Work by Patricia Buck

Work samples

Installation: Genetics/Memetics
- Installed at Pirate Gallery, 1998, Denver, CO . Dimensions: 36'L.x 15'W x 30'L x 18'W
- Installed at Art-O-Matic, 2002, 401 M St. SW, Washington, DC. Variable dimensions: 36'Wx13'W by 44'Lx13'H.
Available for Purchase

Limited edition prints (24”H x 36”) on vellum of the original wall collages are available. Examples of these prints are seen within this project, and can be viewed in the artist's studio by appointment. Also, specific portions of the Genetics/Memetics graphics can be selected, cropped, and printed as stand-alone images.
Big Women Series: Not a Flower

Not a Flower, Big Women Series, 1997. Acrylic on canvas, 65"H x 60"W.

Available for Purchase

Not A Flower, acrylic on canvas. 65"H x60"W.

Giclee prints of this image can be printed on canvas or fine art paper in sizes to suit your wall space. Contact the artist for details.
Fat man floating.

Fat man, floating. 2019. Oil on canvas, 8"H x 10"W. SOLD

Available for Purchase

Giclee prints on stretched canvas, or printed on fine art paper of this painting are available in sizes from 8"H x 10"W up to 24"Hx30"W. Examples of finished Giclee canvas and fine art paper prints are available to view in my studio. Contact Patricia for additional information.
Chopped.

A tree trunk with a hole in it has had two branches loped off.

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About Patricia

Howard County

Patricia was born and raised in
Baltimore, Maryland.

She attended University of Md,
College Park, and earned a
BFA in Studio Art and
a minor in art history.

In 1983, she moved to Washington,
DC and established a studio.

Patricia was active in the
Washington Women’s Art
Center from 1981 to 1987, with
work exhibited and catalogued
in shows juried by Linda Roscoe
Hartigan, MaryBeth Edelson,
and May Stevens… more

View Patricia's Resume

Water

Water has a metaphorical and spiritual significance for me. It can be a mirror, or as in the ocean, a realm unto itself. The power inherent in storms can make them a destructive force of nature, water in rivers becomes a of means of transport or commerce, or in with hot springs and pools, it becomes a way to make social connections. These paintings express some of the pleasure, or fear or anxiety folks might associate with water.

Amsterdam.

Amsterdam. Oil on canvas, 8"H x 10"W.

Walking near a canal in Amsterdam in 2004, I saw a capsized boat. It was classically constructed, not a flat bottom, but a graceful hull with ribs arching from the spine. Most disturbing to me, it was abandoned. I photographed the boat with the first cell phone I owned, and carried that image for more than fifteen years, before I painted it. This image still resonates with me.

Available for Purchase

Oil on canvas. 8"Hx10"W.

Affordable Giclee prints of this work are available in equivalent or larger sizes as a stretched canvas Giclee, or Giclee print on fine art paper. Contact the artist to discuss affordable Giclee pricing in your preferred size.
The Middle Passage.

The Middle Passage, 1995. Mixed media on paper, 24"H x 24"W.

This composition is a birds-eye view of the 'Gold Coast' on the African continent, where enslaved Africans were imprisioned, and held for transport across the ocean to other continents.

Water surrounds the coast, and an historic diagram of the cross section of a slave ship reveals how human bodies were packed in side by side. This diagram intersects the continent, and bloodied handprints are imposed on the painting indicating culpability for trafficking enslaves peoples. Photocopies of dried orchid flowers are collaged onto the map representing future generations lost during the voyages.

Available for Purchase

The Middle Passage, original mixed media on paper. 24"H x 24”W. Framed size 30" x 30".

Giclee prints are available on stretched canvas or, as a Giclee print on fine art paper. Contact the artist to discuss Giclee pricing in your preferred size.
Waterborne.

Waterborne. 2019. Photograph on aluminum panel. 36"H x 30"W

This is one from a series of one hundred photographs taken during sunset on a reflecting pool. The mirrored surface undulated, continually changing, in a series of never-ending, mesmerizing patterns.

Available for Purchase

This series is available printed on aluminum panels or as Giclee prints on stretched canvas, or as fine art prints on paper. Sizes as large as 30"H x 24"W are available. Examples of the prints on metal and fine paper can be seen at the artist's studio.
Just swimming.

