#crossmackenziegallery

Repeated Forms 1, 2024, 30 in h x 24 in w, ink and colored pencil on printed photograph After spending the winter of 2024 taking pictures of the drying leaves and flowers on my studio table, which turned into the photograph series Leaves and Flowers 1-100, 2023-24, I could only imagine myself drawing from the photographs. I am obsessed with natural form because I live in a city. And I want to…

Opening Out, 2011, colored pencil on gouache on rag paper, 42 inches tall x 144 inches wide The first time my work was exhibited at the CrossMackenzie Gallery was in 2012 when the gallery was located on R Street in the DuPont Circle neighborhood. The drawing introducing this post was hung at the back of the long hallway-like space. The drawing invited the viewer to come to it. No one could…

This drawing was created out of the desire to return to the studio after a two-week bout with Covid. Being sick with the virus was the first and only time I had contracted it. The format for the work deals with several elements and patterns I had already used in the past. I dove into my folder of templates to choose the most appropriate. One of the problems I encountered was how to make the…

Way back when somewhere in the midst of 2022, I began the series that I thought would tell the story of my art-making since the 70s. I told the story in The Artful Mind (pages 22-31) that goes like this: In the 90s, I saw a retrospective of the work of Jasper Johns in which he showed a series called The Seasons. It was disliked by the critics. Yet, it was a legitimate and inherently artful way to…

When I started to make these complicated wall-hung relief pieces, I had no idea that I would eventually title them Towards the Light. The title is a metaphor for my Mother’s death, which occurred on April 29, 1999.  The twelve works are each made in three steps. The canvas was made by gluing canvas to a wood frame which was mounted to the outer frame. I made an image with oil pastels on the…

In preparing these drawings for posting, I had to put them through Photoshop in an effort to bring the images back from the depths of poor quality. In doing so, I valiantly tried to read the year written by my signature. I managed to see two years, ’77 and ’79. It made the most sense to assign them all to the year 1979 because in 1977, I did not have a real studio in the small house where my…

A discovery after I made Coloring Book Pages 1-42 was incorporated into the title of that series. The shapes that had been isolated with black ink lines could be seen on their own viably as mere shape, unrelated to the photographic image of which they were a part. So I decided to use a fine line black ink pen to ‘color in’ some of the shapes. I started with the last one, #42, not thinking that I…

It was only after I had dismounted my installation at Installation Space in North Adams, MA that its owner informed her followers that the gallery was closing. Instead the space would be used as a revolving entity to bring visiting artists and the local arts community together. My work was chosen for the last show before the context for the space changed. I feel fortunate that that was the case.…