The following images are of available art that I have discounted for my upcoming studio sale; generally about half of the regular studio price-some even more deeply discounted due to storage and shipping concerns.
My moving sale will be Saturday July 16th, I would love to see folks in person. If you cannot make it certainly reach out to me (cell 310-498-0817) and we can make arrangements . Payment plans considered, my aim is finding new collectors and good homes for my work. Reach out should you have any questions. Sorry to say , pick up only, I am not available to offer shipping right now.
With that in mind, thanks for considering my work.
This is my first of many Temptations, Anthony is a self portrait. Originally listed at $3500.00 now available at $2150.00 (unless my husband asks me to keep it ).
Originally listed at $2100.00, now $1250.00 SOLD
Originally listed at $1600.00, now $450.00
One of the earliest Popol Vuh works, originally listed at $2400.00, now $800.00, handsomely matted and framed.
Icarus is handsomely matted and framed, was $1800.00, now $400.00/SOLD
Large, striking canvas of the Hero Twins,originally $3200.00, now sharply reduced for swift sale $500.00
Definitely NSF , also nicely matted and framed (I keep framers busy), was $1800.00, now $500.00/SOLD
Again, handsome presentation suitable to a Homeric hero, matted and framed, was $1100.00, now $350.00/SOLD
My Hero Twins are also nicely matted and framed and attractively priced, originally $1600.00, now available for collecting $750.00/SOLD
I really like the framing and matting on this work, a playful pink matting adds just the right over the top touch for a mighty macho fellow. Was $1600.00, now $800.00
Of a series of oversized jumping paper dolls, pull his string, he does a little jig. He is a little shop worn (he is cardboard, his right hand slightly wrinkled). He was $500.00, now $150.00
Lavinia and Second Apparition below were part of a series depicting favorite scenes from Shakespeare’s dramas (Titus Andronicus and Macbeth).
Lavinia was $800.00, now $400.00
This scene from Macbeth priced as above, was $800.00, now $400.00
One of my early Mesoamerican themed paintings, Coatlicue the mother of the war god Huitzilopotchtli, frequently compared to the Virgin Mary of the Aztec pantheon. Originally inspired by a dream, initially listed at $1600.00, now $450.00 SOLD
Speaking of the Great War God Huitzilopochtli. this small but mighty painting is a fitting companion to the fiery Madonna and Child above. Was $900.00, now listed at $450.00 SOLD
Early work exploring the mysteries of the Popol Vuh, was $1600.00, now $400.00/SOLD
The very first of what would be many Popol Vuh works, of Hero Twins, Death Gods, Xibalba the Maya Underworld, martyred Maize Gods, this a theatrical mixed media spectacle . Never before listed let alone shown, lets say $400.00
I have quite a few studies and daubs such as Philoctotesabove, most priced at $75.00 or so. I also have quite a few drawings and studies for browsing and most likely gifting.
I hope to see you there, again, the date is Saturday, July 16th, 2022, between 11 am and 3 pm at my studio, 6404 Wilshire Blvd., suite 1030 (not far west from LACMA). The building is locked most of Saturday so give me a ring at 310-498-0817 and I can let you in. I can let you in for parking as well.
I’ve been making art, studio art, after a twenty year career as a decorative painter since about 2015. I started off with much optimism and I’d say hubris as well. I’d had a relatively successful career as a painter of ornamental schemes and I figured if I put in the work , was as, if not more industrious as I had been with commercial work I’d receive some degree of recognition. It seemed a logical conclusion, very American really, hard work equates success.
That optimistic model doesn’t really apply to a studio career , at least in Los Angeles, I’m pretty certain that is the reality near everywhere. So much seems to influence the move from obscurity to recognition, cynically it does seem to be who you know, who recognizes you and to some degree the work itself , personality seems to have a great deal of social capital as well but fundamentally the influence a person has more broadly (how many followers etc.) can propel a career to an astonishing (disheartening) degree. Add to that mix the relatively recent priority given to identity driven art ; the impetus/demand to throw in the correct hashtag, the most desirable identity driven victimhood intersection, proclaim your work queer, non-binary, trans or some such woke jingo and let the clicking begin…or not.
I’ve tried the hash tagging; the sycophancy; the countless, costly exhibition submissions (with ever increasing rejection notices); the social media attention seeking; the snake-oil publicist route; the humiliating schmoozing; the mortification of fawning over gallery owners, museum directors , art critics; even sucking up to artists with more successful careers, all with the hope that a crumb or two might fall my way. Large sums of money have been spent (squandered) on false hopes and empty promises – those claiming to have the secret of success and recognition and are all too eager to exploit that desperation and lighten your purse in the bargain. In my experience most haven’t the wherewithal to actually fulfill their promises-in all reality how could they?
As I depart LosAngeles, I do so with a sad degree of bitterness, disappointment, and increasingly a sense of humiliation – I feel as if I leave with tail firmly between my legs. , I wish that weren’t so. I wish I could say that though disappointing the experience had been humbling but rewarding . It has however been revelatory in a discouraging way, an inclination towards inwardness. Increasingly I am driven to a resignation of solitude. I will continue to make art, most likely smaller works for my new studio is even smaller than my LA studio, focusing on true loves:drawing, stitchery, panel painting in oil, taking up perhaps relief printmaking. But I am recognizing, reconciling, that I must set aside expectation of the work having broader meaning other than personal…and hopefully to a handful of folks.
Of those folks, I count my chum Jodi, another artist, an artist who’s work we collect, who puzzlingly ,also works in relative obscurity.