Just swimming. 2018. Oil on canvas, framed. 12”H x 9”W.

Available for Purchase

Original oil on canvas, framed in a bleached white oak float frame.

Contact the artist to view the work in her studio. Giclee prints of this image are also available in a variety sizes. Contact the artist to learn about pricing in your preferred size. Choose from stretched canvas Giclees or Giclee prints on fine art paper in a size to accomodate your home or office.
Water study.

Water study, 2022. India ink and acrylic on paper. 50”H x 38”W.

Available for Purchase

Water study, acrylic on paper, 50”H x 38” W, unframed. Collection of the artist.

Giclee prints of this image are available in a variety sizes. Contact the artist to learn about pricing in your preferred size. Choose from stretched canvas Giclees or Giclee prints on fine art paper in a size to accomodate your home or office.
Redhead.

Redhead, 2018. Oil on canvas, 8”H x 10”W. SOLD.

Available for Purchase

Giclee prints of this image are available in a variety sizes. Contact the artist to learn about pricing in your preferred size. Choose from stretched canvas Giclees or Giclee prints on fine art paper in a size to accomodate your home or office.
Floating.

Floating, 2019. Oil on canvas. 10"H x 8"W. SOLD.

Available for Purchase

Fine Giclee prints of this painting are available on canvas, or printed on fine art paper. This image can be enlarged up to 25"Hx30"W to suit your space. Contact the artist to discuss pricing your preferred size of an affordable Giclee.
Fat man floating.

Fat man floating, 2019. Oil on canvas, 8"H x 10"W. SOLD.

Available for Purchase

Fine Giclee prints of this painting are available on canvas, or printed on fine art paper. This image can be enlarged up to 25"Hx30"W to suit your space. Contact the artist to discuss pricing your preferred size of an affordable Giclee.
Reading

Reading, 2019. Oil on canvas. 8"Hx 10"W.

Available for Purchase

Fine Giclee prints of this painting are available on canvas, or printed on fine art paper. This image can be enlarged up to 25"Hx30"W to suit your space. Contact the artist to discuss pricing your preferred size of an affordable Giclee.
Ladies at the Hot Springs, Canada.

Ladies at the hot springs, Canada, 2020. Oil on canvas, 9”H x 12”W.

Available for Purchase

This original painting on canvas is available.

Fine Giclee prints of this painting are available on canvas, or printed on fine art paper. This image can be enlarged up to 25"Hx30"W to suit your space. Contact the artist to discuss pricing your preferred size of an affordable Giclee.

Photography.

Photographs, 2004 to present.

Photography interests me as a medium because it encapsulates one moment frozen in time. During the late 80's I was included in a tour of William Christenberry's studio in Washington. His photography documenting the South, particularly "the disappearing South." His photographic story-telling confirmed for me how quickly cultural transition occurs.

Yellow boots with mud.

Yellow boots with mud. Photograph, 2017. 10"Hx8"W.

Photograph was taken during the American Visionary Museum's Kinetic Sculpture Race, 2017.
Elevator security.

Elevator security. Photograph, 2019. 14"Hx11"W.
The Last Snow.

The Last Snow. Photograph on aluminum panel, 2017. 26"H x 30"W.

Seasonally, I document transitions in the landscape at Brighton Dam. This photograph of a meandering river at Brighton Dam, after a late spring snow emphasizes how the river turned into to a ribbon of black.

Available for Purchase

Giclee prints are available on canvas, or on fine art paper, and the photograph can be printed on aluminum panels in sizes to accommodate your space. Contact the artist for pricing.
Chris at Thanksgiving, Savannah, Ga.

Chris at Thanksgiving. Photograph, 2017. 14"x11".
Boarman's at night.

Boarman's at night. Photograph on aluminum panel. 2017. 20"Hx 30"W.

Available for Purchase

Available as a print on aluminum panel, 24"Hx30"W; or as a Giclee print on canvas, 16"H x24"W with 3/4" stretchers, delivered to your door.
Blue woman.

Blue woman. Photograph on aluminum panel, 2017. 30”Hx20”W.

Available for Purchase

Available as a glossy print on an aluminum panel, 30”Hx 20”W. Available for viewing at the artist's studio.
Hedges with edges, Victoria, Canada.

