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Work Samples

Blue Carbon

Blue Carbon, 2019, Watercolor, archival pigment print on laser cut Arches paper, 30” x 45”  Blue carbon is the carbon captured and stored in wetland ecosystems such as mangrove forests, seagrass meadows or intertidal saltmarshes. The ecosystems are valued
Blue Carbon, 2019, Watercolor, archival pigment print on laser cut Arches paper, 30” x 45” Wetlands are actively advantageous habitats, which store carbon thereby keeping it out of the atmosphere. Depicted here water plants painted in watercolor against a digital photo ground altered by layers of watercolor paint. Holes in the leaves were laser cut before being painting.

Greenbrae Duff

Greenbrae Duff, Watercolor, archival pigmented print on Arches paper and framing Plexiglas, 41.5” 32.5”Watercolor, archival ink jet print on Arches paper and framing Plexiglas, 41.5” 32.5”
Greenbrae Duff, 2019, Watercolor, archival pigment print on paper and Plexiglas, 41.5” x 32.5” Duff refers to the organic matter on the forest floor, which stores vast amounts of carbon, thereby keeping it from being released into the atmosphere. Painted here are leaves dropping against digital photos of a wooded site, heightened with watercolor paint. Drawings of seedpods were printed on the inside of the framing Plexiglas.

Strangler Fig

Strangler Fig
Strangler Fig, 2019, Watercolor on laser cut Arches paper, 39” x 28.5” The Strangler Fig has evolved to invade healthy host by casting seeds from the height of their branches. Roots and limbs grow downward in unlikely patterns. This image was shaped by a laser cutter and painted in watercolor. The ground is a digital photo of strangler limbs and roots heightened by watercolor.

Mangrove Forest

Mangrove Forests
Mangrove Forest, 2017, Watercolor, archival pigment print on paper, framing plexiglas, 31” x 44.75” Mangroves absorb massive amounts of nutrients, thereby improving water purity and providing crucial assistance to both land and aquatic plants and animals. In this work the mangroves are painted in watercolor, pictured against digital photos above and below the water line. Drawings of bathymetric contour lines of the sea bed floor were printed onto the framing Plexiglas.

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About Christine

Baltimore City

Christine Neill's picture
Christine Neill is a nationally celebrated American artist whose work blends motifs of biological examination with visual processes and techniques.  She has exhibited widely while influencing thousands of students over her long tenure as professor at the Maryland Institute College of Art. The effects of environmental changes and invasive species on human life and the reaction of earth’s habitat to these threats underlie all her images.

Endangered

My work chronicles the ephemeral states of the natural world and notes the intersections where environmental and anthropological spheres meet.
As an artist, I feel compelled to visualize the damaged condition of our environment as I’ve observed and researched. I’m aware that cultures, especially marginalized communities, are inequitably impacted by these perils.

  • White Death

    White Death, 2019, Watercolor, archival ink jet print on Arches paper and framing Plexiglas, 34” x 47.75” White death syndrome is decimating coral reefs worldwide. Coral colonies coexist with an algae which nourish the coral. Pollution and warming sea tem
    White Death, 2019, Watercolor, archival ink jet print on Arches paper and framing Plexiglas, 34” x 47.75” White death syndrome is decimating coral reefs worldwide. Coral colonies coexist with an algae which nourish the coral. Pollution and warming sea temperatures are killing the algae, thus starving the corals. Dying reefs, devoid of the life giving algae and turning whiteare depicted in watercolor. The Plexi print depicts microscopic zooxanthellae leaving the colonies dissipating as they rise.
  • Disappearing Cavendish

    Disappearing Cavendish, 2017, Watercolor, archival pigment print on paper, framing plexiglass, 31” x 44” Cultivated bananas worldwide are in imminent danger of completely disappearing, damaged by fungal diseases. 500 million people, particularly in develo
    Disappearing Cavendish, 2017, Watercolor, archival pigment print on paper, framing plexiglass, 31” x 44”. Cultivated bananas worldwide are in imminent danger of completely disappearing, damaged by fungal diseases. 500 million people depend on the fruit as a staple food. The global supply is threatened because industry growers have planted just one species, the Cavendish, across continents. The image depicts banana plants vanishing as they recede and the print on Plexiglas is of a line drawing of healthy bananas and it’s inflorescence.
  • Just Weeds

