An Interview with Artist Terry Sitz


Terry Sitz is a fellow forum user who also incorporates text into her vibrant yoga-inspired, collage-based work. Getting to know about her work has been like a breath of fresh air and makes me miss the little tastes of yoga I've enjoyed in the past. And learning about why she creates, and the open, earnest way in which she talks about making art, really resonates with me.

Q: Do you make art intuitively, with a hardcore plan, or somewhere in between? 

One of the things I enjoy most about making art is that it is a VERY unconscious journey for me and I learn a lot about myself in the process.  It is very freeing and empowering at the same time.  When I trust my unconscious, I do some of my best art.  So, I start with a rough idea of what I want to create--maybe a sketch, or a poem or struggle that is stuck in my head.  I will often do some very loose sketches…and then ideas come to me when I am not focused on the art-- in a dream, or when I am walking my dogs. Sometimes during a yoga class, I'll be gazing at the ceiling between postures and I start imagining colors that I will use in my work--it's all very fluid.

One of my most recent creations, "Emerging Spirit," started out as me interpreting a poem that touched my heart, but when I sat down to draw--I was very resistant in actually drawing in relation to the poem.  Instead, I began a spontaneous drawing and  I wasn't sure what it was about.   A few days later, I was talking to my husband about the artwork and suddenly,  I burst out crying.  What a surprise.  As I talked, I realized I was drawing about a very painful and yet important struggle of how to mother when your children are young adults…This understanding that my unconscious offered through my art was huge.  The energy flowed and I was alive in the artwork.  It emerged so freely. So in this very detailed answer…my work is completely an unconscious and self explorative process and out of that experience is growth and a wonderful sense of exhilaration.  I feel full when I finish a piece.

Q: What's the one thing you'd like people who aren't familiar with you/your work to know about you? 

When you look at my art, you see me… at my most primal level.   I grew up in a family where secrets were a way of life.  Only recently have I freed myself from those constraints and when I did, art has just danced out of my soul and with it: bold colors, strong people (mostly women at this point), lots of vulnerability.   My art is a window (opened wide) into where I am at the exact moment of each creation.  Sometimes it's the joy of doing yoga, sometimes it's synchronicity, sometimes it's my husband's voice gently guiding me through a tough moment.  And often there is a bit of poetry (these days Rumi) that resonates with my work. 

In the past, I would try to create work that others would like, want to hang on the wall, approve of, etc.  My work was very flat and there was little energy in it.  And then at some point, I just decided to drop the veil and put myself out.  It wasn't the most natural thing for me--but now that I have gone down that path, it is tremendously freeing and it isn't just about my way of creating art, but a way that I am choosing to live.   I am trying to be very present in my life.  Being present has made a huge difference in my art and life.  And it is such a challenge.

Q: Who is your biggest influence and why?  

From a purely artistic standpoint,  I  admire anyone who puts themselves out there--artist, musician, dancer, actor…but as artists, I have always admired Matisse, Picasso and Modigliani.  I like how they broke the rules in ways that were so much against the grain of what was acceptable for their generation. And they all shared the joy in reinterpreting the female form.   I could see  myself as one of les Fauves--if women could have been.   

That said,  when I think of people who have had an influence, I would say my father had a huge influence--he was an engineer who constantly corrected my work to the point that I could not get his negative voice out of my head.   The result:  my art was stiff.  It took decades, but I was able to quiet that negative voice.  And while it's not the journey that I think I would have asked for, having started from that place required me to hear my own very strong voice and become fiercely comfortable with it.  Had he not pushed me so negatively, I think the strength that I now express in my work may have been missing.  I had to find the push back--balancing the strength and yet maintaining my softness.

Q: Yoga is reflected in your work. What role has that played in your art?

I started practicing yoga three years ago as a huge skeptic.  I thought it would improve my spine strength and flexibility.  The biggest surprise is that it really got in my head.  I became a much a more flexible and present person.  I started taking bigger risks in my life and it flowed into my art.  

There is power in learning  to let go of anxiety and to focus on what is starring back at you.  For me that lesson was born in the yoga studio.  When I began to do that, I was able to feel things in a deeper and richer way.  I began noticing the the small pleasures and beauty that surrounded me.  Since I have brought that mindfulness into my life, it has helped me be a more joyful person.  That's reflected hugely in my art.  Some of my work has been born from the joy I felt after practicing, some of the work depicts postures from yoga and some of it is just more free because I am more free. I am convinced that yoga can bring that kind of fullness and creativity to everyone, if they are willing to try--and they can bring it to their writing, their accounting, their parenting, their relationships…it sounds like I drank the Kool-aid, but when your find a very simple source for joy, you want to share it.