Photograph, 20"H x 30"W.

We were driving down a street in Victoria, Canada, when I noticed these hedges. I was agog that someone cared deeply enough to maintain their symmetry. They were sculptures unto themselves.
Man on the subway.

Man on the Subway, photograph, 2018. 30”Hx20”W On the subway in New York, there was a man who was exceptionally thin. His nose was running, and he repeatedly touched his hankerchief to his nose. His fingers were graceful, and I wondered where he was going, and what his life was like.
Girls.

Girls, photograph. Variable size.
Made in China.

Made in China, photograph. 2017. Variable size.

Genetics/Memetics

This work evolved from the word “memetics”. I hadn't heard the term before and it was 1998. Google wasn't a search engine, yet.

The word arrived, tumbling out of a thought bubble of ideas hanging out in the ethers.

I researched the word and found a science exploring the transference of information.

Merriam-Webster cited first use of the term 'Memetics' in 1984.*

Wikipedia identifies "Memetics is a theory of the evolution of culture based on Darwinian principles with the meme as the unit of culture. The term "meme" was coined by biologist Richard Dawkins in his 1976 book The Selfish Gene,[1] to illustrate the principle that he later called "Universal Darwinism". All evolutionary processes depend on information being copied, varied, and selected, a process also known as variation with selective retention. The conveyor of the information being copied is known as the replicator, with the gene functioning as the replicator in biological evolution. Dawkins proposed that the same process drives cultural evolution, and he called this second replicator the "meme," citing examples such as musical tunes, catchphrases, fashions, or technologies. Like genes, memes are selfish replicators and have causal efficacy; in other words, their properties influence their chances of being copied and passed on. Some succeed because they are valuable or useful to their human hosts while others are more like viruses."**

Today, the word 'meme' is prevalent, but in 1998, it was alien.

By working with the idea, I decided to juxtapose the logic of scientific iconography with an amalgamation of art historical, cultural iconography and medical illustrations.

I constructed a maquette miniaturizing the rooms dimensions. I created two contiguous collages to mimic the parallel the walls in the gallery. I worked for months photocopying images in black and white working them into a humourous mash-up of graphics.

I used scale and monochomatic contrast to represent content that was familiar but became subversive.

Some of the imagery included Albrecht Dürer's (1471-1528) engraving of the ‘Four Witches', which I reduced to three, blowing them up them to seven feet tall, and applying animal cartoon heads on them --drawn by 19th century artist/satirist Grandeville (1803-1847). I also added an illustration of cell mitosis in to one of the witches abdomen.

Another cultural reference was Margaret Bourke White’s photograph of ‘Fallow Field.’ By enlarging the scale it became the pathway for a strolling figure of the human circulatory system. Jimmy Durante's nose was enlarged to a scale of ten feet, and I replaced his eye with a vulva. That strong graphic ended of one wall.

I used multiple illustrations from 18th century fashion magazines and medical journals, including the gestational development of human and sheep embryos, political cartoon figures (by Grandeville, “Les Métamorphoses du jour, 1828”) and other recognizable scientific references, art historical and cultural imagery were essential for the visual to succeed.

A Denver businessman generously supported my printing of 1450 feet of large format vellum panels (each one measured thirteen feet long by three feet wide, and I designed a hanging system to display the panels side by side so the room seemed wallpapered with the imagery.

The installation exhibited at Pirate in Denver, 1998, and later at Art-O-Matic in Washington, DC, 2002. The work received a photo review on the front page of the Style section in the Washington Post.

*'Memetics' - Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/memetics. Accessed 8 Jan. 2025.

**Bibliographic details from Wikipedia for "Memetics"

Page name: Memetics
Author: Wikipedia contributors
Publisher: Wikipedia, The Free Encyclopedia.
Date of last revision: 30 December 2024 03:37 UTC
Date retrieved: 9 January 2025 01:39 UTC
Permanent link: https://en.wikipedia.org/w/index.php?title=Memetics&oldid=1266105036
Primary contributors: revision history statistics
Page Version ID: 1266105036

Genetics/Memetics

Genetics/Memetics is an installation I developed for my second solo exhibition in Denver at Pirate Gallery.

The year is 1998, and the term ‘meme’ was not a commonly used word.
Genetics Memetics
Editioned vellum prints, Genetics/Memetics.