    Just Weeds, 2014-15, Watercolor, pencil, archival pigment print on paper, 30” x 45”, While the label weed has negative implications it may simply refer to a wild plant growing in the wrong place some of which become desirable when intentionally c
    Just Weeds, 2014-15, Watercolor, pencil, archival pigment print on paper, 30” x 45. While the label weed has negative implications it may simply refer to wild plants growing in the wrong place, some of which become desirable when intentionally cultivated. Many weeds are in fact beneficial, having nutritional and medicinal properties or proving crucial to the survival of insects and flora in a specific habitat. Nevertheless, farmers use toxic pesticides to rid thistle from their fields, simultaneously poisoning the soil where crops are planted.
  • Monarch Milkweed

    Monarch Milkweed, 2009, Watercolor,archival pigment print on paper, 46.5” x 35” or 41 x 30 inches The common milkweed, Asclepias syriacia, is crucial for the survival of the majestic monarch butterfly. Here the plant is set in situ in a pine forest. Prese
    Monarch Milkweed, 2009, Watercolor,archival pigment print on paper, 46.5” x 35” The common milkweed, Asclepias syriacia, is crucial for the survival of the majestic monarch butterfly. Here the plant is painted set in situ in a pine forest. Preserving milkweed in North America is essential for the survival of monarchs and "to ensure the sustainability of our food production systems, avoid additional economic impact on the agricultural sector, and protect the health of the environment."
  • Philo and Palm With Dying Bees

    Philo & Palm with dying Bees, 2014, Watercolor, archival pigment print on clayboard, 14” x 11”,
    Philo & Palm with dying Bees, 2014, Watercolor, archival pigment print on clayboard, 14” x 11”, Bees, attracted by lush environments, are declining due to multiple risks including increased uses of pesticides, viruses, and loss of habitats. All cause die-off of the hives’ worker bees. Significant economic losses may result because bees are depended upon to pollinate agricultural crops.
  • Lizard

    Lizard, 2013-14, Watercolor on aquabord panel, archival pigment print, 66" x 30"
    Lizard, 2013-14, Watercolor on aquabord panel, archival pigment print, 66" x 30" According to recent research climate changes could cause dozens of lizard species to becoming extinct within the next 50 years due to global temperature increases.
  • Lobster

    Lobster, 2013-14, Watercolor on aquabord Panel, archival pigment print, 66” x 30"
    Lobster, 2013-14, Watercolor on aquabord Panel, archival pigment print, 66” x 30" Scientists deduce a crippling shell disease, caused by warming ocean temperatures and the breakdown of hard plastics in seawater, is leaving these crustaceans with vulnerable soft shells and affecting the livelihood of fisherman.

Invasive

The effects of invasive species on human life and the consequences to the earth’s habitat underlie many of Neill’s images. The works in this project lament the effects of invasive species.

  • Holey Leaves-Emerald

    Holey Leaves, Emerald, 2019, Watercolor on laser cut paper, 24” x 36”
    Holey Leaves, Emerald, 2019, Watercolor on laser cut paper, 24” x 36” Invasive insects, such as the Emerald Ash Borer, chew holes in the leaves of mature trees, defoliating the branches and effectively weakening or killing the trees. The holes were laser cut and cast a shadow on the paper behind.
  • Death by Fig

    Death by Fig, 2019, Watercolor on paper and digital print om Plexiglas, 36.25” x 23”
    Death by Fig, 2019, Watercolor on paper and Plexiglas, 36.25” x 23” Painted in Watercolor is a strangler fig. It invades healthy hosts by casting seeds from the height of its branches which grow downward toward roots and trunks. After several years the encased host will die because it is deprived of the ability to turn sunlight into nutrients. The green drawing of a palm trunk is digitally printed on the inside of the Plexiglas.
  • Hidden in the Slag

    Hidden in the Slag, 2019, Watercolor, archival pigment print on paper and framing Plexiglass, 33” x 41”
    Hidden in the Slag, 2019, Watercolor, archival pigment print on paper and framing Plexiglass, 33” x 41” I visited three months after destructive Hurricane Irma ripped up the Florida Peninsula, leaving piles of manufactured and plant debris throughout. At Everglades NP I questioned a ranger about the invasive Burmese Python. She reported, ”Oh, they’re here, but you’ll never see them.” It became a metaphor, some dangers were at once obvious, others were revealed slowly as a surprise.
  • Pod Invasive