Q: What challenges does the DC area present for local artists? 

I have to admit, I am a total newbie to the DC art scene. I have been a closet artist for decades--friends encouraging me to put myself out, but  I stayed hidden.  So it's only this year that I have gone all in. My daughter, who is an aspiring film maker, talked me into doing Artomatic with her and I feel like the Dick Van Dyke episode where Laura opens the inflatable raft--once it's out of the box, it's out of the box.  I jumped in with both feet.  Artomatic was a wonderful experience--from there I was invited to do a solo reception at Bikram Yoga Bethesda.  The owner, John and I, jumped into putting together a really tight show and we had a turnout of more than 150 who stayed most of the night.  I had produced archival pigment prints with Old Town Editions--outstanding printmakers--and had a really great response and also included some of my blog writings in the show.

So long answer to say, I don't know enough to really speak about the local art scene, except to say that you must have lots of energy and a good plan to get yourself out to the greater community.  There are so many talented artists in DC and my challenge now is gaining a foothold/finding the right venues for my work.  I have a marketing background so I understand some of what is required, but there the art world still has it's mysteries for me.  

I would like the opportunity to meet more artists.  Art can be such a solitary existence and those connections are important and I need to find the places to do that and make the time.  

Q: A lot of artists have that one piece in their studio that they would never ever sell. Tell us about yours.

My favorite, nfs piece is Surrender (above).  I have it hanging in my sunroom near my dining table and visible from my kitchen.  It's the piece of a woman lounging nude, but snuggled under a blanket, starring outward.  Kind of exposed, yet hidden (sound familiar?). She looks straight at me--through me--and has a look on her face that is both vulnerable and confident.  The word "surrender" scrolls down her back.  When I look at her, I feel peace--and it reminds me to let go of the angst that I can grind through during my day… I feel that every time I look at her.  I created prints of the piece and I have heard the same feedback from several of the people that purchased it.  So, Surrender will stay with me.
Thank you, Terry, for sharing insights into your process and for making art that radiates beauty and energy! Visit to see more pieces (including my favorite, Restless Spirit). I have a lot to be grateful for this Thanksgiving holiday, and it's connecting with artists like Terry that make my own artistic journey fulfilling. 

Evidence: Install Panoramic Shots


My solo at Studio Gallery opens Wednesday, October 31 (hopefully to drier weather). I don't remember inviting anyone named Sandy to see the show, but she's coming anyway. Maybe she'll be gone by Friday's opening reception.

Major props to Stephen for his help in hanging the show, and to Heather for snapping these panoramic pictures of the show (and helping to unwrap, unwrap, unwrap...) - here are some more installation views. I hope you can drop by!

Video on Process and Content


Stephen and I will be hanging my solo Evidence at Studio Gallery Sunday. Here's a short video about what I do and why.

Evidence will be up from October 31 to November 24, with a First Friday reception Nov. 2 from 6:30 to 8:30pm and another one Saturday, Nov. 10 from 4 to 6pm. Please drop by!

Wines for Art Receptions: A Primer


Artists provide the wine and nibbles at many gallery venues, particularly co-ops. Picking the wine should be an easy, fun process and not something you agonize over. Here are some basics tips, some reliable but affordable brand recommendations, plus some cool artsy labels and high end options.

First off, know your reception. First Fridays (or Saturdays, or Thursdays, etc.) are all about large crowds, if you're lucky. Often viewers often move from venue to venue en masse for a fun no-cost night out. You don't need to dig into the cellar (or deep into your pockets) for this type of event. Think value, crowd pleasers, and the most basic rule of wine no matter the occasion: You should be happy to drink the wine you put on the table, even if it's for a "First" reception. Know that sometimes it's harder to get reds at a low price point. For your non-First receptions where crowds may be smaller, don't be afraid to step it up a bit.

So how much do I buy? Some galleries will stipulate exactly how much wine you need to bring. If not, visit a reception at the venue before your show time comes up so you can gauge how many people attend. Whoever pours for you, whether an intern or a family member or friend, they should know a good rule of thumb for portion control: 3 ounces is best. Get smaller plastic cups so the pour doesn't look stingy.