Available for Purchase
Genetics/Memetics, Washington, DC.
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics (detail).

Detail: Genetics/Memetics, installed at Pirate Gallery, Denver, 1997.

The walls in the gallery were painted tomato red. Thirty six black and white large format printed velum panels, each measuring 13'Hx3'W, were hung edge to edge from the ceiling to the floor on the walls, forming a uniform wallpapered environment. Three baroque frames hung against the red wall displayed: 1) the head of the first cloned sheep, Dolly; 2) a mirror reflecting the viewer; 3) an drawing of chromosomes at the door into the gallery.
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics

Gallery walls were painted tomato red. Thirty six black and white large format print velum panels, each measuring 13'Hx3'W were hung edge to edge from the ceiling to floor forming a uniform wallpaper-like environment. On the back wall of the installation hung an image and built a jail-like structure of bars painted black and built an industrial table onto which I set a vintage microscope with glass slides that viewers could place under the microscope to read ironic koans in tiny text.

The Big Women Series

This work exhibited at Pirate, an artist cooperative gallery in Denver.

The exhibition included five large paintings of female body parts or faces interspersed with un-stretched canvases of men's eyes. The starkness of monochromatic tones and contrast in scale were important to the social commentary. Both of those elements would be used in subsequent exhibitions in Denver for Genetics/Memetics, and American Girl War.

Representations of women expressing emotions included Anna Magnani, (Just Laughing), and Maria Callas (One Cannot Be Both), and the oversized vulva (Not a Flower) expressedca struggle to break imposed limitations on my gender by a culture in which I was raised.

Each big painting has transparent, iridescent words stenciled on them.

On 'Doll,' the text is: doll, no breath, no brain, no juice, no life.

'Not a Flower,' has iridescent pink impasto text that becomes thicker as it runs down the canvas in the form of an inverted triangle; it reads:

As a child my mother dressed me in pink…

“surrender the pink” means relinquishing

your virtue. At four I was pressed

into ballet lessons. At six, I was

a bride in a Tom Thumb wedding,

my brother was the groom. No one

questioned the incestuous nature of the

Ritual. By age thirteen

my boyish tendencies so

appalled my father, he

made mother enroll me

in “charm” school.

It was then

that I grasped

how deportment

would serve to

emphasize my

difference.

Just Laughing.

Just Laughing. Big Women Series, 1997. 65"H x 60"W. Acrylic on canvas.

This is a painting of Anna Magnani, an Italian actress who lived life 'large'. In the painting she's having a belly laugh. The sheer iridescent text on the canvas reads:

Mirth Madness Hysteria

Hysteria according to the American Heritage Dictionary of the English Language, 5th Edition* “is a nervous affliction, occurring almost exclusively in women, in which the emotional and reflex excitability is exaggerated, and the will power correspondingly diminished, so that the patient loses control over the emotions..."

Available for Purchase

Acrylic on canvas, unstretched, 65"H x 60"W, $8000.
Man #1872.

Man #1872. The Big Women Series, 1997.

One of seven monochromatic paintings of men's eyes on unstretched canvas.

Available for Purchase

Monochromatic unstretched canvas of a man’s eye hidden partly by shadows. Measures 12”x12”. $500.
Not A Flower.

Not A Flower, The Big Women Series. Acrylic on canvas, 1997, 65"H x 60"W.

'Big Women’ exhibited at Pirate Gallery in Denver, Colorado. This over-sized painting (Not a Flower) has autobiographical text stenciled in thick pink impasto arranged in an inverted triangle over the image. The text reads:

As a child my mother dressed me in pink…

“surrender the pink” means relinquishing

your virtue. At four I was pressed

into ballet lessons. At six, I was

a bride in a Tom Thumb wedding,

my brother was the groom. No one

questioned the incestuous nature of the

Ritual. By age thirteen

my boyish tendencies so

appalled my father, he

made mother enroll me

in “charm” school.

It was then

that I grasped

how deportment

would serve to

emphasize my

difference.

Available for Purchase

Over-sized 65”H x 60”W acrylic painting on unstretched canvas, $10,000.
Man #189

Man #189. Big Women Series, 12"x12", unstretched canvas, 1997.