    Pod Invasive, 2015, Watercolor on paper mounted panel, 11” x 14”
    Pod Invasive, 2015, Watercolor on paper mounted panel, 11” x 14” A non-native seedpod painted in Watercolor sits within a digital photograph of an environment, which it has invaded and is destroying.
  • Pods

    Unbalanced Nature, Pod, 2014, Watercolor, archival pigment print on clayboard, 66” x 30”
    Unbalanced Nature, Pod, 2014, Watercolor, archival pigment print on clayboard, 66” x 30”, Painted in Watercolor are Chinese Water Chestnuts (inedible), an invasive pod that will clog waterways and push out natural plants as it grows.
  • Toxic Beauty, Loosestrife

    Toxic Beauty Loosestrife, 2003/04, Watercolor, 30” x 70”
    Toxic Beauty Loosestrife, 2003/04, Watercolor, 30” x 70” A chorus of trouble, the lucious blossoms of this wildflower are painted in watercolor. In recent years the purple loosestrife has invaded wetlands in the northeastern US, destroying the native species and the wild live and insects that depend on them.
  • Unbalanced Nature, Bloom

    Unbalanced Nature, Bloom, 2013, Watercolor, archival pigment print on clayboard, 66” x 30”,
    Unbalanced Nature, Bloom, 2013, Watercolor, archival pigment print on clayboard, 66” x 30”. Well meaning human decisions can often be credited with introducing invasive species. Pictured are species that were imported to tropical islands to solve agricultural problems but ran amuck: yellow jackets to rid hibiscus flowers of white mites they won't eat; mongoose were brought into the cane fields to eat attack rats. However, rats are nocturnal and mongoose diurnal. Meanwhile, the mongoose decimate small native species and the rats remain.

Beneficial

While the effects of environmental climate changes are well documented and progressive, through collective human effort they can be slowed, possibly reversed. Using the immediacy of fluid paint mediums in tandem with my own photographs to interpret natural shapes and internal structures, I reference antidotes to the dangers and threats.

  • Greenbrae Duff

    Greenbrae Duff, Watercolor, archival pigmented print on Arches paper and framing Plexiglas, 41.5” 32.5”
    Greenbrae Duff, Watercolor, archival pigmented print on Arches paper and framing Plexiglas, 41.5” 32.5” Lauren R Stevens, writer and environmentalist, describes the importance of duff, “Trees remove carbon from the air. Old trees remove more carbon than young ones. Furthermore, old forests with their deep layer of duff, store as much carbon on the ground as in the trees." With the advent of climate change due to the increase of carbon, forests’ roles are significant. Leaves are painted floating to form duff; drawings of seedpods are printed on the framing Plexiglas.
  • Blue Carbon

    Blue Carbon, 2019, Watercolor, archival pigment print on laser cut Arches paper, 30” x 45”  Blue carbon is the carbon captured and stored in wetland ecosystems such as mangrove forests, seagrass meadows or intertidal saltmarshes. The ecosystems are valued
    Blue Carbon, 2019, Watercolor, archival pigment print on laser cut Arches paper, 30” x 45” Blue carbon is the carbon captured and stored in wetland ecosystems such as mangrove forests, seagrass meadows or intertidal saltmarshes. The ecosystems are valued because they hold vast carbon reservoirs and isolate CO2 deposit it in their sediments. The leaves and its environment are painted, holes in the leaves were laser cut and a ground painted behind.
  • Holey Leaves-Violet

    Holey Leaves, Violet, 2019, Watercolor on laser cut paper, 24” x 36”
    Holey Leaves, Violet, 2019, Watercolor on laser cut paper, 24” x 36” By the end of the summer season many plants show evidence of having been eaten by insects in preparation for winter hibernation. The species live in healthy symbiosis. The paper was laser cut before the leaves were drawn and painted.
  • Mangrove Forest

    Mangrove Forest, 2017, Watercolor, archival pigment print on paper, framing plexiglas, 31” x 44.75”
    Mangrove Forest, 2017, Watercolor, archival pigment print on paper, framing plexiglas, 31” x 44.75” Mangroves absorb massive amounts of nutrients, thereby improving water purity and providing crucial assistance to both land and water animals & plants. The mangrove groves protect coast lines from storm erosion. The print on the Plexi appearing at the bottom half of the painting are bathymetric contours delineating the ocean floor.
  • Reef

