Paintings With Soul

  The Smallest Light, acrylic on panel, 24"x24", $1200 plus s&h   to the first asking nicely . Questions can always come  to me. Titled for one of my favorite songs,  The Smallest Light by Ingrid Michaelson , this painting is about multiple and simultaneous points of view. The mouse asks us to see the world from her perspective in a design where the skyscape collides with her little corner of the universe. This is the perfect painting for anyone with big dreams and desires. I am very curious about edge treatment - how an abrupt edge like the vertical sky on the upper right can transform spatial energy and convey a sense of vastness alongside her small little pocket of garden. You can see The Smallest Light in greater detail  here ,  view her up close and in a room setting, and find a link to purchase.  Let me know if you would like a payment plan (30% non refundable deposit with the balance plus s&h paid off within a year) - those are set ...

  Night, acrylic on cradled panel, sides painted so no need to frame, 18"x24", $1400 plus s&h   to the first asking nicely . Questions can always come  to me. Meet Night, the horse who has literally been in my dreams regularly the last six months. She is there, right at my side, physically or energetically, most nights (maybe she’s there every single one but I simply don’t remember). I am a lucid dreamer with consistent nightmares. When things get rough in there, I reach for her. There is a growing warmth across the palm of my hand and she is suddenly right there, and busts me through a sort of membrane into another dream sequence. This was an emotionally challenging piece to do, rather like an exhausting therapy session. I can’t believe that she’s actually here in my waking hours. Thank you, sweet girl, for showing up for me in my dreams and in the studio. You can see Night in greater detail  here ,  view her up close and in a room setting, and find a link ...

  Moonbeam, acrylic on panel, 20"x24", $1100 plus s&h   to the first asking nicely . Questions can always come  to me. As an intuitive painter I never know where I'm going to end up. It's usually quite a bit downstream from where I started, but the best part is that in the process of making the art I learn more about myself and the things I truly value in the world.  There's also quite a bit of community involvement, too. And by community, I mean the other paintings and painting ideas surrounding me here in the studio, along with input from a few valued friends. I'm becoming a much better listener, and that sets me up to explore all sorts of things that might not have come to mind on their own. WIth Moonbeam, I listened to another in process piece (top left), so that when I discovered an intriguing passage I decided to showcase that on it's own in a new painting. Then, at the urging of my critique group, I explored that new in process painting (bottom ...

  Tendril, acrylic on panel, 24"x24", $1200 plus s&h   to the first asking nicely . Questions can always come  to me. One of my favorite spring hallmarks is the emergence of peonies. They first start as deep crimson tendrils, delicate leaves all twisted up together, waiting for the warmth of the sun to coax them out. The leaves green up, spread out and begin to take up space from their first full inhalation. Then the buds emerge like closed fists, growing slowly into bubblegum orbs, before the little dancing feet of ants cause them to unfurl. I tried to capture all of these stages, from the earliest shoots to the heavy opened blooms, in this painting. And of course there had to be a little fox kit tucked in, too, soaking up their fragrance while snticipating her next move. You can see Tendril in greater detail  here,  where there is also a link to purchase.  Let me know if you would like a payment plan (30% non refundable deposit with the balance plus s...

  Vernal, acrylic on panel, 24"x30" sold (thank you so much to my newest collector!!). Questions can always come  to me. This momma bear has been in process for quite some time. I think I started her last fall. My initial challenge was to explore what changed if the composition went from portrait to landscape and if I turned her gaze to the side. First off, the landscape orientation really softened her body language, and a molten effect settled into her form. And the averted gaze allowed the bear to become lost in her own thoughts. I took advantage of this shift to paint her as elements of the landscape, then fractured that further into bits of spring, which happens to be showing up (finally!) here in Michigan. I particularly like the echos of petals and leaf growth that flutter across the panel like butterflies and the warming sun beginning to peek out in the east, behind her right eye. You can see Vernal in greater detail  here . Here's a little  video  that s...