One of seven monochromatic paintings of men's eyes on unstretched canvas.

Available for Purchase

12”x 12” unstretched canvas. Acrylic painting of a man’s eye, $500
One Cannot be Both (Feminine and Adult)

One Cannot be Both, Feminine and Adult. The Big Women Series, 1997. Oil on Canvas, 65”Hx60”W.

This is an over-sized canvas taken from a press photo of Maria Callas. She was screaming back stage at La Scala after a process server handed her a notice to appear in court. The unrestrained rage on her face captured a private moment of pitched emotion that I understood at a visceral level. The transparent iridescent text stenciled on the painting reads:

One Cannot be Both, Feminine and Adult

which means of course that corseting one’s behavior to fit a cultural norm, restricts your power to be authentically yourself.

Available for Purchase

One Cannot be Both (feminine and adult), Big Women Series. oil on canvas, 65”H x 60”W; $7000.
Man #50655.

Man #50655. Big Women Series, 12"x12" unstretched canvas, 1997.

One of seven monochromatic paintings of men's eyes on unstretched canvas.

Available for Purchase
Being Versus Seeming.

Being vs Seeming, Big Women Series. Acrylic on canvas, 65Hx60"W. 1997

In this painting an over-sized breast with with a row of human sensory organs stacked on the side of the canvas.

Available for Purchase

Acrylic on canvas, 65”H x 60”W unstretched canvas, $3000.
Man #11.

Man #11. Big Women Series, 12"x12" unstretched canvas, 1997.

One of seven monochromatic paintings of men's eyes on unstretched canvas.

Available for Purchase

Unstretched 12”x 12 “canvas painted in monochromatic tones, Man #11. $500
Boy #402822.

Boy #402822. Big Women Series, 12"x12", unstretched canvas, 1997.

One of seven monochromatic paintings of men's eyes on unstretched canvas.

Available for Purchase

Boy #402822. Unstretched painting on canvas, $500.
Doll. No brain. No breath. No juice. No life.

Doll, The Big Women Series. Acrylic on canvas, 65"H x 60"W., 1997.

Transparent, iridescent text on this painting reads:

Doll.

No brain.

No breath.

No juice.

No life.

Available for Purchase

Over-sized painting acrylic on canvas, 65”H x 30”W, $10,000.

American Girl War.

American Girl War, installed at Edge Gallery, Denver, Colorado, 1998.

During the workshop "Photographic Story-telling" at Anderson Ranch, I used autobiographical images of my own making and from the family archive to create a narrative for my "story"

American Girl War.

American Girl War, installed at Edge Gallery, Denver, Colorado, 1998.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg, author of Raised by Wolves and Philip Brookman, curator of New Media at the Corcoran Gallery of Art, in a collaborative workshop on 'Photographic Story-telling'. The result was an autobiographical book of images developed for this installation at EDGE Gallery in Denver CO, 1998.
Room installation: American Girl War

Detail: Acetate panels hang from the ceiling at the installation of American Girl War.

Autobiographical photographs from my childhood and adulthood were used to tell the story. In my collection of fortune cookie 'fortunes' I used one that read, "Nothing is good or bad but by comparison" on the title panel. For me, this articulated a profound inequity that I experienced in our family due to my gender. This installation was cathartic for me as the story of how gender is shaped by culture and family..
American Girl War

American Girl War, installed at Edge Gallery, Denver, Colorado, 1998.

I am known to document my life in photography, and here is photograph of me sobbing uncontrollably from a nightmare in which I discovered my dead brother. He was laid out on a dining room table in my grandparents house.covered by a white sheet. In the dream, I touched his foot, which was cold, and I realized he was dead. The grief of that experience startled me, and I woke up sobbing. This photograph captured that moment, which I never wanted to forget.
Nightmare.jpeg

Detail: Acetate panels hang from the ceiling at the installation of American Girl War.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg Raised by Wolves and Philip Brookman, then curator of New Media at the Corcoran Gallery of Art for their collaborative workshop in 'Photographic Story-telling'. The result was an autobiographical book of images that I developed for this installationat EDGE gallery in Denver CO, 1998.
Detail: Acetate panels hang for the installation of American Girl War.

Detail: Acetate panels hang for the installation of American Girl War.