We love this beautiful person, of such a gentle, generous, forgiving spirit, one who inspires my better nature . Plus she is a quite the artist, we are fortunate to have quite a few of her pieces in our collection, the latest addition Polyphony from her new Bird series. It will be a fitting and most welcome addition to our Chicago home.
Because I do have so many reminders of Jodi’s talent and spirit in my life I hoped to gift her with my own. Gifting art is a tricky issue. I’ve given art to friends before and humiliatingly they’ve returned it!, that was obviously awkward . It is undeniably presumptuous to assume that though one may be friends that they’d necessarily want pieces of your work taking up valuable space in their home, but nonetheless , Jodi and I share a respect for the craft of art making , animals, the land and its conservation and a general sense of being odd ducks so I took the chance.
I had a few pieces that I felt might symbolize that bond, a textile piece The Green Knight (or The Wodewose) and a drawing Rape of Our Mother.
I hadn’t expected Jodi’s squeal when I handed her The Green Knight. Let’s say it was more gratifying than the above mentioned gift return.
Though I am not sure where she will hang the rather cumbersome framed drawing, I do know where my Green Knight reigneth.
So I leave Los Angeles trying to maintain a sense of perspective, naturally prone to a gloomy outcast, I am heartened. By just posting these fond memories gratitude is triggered for the Anam Cara, the soul-friends, the Lord has placed upon my path. Of which, quite lately, I’ve been blessed to meet a new art chum , a talented writer, wit (she is British after all ), incredibly bright and irreverent , she goes by a few names, I call her Saria, however her nom de plume is Scam Likely. She has become a fast friend and one I will also miss a great deal. She popped over for a studio visit recently and I dubbed her with this scepter, she struck a worthy Valkyrie pose.
I heartily recommend her latest book, its quite funny :
In closing I will explain the first image of this long winded post, an early painting initially called Naked Emperor (I have recently decided upon Los Angeles). Early on in my enthusiasm for a life as a studio painter I had work accepted into a group show-at a museum! I was thrilled, this is so easy I told myself, full of vim, vigor and self importance I attended the opening, certain, cringe worthily certain, that my work, certainly brilliant, would get the attention and respect it deserves. Well suffice to say, it didn’t (it also wasn’t very good ). What did however elicit all manner of oohs and aaahs was a really ridiculous , pretty formulaic bit of installation work, a rusty boxspring, wired with old-timey bare light bulbs and, wait for it, suspended from the ceiling. It was as cringeworthy in its bombast as my own self expectant hubris. But the attendees of the awards program were besides themselves in admiration for its brilliance. I felt alone in my incredulity and of course the Emperor and his new clothes came to mind. Next morning I picked up brushes, new to oil, this was one of my first clumsy experiments with my now medium of choice.
(afterthought, the following image of Punch was the above mentioned, not so very good work)
Jodi admired my Emperor and its sentiment so I gifted him as well.
Well it is official, after sixteen years of being in Los Angeles we are at last moving permanently to our home in Chicago. I’ve been griping about Los Angeles for at least fifteen of our sixteen years living here, but as our office manager shows our suite (my husband and I share a commercial space for his practice and my studio) to prospective tenants, our July 31st exit feels all too real and I am feeling unexpectedly blue.
In remembrance of this, my last studio in LA, I felt it fitting to document it right before its dismantling
My Wunderkammer is now either boxed up, crated for shipment, dispersed amongst friends or awaiting an upcoming studio sale. Its a pretty dispiriting place, I am not terribly inspired to even draw. My mind wanders from task to task, fretting as to movers, cargo trucks, cross country logistics…
My reality now is the distinctive tan of cardboard and packing tape.
I next begin packing up the apartment we’ve called home here in LA for the last year or so, the property manager just signed off on our lease this morning and we are now free to head eastward . My husband David is a psychoanalyst and was recently offered the position of president of the Chicago Psychoanalytic Institute, the position officially beginning in the autumn; this incredible opportunity and honor has pushed forward considerably our timeframe for exiting LA. Though excited and very happy for David I am now, after much vocal animosity towards this city, feeling a nostalgia and pining for what never was, for what never happened , for dreams unfulfilled.
But I am letting that go and looking forward to this next phase of our life together; for David certainly exciting , for me, I imagine a bit of the same old same old, working diligently and with full enthusiasm but with little external recognition. That is a difficult reality of being an obscure artist, the existential why of it all. I may work for months, a year or two even, on a piece, and in the currency of our age,I may get perhaps fourteen social media “likes”- pathetic really this pining after validation, but so it is. Artists aren’t different from anyone else, we all want to be liked, our effort valued , our passions validated.
It is a conversation I have with fellow artists that I am close to, those of us fully devoted to our craft but who largely go unnoticed- not quite the correct intersection of fashionable identities it seems. Art made with sincere passion but not capturing the imagination of the easily swayed public can trigger crippling self doubt. The key I hope is in the satisfaction the making brings to its creator, that in the end must have significance.
Or at least I hope so.
I have a new studio in Chicago, in addition to a small home studio (the former service wing of our apartment). The space has what young folks call vibes, good vibes, and I look forward to fitting it out as a cozy den of stitchery, printmaking and panel painting (on a smaller easel scale than I have worked here in Los Angeles); drawings will be the craft practiced at my home studio…my own little drawing room at last!
And remember , if in LA please stop by to my studio sale, payment plans considered, negotiations encouraged, even gifting of work if I like you! My orphans need homes and I seek a fresh start.