Size matters. Some venues encourage you to get the big bottles instead of 750 ml ones. But there are drawbacks to 1.5 liters, like if you need to open a fresh one when the night is winding down, wasting the juice. Also, selection of larger bottles is sometimes limited. Often you can find terrific values that are only available in 750s. And don't forget your pourers' wrists, because 1.5s are obviously heavier for non-stop pouring.

Don't get screwed. Look for screwcaps when possible. You might forget a corkscrew, or the one at the gallery since 1986 may be lousy, requiring an intense bottle headlock move from your junior varsity wrestling days that ends up covering you or the floor in Cabernet twenty minutes before your big event. Many quality wines meant to be enjoyed young are sealed with screwcaps these days. They're faster and easier on the hands--and a breeze to seal up at the end of the night for taking home.

Don't be afraid to stray. Chardonnays, Cabernets, Merlots, and Pinot Noirs are the varietals many folks put on the table, but you can find better value in Pinot Grigio, Malbecs, Shiraz, and various red blends. Now for some specific recommendations...

Full disclosure: My husband Stephen works for Total Wine, so many of these are wines available at their stores. He also helped me write this article.

Good "First" reception choices:
  • Canyon Oaks (available in 750 and 1.5)
  • Low Hanging Fruit (available in 750 and 1.5)
  • Santiago Station
  • Reserve St. Martin

Good "non-First" reception choices:
  • Oak Grove, especially Chardonnay, Merlot, and Zinfandel (red)
  • Radius Red Blend
  • Marietta Old Vines
  • Sexy Wine Bomb
  • Chateau de Nages
  • Quinta de Ventolzela QV
  • Garnacha del Fuego (cool flame label, because you know your art is hot)
  • Cloud Break (my favorite Moscato!)
  • Ask your local trusted wine vendor for great values. Keep in mind you can find fantastic Spanish wines from $5 - $10 rated highly by wine magazines. 
  • And you can't go wrong with Cavas for fizzy toasts or just because. They usually range from $6.99 - $9.99.

Fun art-related wines - cool labels. Can get pricey:
Eye Candy from Adler Fels

Look for wines that relate to your work. Again, we may not be in the cheap seats anymore, depending on your budget:
  • Running with Scissors for all you collage artists.
  • Inkling for those of you who drip or splatter.
  • Eye Candy - bright Lichtensteinesque graphics.
  • Stevens Winery - photography/graphic design/handwritten text. I personally want to get some of their An Artistic Thought for my solo exhibit Evidence in October. Self-effacing, stream of consciousness stuff. Perfect for my show:

Special wines that are art-related, but expensive:

So what are you bringing to your next reception?

Evidence at Studio Gallery 10/31 - 11/24/12


I'm getting excited about my solo at Studio Gallery, now under the direction of Nick Vesco. We're glad to have Nick, and wish a fond farewell to Fawna Xiao. The board graciously allowed Stephen to be my curator. I hope you can stop by!

October 31 - November 24, 2012
A one-person exhibition exploring the power of memory.

First Friday Reception:
November 2 from 6:30 - 8:30pm

Artist Reception:
Saturday, November 10 from 4 to 6pm

2108 R Street NW
Washington, DC 20008

Gallery Hours:
Wednesday - Friday, 1-7pm
Saturday, 1-6pm

Acrylic & Charcoal on Canvas
36 x 36 Inches, 2012

New Work: Night Murmurs


A small piece. Small is good for conveying quiet. Like the title implies, it's about those whispers after dark, usually after too many glasses of wine, that you share with someone you love or might want to love. It's about eloquent pauses between your confessions, spaces sometimes filled by the distant hum of outside night noises. It's about those sacred truths laid bare in the cover of darkness and the touches that accompany them. Breath, flesh, bone, and maybe some muffled laughter or even tears.

New Work - June 2012


Give (Remembering the Body) - 16 x 12"
Bridge Burner - 40 x 50"

Really into oranges right now.

An Interview with Gail Vollrath



Tumble by Gail Vollrath was a stop-in-my-tracks-and-stare painting for me at Artomatic. Dense blacks and brown-black (made with tar, I learned after talking with her) sank in deeply. The three light blue lines owned a kind of middle ground, and china marker poked out here and there. The piece offered a playful tension between things solid and ethereal. 

I was captivated.