These vinyl panels, juxtapose a print advertising image of the Maidenform (bra) woman, while the second is a self portrait, unencumbered by restrictive shapers.
American Girl War
Media Assault.

Media Assault, mixed media on paper. 50"H x 38"W. 1994.

Although not included in the American Girl War installation, The following four artworks present a similar experience.

Paintings of the I Ching

A series of nineteen paintings on paper, 40"x26". 1991.

Paintings of the I Ching emerged from the earlier series, Glyphs & Dyptychs which were a study of the separation of heaven and earth or the material juxtaposed with the divine. The work at this time was influenced by artist by Mark Rothko, Ellesworth Kelly, Ad Reinhardt, Kenneth Nolan and Helen Frankenthaler.

All nineteen works exhibited at Arnold and Porter. Sixteen of this series sold.

Po.Splitting.Apart_.jpg

Paintings of the I Ching: Po - Splitting Apart, 1991. Sold

In the midst of creating this series of a woman I knew, and taught in a class on metaphysics committed suicide. No one saw it coming. This painting was about her, and her decision to separate from her body.

Available for Purchase

This painting is available as a Giclee print on stretched canvas or on fine art paper.

Price is dependent on your size and your choice of support.

Please contact the artist to explore pricing.
I Ching: Forest and Iridescence

Paintings of the I Ching: Forest Iridescense, acrylic on paper. 40"x26". SOLD.
I Ching: Magenta Light

Paintings of the I Ching - Magenta Light, acrylic on paper, 40"H x 26"W.

Available for Purchase

In the collection of the artist.

Paintings of the I Ching: Magenta Light. acrylic on paper, $3000.
I Ching: The Infinitesimal Germs of Events

Paintings of the I Ching: The Infinitesimal Germs of Events.
I Ching: House of Orange Fire

Paintings of the I Ching: House of Orange Fire, acrylic on paper, 40"Hx 28"W, 1991.

Available for Purchase

In the artist’s collection, $3000. Mounted on archival paper, mounted in a simple black frame.

Giclee prints of this artwork are available on stretched canvas or fine art paper as a very affordable option. Contact the artist for pricing.
I Ching: Turquoise Light

Paintings of the I Ching: House of Turquoise Light acrylic on paper, 40"Hx 28"W, 1991.

Available for Purchase
I Ching: House of Light

Paintings of the I Ching: House of Light, acrylic on paper, 40"Hx 28"W, 1991.
Paintings of the I Ching: Pastel Light

Paintings of the I Ching: Pastel Light, Pastel on paper, 40"Hx 28"W, 1991.
Climbing the Dragon

Paintings of the I Ching: Climbing the Dragon, acrylic on paper. 40"H x 26"W.
IChingMandala_0.jpeg

Paintings of the I Ching: Mandala, 1992.. 24"H x 24"W. Acrylic on paper.

Available for Purchase

Paintings of the I Ching: Mandala, 1992.. 24"H x 24"W. Acrylic on paper. Framed.

Holding the Sacred

Solo exhibition, Alla Rogers Gallery, Washington, DC, 1991.

Floating Bronze Vessel
Tempest Teacup, 1991

Sold to a collector in Seattle, WA.
Totem Hexagram

Available for Purchase
I Ching Mandala

Available for Purchase
Alchemy - Lead to Ruby

Available for Purchase

This artwork is in the collection of the artist. It is a 50”H x 38” W acrylic painting on Lenox 100 paper, unframed. $2000.
Broken Vessel
Small I Ching with Gold and Lead

Collection of Shea & Gardner Art, Washington, DC
Cover- International Women's Month Report for the World Bank meeting, China. copy 2.jpg
Malkuth.

Malkuth, acrylic and collaged painting on paper. 50"Hx38"W.

The hidden life of trees: photographic studies 2020- present

Trees. Ongoing photographic studies, 2021-present.

For several years, my eyes and my camera have turned to trees, their condition and the life of forests. As artists, we trust our instincts, and we understand we "are the 'canary in the coal mine'. Trees have revealed themselves to me, and I am photographing their condition where ever I go. Although the subject is disparate from any subject before this, I trust there is meaning to it.

I have been feeling the quiet vigilance of trees.

The Maw

The Maw, photograph of a gaping hole in a tree trunk.
Bent.jpeg

Bent, 2025. Photograph.
Hole, nest, food.