    Reef, 2017, Watercolor, archival pigment print on paper & Plexiglas, 29” x 44”
    Reef, 2017, Watercolor, archival pigment print on paper & Plexiglas, 29” x 44” The survival of many undersea creatures depends on the steady ebb and flow of oceantides. Rising sea levels threaten the protective costal reefs and species that live in the intertidal zone. Depicted in watercolor are a variety of coral species and drawings of bathymetric contours of coastal ocean beds are printed on the framing Plexiglas.
  • Kelp Fields

    Kelp Field, 2015, Watercolor, pencil, archival pigment print on paper, 30” x 48”
    Kelp Field, 2015, Watercolor, pencil, archival pigment print on paper, 30” x 48” Underwater kelp forests are vigorous ecosystems that provide essential refuge for marine habitats. Painted among the among the thriving kelp are threatened species that will degrade without protection.
  • The Other Side of Paradise

    Other Side of Paradise, 2013, Watercolor, archival pigment print on paper, framing plexiglass, 31” x 44”,
    Other Side of Paradise, 2013, Watercolor, archival pigment print on paper, framing plexiglass, 31” x 44”, The stalks and blossoming pods of Strelizia reganie, commonly known as Bird of Paradise, were painted in watercolor and a photo of the leaves and ground was printed onto the painting. Often ignored is the plant’s understory in which the crawling creatures and decay exist, essential to the organism's well being. These are depicted on the framing Plexiglas.
  • Five Stages of the Palm with Bees

    Five Stages of the Palm with Bees, 2012-14, Watercolor, archival piment print on paper, 29” x 63”
    Five Stages of the Palm with Bees, 2012-14, Watercolor, archival pigment print on paper, 29” x 63”, Painted stalks, buds, blossoms and seedpods of a palm tree are layered with a digital photo of palm fronds viewed from above. Swarming bees are printed on the inside of the Plexiglas. Palms are simultaneously in the process of reproducing and dying. Healthy swarming bees, crucial to the life cycle of not only palms, but numerous other plants, are printed on the inside of the Plexiglas.
  • Canna Circle

    Canna Circle, 2017, Watercolor and archival ink print on paper and framing Plexiglas, 11” x 14x”
    Canna Circle, 2017, Watercolor and archival ink print on paper and framing Plexiglas, 11” x 14x” Canna blossoms and buds are painted withing a favorable environment. An ancient plant with many human uses, canna are also being studied for their ability to eliminate undesirable pollutants in wetlands due to of their tolerance to contaminants. The print on Plexi is a topographical map of farming land.
  • Balance of Substance, Balance of Essence

    Balance of Substance, Balance of Essence, 2011, Watercolor on paper, 30”x22”
    Balance of Substance, Balance of Essence, 2011, Watercolor on paper, 30”x22” These stacks of stones are painted to balance visually, if not physically, like the balance we try to maintain in our lives, our artistic expressions, the environment, our social and political structures.

Monoprints

Printmaking is a process that parallels my layered paintings. Print techinques are a way for me to experiment with concepts, color and composition. In turn, the mixed-media watercolors influence the prints. I prefer the immediacy of monoprints and use non-toxic methods.

Flip Page Animations

Drawings are the foundation on which my paintings and prints are built. I keep a drawing notebook nearby to record ideas, draw on-site, and visualize imagery in the studio. These Field Guide Drawings subsequently become the basis for prints and paintings. View the flip-page animation at: https://www.flipsnack.com/neillbook/field-guide-drawings/full-view.htm
This herbarium is a selection of the specimens I’ve collected, flattened and mounted in an archival volumn. View the flip-page animation at: https://www.flipsnack.com/neillbook/herbarium-final/full-view.html

Nocturnals


I periodically work with the singular, low lighting found between dusk and dawn. While nighttime is very active in the natural world, human perception slows and changes. The process of taking night photographs differs from studio painting in that the nocturnals are less direct, cannot be hurried and is simultaneously an unnerving and engrossing procedure. Human is challenged in the dark.
“You understand that the stars are always here. They do not go away in daylight. It is that we can only see them in the dark. That is the good thing about the dark.” Caroline Herschel,19 c Astronomer