When I came for air, I asked her if I could interview her. I was delighted that she said yes and not "Please stop breathing on my painting." Go see it in person at the 11th floor, space 265.

What's the one thing you'd like people who aren't familiar with you/your work to know about you? 

People may be surprised that I consider my work to be minimal.  Though the final work may look very complex, most of the movements take place in my head.  No matter the size, it can take a very long time for one piece to come to fruition for that reason.  I let each piece lead me.

Do you paint intuitively, with a hardcore plan, or somewhere in between? 

Well I don’t live my life by a hard core plan, so it seems natural that I don’t work that way.  Everyone works according to their individual temperament.  I have learned that when I trust my thinking (and intuition as you say), things turn out more genuine.  Typically I keep notes in a very small notebook that I carry around.  Some of what I write down is notes on things I hear or see or words or groups of words that sometime become titles for paintings.  Sketching has never been particularly useful for me.

Who is your biggest influence and why? 

I don’t know if I have one big influence.  Living my day tells me what to do and how it needs to be done.  My formal art education was fairly academic and comprehensive and I do try to keep up with what is going on today.  As far as what I tend to look at in galleries, I look at everything: ancient, contemporary, conceptual, drawing, performance, and film.  Reading a variety of books from popular fiction to nonfiction, as well as current periodicals can be hugely influential.  Recently after reading the book and seeing the very popular film, Hunger Games, I have been thinking about the lethal, fabricated dogs that were invented to terrorize the characters and thinking of how elements of those dogs can work as a metaphor for many things that are happening in our world today.  People make up all kinds of things to inflict on others for whatever reason, real or imagined.
A lot of artists have that one piece in their studio that they would never ever sell. Tell us about yours.

Nothing is that precious.  There are pieces that I am a little closer to and I wonder why others have sold before they have, but I am always happy for someone to take something home.  If it can move them in some way, then they should have it.

Thanks, Gail! I'm so glad I saw your work at Artomatic.

Artomatic Faves Part 2


Susanne Kasielke (10th floor, space 145) - Amazing surfaces and here's why: "My way of expressing is abstract while the process of my art is as equally important as the finished painting. I work with handmade paper by using filler and different layers of color (mostly oil). Between those layers of paint I use sandpaper to bring out structure and texture. A painting always starts with one coat of gesso. The combination of sanding and applying layers of paint emphasizes special areas and at the same time it brings out new shapes and forms. Through the layers of paint, the scratching and the sanding every piece of work becomes unique." Lovely presentation: crisp and clean. A complete pro. Visit her website for a portfolio of works on canvas and works on paper.

Julie Wolsztynski (9th floor, space 215) - I recently interviewed her here, so it's probably no surprise that she's become a favorite. She's a fellow artist at Adah Rose Gallery, but we'd only recently met. She's delightful, and her photos show a sensitivity to texture and composition that make me lose myself. Digging her new series Laundromatic Etude (not on display at Artomatic FYI).

Lucio Palmieri (4th floor, space 304) - Quirky, quiet collages from old scientific illustrations. Simple but effective presentation using nails.

Kathryn Trillas (9th floor, space 905 ) - Seductive, precious monotypes. At 5 x 7", Indiana Roads packs a powerful punch. Her header for her Artomatic catalog entry says Landscapes for the Soul. Yes, they are.

Thomas Petzwinkler (10 floor, space 170) - Had some drop-dead gorgeous enlarged photos with rich surfaces mounted in segments/in a grid, but I can't find these at his website and I didn't see him in the Artomatic artists catalog. (Edited to add his new Artomatic catalog link).

Kelly Guerrero (8th floor, space 306) Big sculpture always has presence, but his pieces really resonated with me, stayed in my head. His statement shows why: "I like giving cast-offs a new life and revealing some kind of hidden beauty in the process. My ideas are guided by ruminations over relationships, news of the day, or historical events and the human impulses that shape them all. Even though I may have a specific metaphor in mind, I prefer to leave the resulting forms veiled in some mystery—like a piece of machinery or a tool for which the original purpose has been forgotten." His work doesn't look like he's new to making art, but when I went to look for a website, I was confronted by some beauty pageant tween's site. I want to see more by this artist! Darn.