Tree hole. Photograph, 2023.

An opening scratched deep into thick tree bark, shows an animal has sought food, or shelter.
A Twist.jpeg

Twist. Photograph, 2025.
Tree skin.

Tree skin. Photograph, 2022.

This tree was photographed in Chadds Ford, PA. The depth of crevices in the bark show years of enduring the seasons.
Swamp oak, Columbia, Maryland.

Swamp Oak. Photograph, 2021.

This great oak (Mother tree) has a trunk more than thirty-five feet in diameter.
Chopped.jpeg

A tree trunk with a hole in it has two branches loped off.
Hug.jpg

Hug, photograph, 2025. A tree has grown a burl that hugs its trunk.
Sentinel.

Sentinel, photograph. 2023.

A tree with no branches remaining, stands silhouetted against the sky.
Cut down in Texas.

Cut down in Texas, photograph, 2024

Figure as Image, Figure as Symbol.

This series was created when I attended the the Corcoran Open Program, for an opportunity to work with Washington Color School artist, Leon Berkowitz. I had experienced a deep emotional trauma, and working with Berkowitz, I was able to release the pain in my work.

The speed and intensity of the 'warm-up' exercises Berkowitz required of his students shows through in these paintings.

Wraith, (self portrait) 1987. Acrylic on paper, 40”H x 26”W.

Wraith (self portrait), 1987. Acrylic on paper, 40”H x 26”W. Exhibited At Touchstone Gallery Figure As Image, Figure As Symbol, and cited in ArtNews.
Both Sides of His Mouth, 1987. Acylic paper. 40”H x 26”W.

Both Sides of His Mouth, 1987. Acrylic on paper, 40”H x 26”W. Exhibited At Touchstone Gallery in Figure As Image, Figure As Symbol, and cited in ArtNews.
Worse Than His Bite

Worse Than His Bite, 1987. Acrylic on paper. 26"H x 20"W. SOLD.
Man with a Dagger, 1987. Acrylic on Lenox paper 40”H x 26”W.

Man with a Daggar, 1987. Acrylic on paper, 40”H x 26”W. Exhibited at Touchstone Gallery Figure As Image, Figure As Symbol, and cited in ArtNews.
Initiation, 1987. Acrylic on paper, 40”H x 26”W. Exhibited at Touchstone Gallery Figure As Image, Figure As Symbol, and cited in ArtNews.
Man in Blue, 1987. Acrylic on Lenox paper 40”H x 26”W.
Soldier of Fortune, 1987. Acrylic on Lenox paper 40”H x 26”W.

Torn Paper and Energy Paintings.

Detail: One Moment in a Day, 1952.

Detail: One Moment in a Day, 1952. Mixed media on paper with collaged torn paper. 63”H x 55”W"
One Moment in a Day, 1953.

One Moment in a Day, 1953. Mixed media and torn paper on paper. 60"H x 55"W.,

My mother, who was born in 1921, was pregnant in 1953 with a third child for our family. The fetus was RH positive. Transfusions were not done at that time. My mother was RH negative. The baby died in utero in the eight month of her pregnancy from hemolytic disease. She had to carry the fetus to term. After the boy was born, she was not permitted to hold or even see the child after its birth.

In knowing her for fifty-nine years before she passed, I believe she didn't recover from that loss. This painting is about the pain of that loss.
Turbulence.

Turbulence, mixed media and torn paper on paper. 20"H x 26"W.
Flaming Form

Sold.
Clearing in the forest, 1983
Demons without Faces II, 1981

Demons Without Faces (30.5”H x 38.25”W diptych) in a New York collection.
Demons Without Faces, 1981

Demons Without Faces (30.5”H x 38.25”W diptych) was purchased by Joseph Hirshhorn at an auction to benefit the Washington Project for the Arts.

The work was bequeathed to the Hirshhorn Museum upon Joe Hirshhorn’s death. The Object Record at the Hirshhorn is .86.661.
Ring of Fire.

Ring of Fire, mixed media on paper with torn paper. 20"H x 26"W.
Sylph.

Sylph. Acrylic on paper, 50"H x 38"W. SOLD
What Noise???

What Noise??? Mixed media on canvas, 63"H x 54"W.