.

15 x 11 inches, Framed (First Pull)

Monotypes Footed Coffee Mug, Book, Coffee and Chocolate are small intimate glimpses into life in the studio with the press pot for coffee, the coffee vessels and sterling spoons. A chocolate wafer with its lines is repeated int he lines of the pages of the book behind the coffee cup.

Monotype, Book, Coffee and Chocolate, 15x11 (Second Pull), $350.

15 x 11 inches, Framed (Second Pull)

Monotypes Footed Coffee Mug, Book, Coffee and Chocolate are small intimate glimpses into life in the studio with the press pot for coffee, the coffee vessels and sterling spoons. A chocolate wafer with its lines is repeated int he lines of the pages of the book behind the coffee cup.

Monotype, Vermeer's Letter, 15x11, $350.

15 x 11 inches, Framed

Monotype, Vermeer’s Letter is a study of Vermeer’s use of passages of negative space, the wall behind the girl, punctuated by areas of profound activity with the girl’s hands, dress, the letter and the pole of the tapestry coming together in one tiny space. This exercise taught me a lot about allowing air into a painting. A sense of drama is added by the light pouring into the space from a single source.

Monotype, The Letter, 15x11 (First Pull), $350.

15 x 11 inches, Framed (First Pull)

Monotype, Vermeer’s Letter is a study of Vermeer’s use of passages of negative space, the wall behind the girl, punctuated by areas of profound activity with the girl’s hands, dress, the letter and the pole of the tapestry coming together in one tiny space. This exercise taught me a lot about allowing air into a painting. A sense of drama is added by the light pouring into the space from a single source.

Monotype, The Letter, 15x11 (Second Pull), $350.

15 x 11 inches, Framed (Second Pull)

Monotype, Vermeer’s Letter is a study of Vermeer’s use of passages of negative space, the wall behind the girl, punctuated by areas of profound activity with the girl’s hands, dress, the letter and the pole of the tapestry coming together in one tiny space. This exercise taught me a lot about allowing air into a painting. A sense of drama is added by the light pouring into the space from a single source.

Monotype, Studio Window, 15x11 (First Pull), $350.

15 x 11 inches, Framed (First Pull)

Monotype, Studio Window is a nod to Vermeer’s Letter using my own first studio as the setting. We see again a single source of light picking up the edge of a pot on a filing cabinet, a sink and faucet and the edge of a table with unwrapped pastries in a box. Our eye is drawn by the light across the room from upper left to lower right while being held in place by the deep shadows.

Monotype, Studio Window, 15x11 (Second Pull), $350.

15 x 11 inches, Framed (Second Pull)

Monotype, Studio Window is a nod to Vermeer’s Letter using my own first studio as the setting. We see again a single source of light picking up the edge of a pot on a filing cabinet, a sink and faucet and the edge of a table with unwrapped pastries in a box. Our eye is drawn by the light across the room from upper left to lower right while being held in place by the deep shadows.