Same remorse for Elizabeth Brown (10th floor, space 174). (Edited to add her new Artomatic catalog link). Sorry for the fuzzy photo. Loved loved loved this piece/screen of connected doors with two (I think?) lines woven through the screen. God, this was an evocative, refreshing moment for me, standing there, carried back to my childhood with the sounds of these doors slamming shut or shutting softly or easing closed with whiny squeaks. The sounds meant the regret of coming in from outside play or sometimes the rush of coming in to feed my face leftover pieces of dough from my mom's homemade pie crusts. They meant the ticklish stampede of lizard feet over my bare toes as I came outside and roused the critters from their cinderblock home. They meant warm sunshine and four-leaf clovers and maybe something not so lucky, like a water moccasin or two lying in wait. Man...

Okay, enough nostalgia. Other stuff I was digging on.... Bromoil prints by George L. Smyth, the Burning Man image (but I don't think it was full color like the first one here) by street photographer by Luis Rosenfeld, the Comfort Series paintings on carved wood by Ellen Hill, a circular piece with script on paper by Daniel Shay (maybe this one?), tornadoes in vibrant poppy fields on copper by Jeff Wilson, and the massive glove by M. Helene Baribeau.

Stephen and I liked a lot of the same pieces/artists.  Check out his favorites here.

An Interview with Julie Wolsztynski


A fellow artist represented at Adah Rose Gallery, Julie Wolsztynski is a freelance photographer, born in 1984 in France. Her work is eloquent, refined, and evocative. I'm particularly taken by her sensitivity to composition and texture. She attended the Centre Iris for Photographic Arts In Paris in 2008, and arrived in Washington, D.C in 2010 where she now works and exhibits. 

To see more of her work, visit Artomatic 2012 where she's sharing a room space with Angela Kleis (9th floor, room 215) through June 23rd, or visit her website or tumblr site.

What's the one thing you'd like people who aren't familiar with you/your work to know about you?

Woo, that is a hard one! Well, maybe what people should know about me is really what they usually ask about my art: what kind of photography do I do? Which is a fair question. So, what I would say is that I have trouble defining my photography, as much as I have trouble to define myself, as hard as we all have trouble to define ourselves, and it's just fine. Isn't it?

What's your favorite piece from your Artomatic exhibit and why?

The way we see a photograph changes thanks to the support. It’s not the same feeling whether it’s on slide film, a computer, a print or framed on a wall. So, my favorite is “Rue Longchamp #2”, a piece from a series that was supposed to be more supportive than central. But once printed in large size and hung on the wall, I totally rediscovered it, like a second reading. Even though I composed it, shot it and worked on it this picture surprised me, that’s why I like it.

Rue Longchamp #2
Do you make art intuitively, with a hardcore plan, or somewhere in between?

It’s a kind of in between. I would say that generally there are two major steps in my work and the second one does not work without the first. The hardcore plan is a long process with lots of thoughts and questioning but not that much visual conceptualization. I am looking for an idea, a feeling, an answer more than an aesthetic process. When I feel ready, I start to shoot. Then it’s really just about instinct, pleasure and relief. The best part! I guess it’s like in any other field; good preparation is key.

The opposite can also be true and when I am not prepared I can be unable to take a picture because I don’t get the point. That’s basically what happened with NYC, it took me a while before being able to picture it.

Manhattan Sestet
Who is your biggest influence and why?

It could be weird but it’s not a photographer. A good book gives me the desire to write and, a good dish the desire to cook… but it doesn’t work the same with photography. Of course, I do love spending time watching tons of any kind of photographs or photographers I like, such as Duane Michals, Saul Leiter, Sally Mann, Jeffrey Silverthorne and more, but it’s not for a creative purpose. I am more influenced by artists using other mediums. For instance, literature is very important as well as cinema. I often carry memories, colors, and emotions from a film with me when I am taking pictures. 

Spontaneously, I am thinking about “Tricks” from Jakimowski or “The Return” from Zvyagintsev… 
Also, Terrence Malick and Steve McQueen (UK) are the best examples of the kind of film directors that project me onto a very sensitive and creative mood. They both have, in a different way, an accurate sense of timing and poetry. They use amazing lighting and compositions and contribute to make us be able to see the world with a different view even when we are not looking through a lens. At least that’s what they do to me, and that’s what I try to do myself. 

A lot of artists have that one piece in their studio that they would never ever sell. Tell us about yours.