  • Sido's Cactus

    Sido’s Cactus, 2019, Watercolor, Archival Digital Print on paper and Plexiglas, 40” x 26.75”
    Sido’s Cactus, 2019, Watercolor, Archival Digital Print on paper and Plexiglas, 40” x 26.75” The French writer, Collette, wrote a story about her mother, Sido’s, epiphyllum, a short-lived, night blooming cactus. She told of her mother's apology for canceling a visit to her daughter in Paris because her cactus would bloom shortly and she wanted to be there to witness it. Sido reminds us of life’s ephemeral nature and the precious choices we’re forced to make.
  • Ames' Orchid

    Ames’ Orchid, 2012, Watercolor & Archival Ink Jet Print on Paper & Acrylic, 21.5” x 29”
    Ames’ Orchid, 2012, Watercolor & Archival Ink Jet Print on Paper & Acrylic, 21.5” x 29” This orchid dispenses a scent at night, which attracts moths that will fertilize the blooms. The painted orchids were surrounded with a night photo of its natural environment; a moth and its flightline and are printed on the framing Plexiglas. It is a tribute to Oakes Ames, an early 20c botanist specializing in orchids and his wife, Blanche Ames, a botanical artist.
  • Dames de Noche

    Dames de Noche, 2017, Watercolor and archival ink print on paper and framing Plexiglas,  16” x 12”
    Dames de Noche, 2017, Watercolor and archival ink print on paper and framing Plexiglas, 16” x 12” Night blooming plants give off specific scents to attract night pollinating insects. Shapes of the moon’s phases, to which all living things are subject, are printed on the inside of the Plexiglas.
  • Night Wings

    Night Wings, 2013, Watercolor, archival ink jet print on paper & Plexiglas, 34" x 47”
    Night Wings, 2013, Watercolor, archival ink jet print on paper & Plexiglas, 34" x 47” Many plants are night bloomers and release scents only at dark. Therefore, species of insects adapt their habits to become nocturnal feeders and pollinators. Scented night blossoms are painted in watercolor and surrounded by a print of a night photo. Night pollinating insects and their fight lines are photos printed onto the inside of the Plexiglas.
  • Flight Lines

    Flight Lines, 2012, Watercolor & Archival Digital Print on Paper and framing Plexiglas, 46” x 35.5”
    Flight Lines, 2012, Watercolor & Archival Digital Print on Paper and framing Plexiglas, 46” x 35.5” This orchid dispenses a scent at night, which attracts a specific species of moths to fertilize the blooms. The painted orchids were surrounded with a night photo of its natural environment. Moths and drawings of their fight lines have been printed onto the framing Plexiglas.
  • Nineteen at Night

    Nineteen at Night, 2016, Archival digital pigmented print, 15" x 20"
    Nineteen at Night, 2016, Archival digital pigmented print, 15" x 20" Night in a city backyard under cover of snow.
  • Asphalt Lines

    Asphalt Lines, 2018, Archival digital pigmented print, 20" x 15"
    Asphalt Lines, 2018, Archival digital pigmented print, 20" x 15" Night view of a street repaired with asphalt calking.
  • Terraza

    Terraza, 2015, Archival pigmented print, 16" x 20"
    Terraza, 2015, Archival pigmented print, 16" x 20" A terrace illuminate by full-moon light.
  • Night Pool

    Night Pool, 2015, Archival pigmented print, 20" x 15"
    Night Pool, 2015, Archival pigmented print, 20" x 15" View of a swimming pool in full-moon light
  • NightBog

    Night Bog,  2015, Archival pigmented print, 20 x 27
    Night Bog, 2015, Archival pigmented print, 20 x 27 Night view of a bog through trees.

Myth andMorphology

I endeavor to imbue images with metaphorical references to myths and folklore. My practice typically involves scrutinizing the landscape for organic matter that is suggestive of human activity. Likewise, morphology, the biological study of the forms and structural relationships of organisms, examines similarities and differences between creatures. These works compare tenuous natural activities with almost identical human events. It is a reminder that all individuals have a deep-rooted connection to the earth and that similar biological processes bind the natural and human worlds.