Even though it’s not really a “piece”, there is one thing that immediately answered this question; it’s my Rolleiflex -- an old medium format film camera. This camera is so important to me that I had to mention it…It got broke many times and I sold many cameras when needed but this camera is almost like a part of me (I know it’s so cheesy to say that), I would be unable to sell it. It’s not an inheritance, there is no childhood story behind it, and there are no emotional memories. It’s just my camera. The one I bought with confidence about what I would do and what would be my medium. And every time I take a picture with it I feel confident… Trust me, I protect it like the Holy Grail!

Thanks, Julie, for taking the time to share your process and background! Her work is beautifully mounted with a interesting juxtaposition between warm textures in the actual image and the sleek final presentation. Check her (and Angela) out at Artomatic!

Artomatic 2012 Favorites Part 1


I have to take it all in at Artomatic piecemeal. Here are my faves from the 2nd and 11th floors. There's a lot of gems throughout the building, and many small wonderful pieces very reasonably priced. If you're thinking about collecting, or want to add to your existing finds, this is a great place to spend a day (or two or three). In no particular order...

Joanna Knox Yoder - 11th floor, space 279 - Lush, haunting photos (wet-plate collodion tintypes) of family heirlooms. Loved how she wrote a story beneath pieces. From her Artomatic profile: "All of these photographs were taken in my attic studio where I have a small darkroom set up near my large format camera. It was important to me to photograph these in the attic because the series is about my family heritage." Her website lets you explore a few different series. Photography is usually very strong at Artomatic, so it will be tough to list all the talent in this medium.

Gail Vollrath - 11th floor, space 265 - As an abstract painter, I can be hard to please in this arena. Gail's paintings mixing tar and oil paint blew me away. I could've stood in front of her piece Tumble all night but she was there in her space and, well, I was feeling awkward staring at it for so long. I think for my overall final list I'll do a Top Ten Pieces I Would Buy If I Could. If so, Tumble is on it.

Huguette Roe - 11th floor, space 158 - Another photographer. Loved the Urban Exploration series. I'm a sucker for abandoned buildings and though so many photographers use them as subject matter these days, her sensitivity to cadence -- steel beam beside beam beside beam -- set her work apart.  From her Artomatic profile: "[Abandoned sites] have a soul and an imprint of their decay will keep some of their history in memory.... I grab the complex angles, graphic rhythms and patterns I can discern." If this is your kind of stuff, it's worth it to go through the whole portfolio of 200+ images.

Emily Piccirillo - 11th floor, space 129 -  I'd seen her cloud paintings tied to steel frames online but never in person. What a treat! Top notch handling of materials. I enjoyed the tension between the natural world and imposed structure, plus how the steel lifted the painting away from the wall. She had selected a room, not an open wall, and this really lets the viewer step into an experience.

Marty Ittner - 11th floor, space 104 - I saw quite a bit of engaging encaustic but Marty stands out thus far. Great presentation (loved her takeaway/biz card), and I'm a nut for text. Rich stuff here.

Dana Greaves - 2nd floor, space 161 - Wonderful portraits done in vibrant color with acrylic and charcoal on panel. Loved her use of line too. They drew me in and the surfaces didn't disappoint when I got close. She's another artist I'd like to buy from. My faves are Friend 11, Friend 1, and Friend 10.

J.L. Hussey - 2nd floor, space 122 - Bright and bold tributes to blues musicians. Love the attention given to the frames.

Stephen Boocks - 2nd floor, space 196 - Another cool artist on the 2nd floor, but I might be biased :)

Kudos also to Caitlin Phillips (11th floor, 366), Bob Elliott (11th floor, 357), and Bhaval Shah Bell (2nd floor, 100) for stellar presentation of their work.  Caitlin also has an etsy shop for her whimsical book purses, plus "Naughty Bits" pins made of phrases from trashy romances. Gotta love it!

There were a few others I wanted to write about, but couldn't find much in the way of a web presence. Don't forget to use the Artomatic catalog of artists benefit to at least upload some images and say a few things about yourself. Or take an afternoon and set up a quick/easy/free website like weebly offers. Artomatic is a great opportunity not just to show your work, but to make connections, so be sure to promote yourself effectively. You're in the mix with a lot of other artists, and many know how to market themselves, so let visitors leave with more than just memories of your work.

New Work: Is it May already??


Between travel and a sinus infection, it's a wonder I got anything done this spring, but it's been a productive time. Here's a bunch of the new work. I'll try to circle back and share the background on each piece when I get a chance.

We are all just little birds

Red String (Fortune)

Blank Slate

Pandora's Apology (Hers to Give)

Thaw (Winter came in on a fast horse)

Ligature (Ties That Bind) - Veils Series

Glorious Exultation (The Story of Her Life)

New Work: Past Imperfect


Finally got a chance to watch Touch and was delighted since my expectations were high. The intro drew me right in by describing the Chinese proverb which explains that an invisible thread connects people who are destined to meet and have an impact on each other's lives. I'm also digging on Manuel Lima's Visual Complexity: Mapping Patterns of Information. I've also been sewing the kiddo's Girl Scout patches on, which led me to something new that I finished today...

Past Imperfect
Acrylic, Charcoal, and Cotton Twine on Canvas
50 x 40 Inches

New Opps to Love


Bethesda Painting Awards - due Feb. 24
Artists must be 18 years of age or older and a permanent, full-time residents of Maryland, Virginia or Washington, D.C. All 2-D painting including acrylic, watercolor, oil. gouache, encaustic and mixed media will be accepted. The maximum dimensions should not exceed 60 inches in width. No reproductions. Artwork must have been completed within the last two years and must be available for the duration on the exhibit. Artwork does not have to be for sale. 
More info and application>> 

ArtPark 2012 – Columbia Festival of the Arts - due March 2  Juried, invitational show in June 2012 seeks artisans with original work, representing a breadth of media including functional and wearable art. ArtPark is part of LakeFest, a three-day celebration of the arts at the Columbia lakefront which is free to the public and runs in conjunction with the 2012 Columbia Festival of the Arts. More info and application>>

FEAST at VisArts 2012 - due March 9
FEAST at VisArts (Funding Emerging Art with Sustainable Tactics) hopes to develop a bridge between artists and the community. FEAST is a public dinner designed to use community-driven financial support to democratically fund new and emerging art makers. The first FEAST at VisArts will take place on March 24, 2012 in the Gibbs Street Gallery in Rockville, Maryland. Patrons will give a $30 donation for which they receive supper and a ballot. Diners spend the evening reviewing a series of project proposals and conversing with the artists behind each idea. Attendees cast a vote for their favorite proposal, and by the end of the night, the artist who garners the most votes is awarded a grant comprised of that evening’s door money.

FEAST at VisArts invites artists, thinkers, and organizations to submit proposals for funding for up to $1,000. Project proposals will address the theme of Sustainability

FEAST at VisArts is based on FEAST Brooklyn’s ( model for sustaining artist projects directly through community participation. If you are not familiar with FEAST — please read FEAST Brooklyn’s about page. Another great resource:

EMAIL APPLICATIONS ONLY- E-mail your proposal to:

Learn more>>

It's got it all


Art. Art goers. Drama. Great music.

A little St. Vincent before St. Valentine's.

Our Stories


Our Stories
Acrylic & Charcoal on Canvas
10 x 48 inches


Watched Cave of Forgotten Dreams while my shoulder has been recuperating.  Got chills. Got weepy. This painting is now over our bed, honoring our sleep-time rehashing of our own stories from the day, from our past, for our future. Heather is our only child, the only child from our branch of the family. She's it, no cousins at all. I hope she remembers all our stories when we've left the earth. I regret not knowing what stories of her own she'll be creating when we're gone.

Shows to See


Two great openings happening this coming Saturday, one in DC and one in Frederick. Matthew Langley, formerly of DC but now NY based, has a wonderful blog, so check him out if you haven't already. Jacqui Crocetta will be part of Annmarie Sculpture Garden & Art Center's Living Gallery February 6-12.

Tamar Assaf at Living Gallery


Israeli-born artist Tamar Assaf is participating in the Living Gallery Residency at Annmarie Arts Center in Solomons, Maryland through January 29. She's the kind of person whose passion for making art and life itself comes through in conversation. I believe she'll be working on her abstract bird sculptures during her week as shown in the video below. If you have a chance, stop by and see her. I was hoping to myself, but my mom's having surgery this week and I'm heading down to Virginia. Jacqui Crocetta of Rockville will be participating in there as well February 6-12.

Now living in California, Tamar has a degree in Natural Sciences and her sensitivity to animal forms shines through in her work. I'm a fan of crows. They're smart and have the potential to understand play, maybe even sled. Where I'm heading this week, to my grandparent's farmland, they fill trees by the hundreds, give free rowdy symphonies of caws, and rise up to cover the clouds, little ebony dots stringing out over fields stripped of winter wheat to disappear into the horizon's treeline.