  • Canna Case Morphology

    Morphology, Canna/Case, 2015, Watercolor, pencil, archival inkjet print on paper, 30” x 36”
    Morphology, Canna/Case, 2015, Watercolor, pencil, archival inkjet print on paper, 30” x 36” Explored here in watercolor paint and digital print are the similarities and differences between parts of a canna plant and milkweed. Dualities are presented as symmetry through repetition or shadow.
  • Morphology, Beach/Beech

    Morphology, Beech/Beach, 2015, Watercolor, pencil, archival inkjet print on paper,  30” x 36”
    Morphology, Beech/Beach, 2015, Watercolor, pencil, archival inkjet print on paper, 30” x 36” As in the study of morphology, similarities and differences between tree and aquatic shapes, color and texture are explored in paint and digital print. Simple elaborations are coupled to make comparisons.
  • Aechmea Caracas

    Achmea Caracas, 2008, Watercolor & Archival Digital Print on Paper, 43 x 28.5 inches
    Achmea Caracas, 2008, Watercolor & Archival Digital Print on Paper, 43" x 28.5". This protea is native to subtropical regions. Linnaeus named the genus after the Greek God Proteus, because he could assume many forms. In some cultures the flower represents hope and change. Here the two entwined stalks painted in watercolor are backed by a digital photo of the habitat where they grow at the edge of the beach, balancing between an ideal and a devastating environment.
  • Monstera Morphology

    Monstera Morphology, 2017 Watercolor, pencil, archival inkjet print on paper and framing Plexiglas, 12” x 16”
    Monstera Morphology, 2017 Watercolor, pencil, archival inkjet print on paper and framing Plexiglas, 12” x 16” The leaves of the Philodendron and Uva plants painted here were both marked by insect trails and chewing. The print on Plexi is a layer of cell structures in teal lines.
  • Orpheus' Orchid

    Orpheus’ Orchid: 2011, Watercolor & Archival Digital Print on Paper, 47 x 36 inches
    Orpheus’ Orchid: 2011, Watercolor & Archival Digital Print on Paper, 47 x 36 inches An unfettered orchid floats in the space of a glass house lit from the upper right leaving the area below deep in shadows. The orchid was painted first, and then layered with digital prints of blossoms and the glasshouse space; A tear through the center of the image, irrevocably separating the spaces, was made after the image was complete.
  • Spirit Stone

    Spirit Stone, 2014-2015, Watercolor, pencil, archival ink jet print on paper, 41” x 27”
    Spirit Stone, 2014-2015, Watercolor, pencil, archival ink jet print on paper, 41” x 27” In many cultures, ancient and contemporary, stones embody tangible or ephemeral meaning. I observed and painted similar stones at the Wiamea Botanical Garden on Oahu, where a ring of stones had been assembled by early Polynesians to ensure successful growing and fishing.
  • Three Days

    Three Days, 2005, Watercolor on paper, 42.25”x 27.5”
    Three Days, 2005, Watercolor on paper, 42.25”x 27.5” The buds, seedpods and the stalk of a Bottlebush blossom, Callistemon, were painted together. The buds and seedpods partially hidden behind the stalk of the brilliant blossom reminding us of where it came from and what it will become. From the ..."three days I dream of you, yesterday, today and tomorrow” by Willie Nelson.
  • Urna de Pandora

    Esperanza de Pandora, 2006 Watercolor & Archival Ink Jet Print on Paper, 22” x 29.5” The myth of Pandora recounts that one item, hope, was left inside when she slammed shut the lid of the vessel containing the evils of the world. In this painting we see the colorful forms of the rockweed escaping the dark grasses swirling at its roots.
  • Magnolia Disjuncture

    Magnolia Disjuncture, 2008 Watercolor & Archival Digital Print on Paper, 28.75” x 43.75”
    Magnolia Disjuncture, 2008 Watercolor & Archival Digital Print on Paper, 28.75” x 43.75” Magnolias are indigenous to the East Coast of the United States and a region in Eastern Asia, but no where in between. Disjuncture refers to the pattern of plant distribution and diversification that happened when the super continent Pangaea split and drifted apart. The hand tearing of the paper evokes the division of the continents.
  • Balance of Substance

    Balance of Substance, 2011, Watercolor on Paper, 30" x 22"
    Balance of Substance, 2011, Watercolor on Paper, 30" x 22" Describe by Sedat Pakay as “a tour of earth's unknown mythology” these stacks of stones balance visually, if not physically, like the balance we try to maintain in our lives, our artistic expressions, the environment, our social and political structures.

Professional Information

Writing about one's work parallels the artist's studio practice. The reflective process of assembling a resume, revising bios and writing about the work helps ideas to evolve. These documents are always in progress. Included here are studio photos, insights of what I and others have written recently, a Current Resume, a Narrative Biography, Artist & Curator Essays, and Reviews.