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36"W x 24"H x 1.5"D

Certificate of authenticity included

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90.6° is highly textural and energetic. All applied with a palette knife, my absolute favorite instrument, 90.6° has metallic white pearl and golden metallic accents that change characteristics from different angles. It also has more cool indigo, photo blue and teal tones than most previous pieces in my 90° series. It'll complement the hot and warm tones in your space with it's yellow and orange accents. I add two layers of UV protection, but as always, hang away from direct sunlight to be sure. The deep 1-1/2" edges of this work are painted as continuation of it's surface as if it were three dimensional object. 90.6° will demand attention and will spark conversation.

90.6° arrives prewired, ready to hang.

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48"W x 48"H x 1.5"D

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Symphony Tacoma benefitted from their 2018 Gala auction of this piece.

Last Stanza began with a wash of celadon yellow. The black, grey, and brown swaths were laid on with a wide brush having each of these colors appllied seperately on different areas of the bristles. The deep, dense shape I created reminded me of a tremendous symphonic bass roar. Traces of melodic wind notes drift and linger in sweet, winding swirls. It's the last eruption af the final dance of a huge, far away party. I paint first and my imagination grows. That's my joy of my painting. Last Stanza brings me to an evening on a lake, where the boom of Gatsby's fete drifts by in it's a last melodic gasp.  The edges of this deep 1-1/2" deep museum streched canvas are painted as part of the composition.

Last Stanza arrives prewired and ready to hang.

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60"W x 40"H x 1.5"D | Two Canvases @ 30"W x 40"H x 1.5"D

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I wanted to make a grand gesture; not something to rock the universe, just a one gesture visual statement... They're big canvases. 

And I wanted them to be bright; so I broke out the cadmium yellow. I was excited to use a huge new fluffy loose brush, and couldn't wait to see how much motion I could impart onto a 2D surface. I moved from cold colors to hot, added glazing mediums to make pigments wash and blend is some areas, but to separate and layer the non-miscable elements as if they were vinegar and oil. This mixture of roiling materials at the base ferments into tepid hot gases above; so volatile they spurt forth shrapnel of colors. 

Not Miscable has two canvases, each at 30" x 40". If they're mounted horizontally, with the long canvas dimension vertical, you will probably want about 1.5-75" between them for a total width of 61.5" wide and 40" tall.

They arrive prewired, ready to hang in this orientation. 

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36"W x 36"H x 1.5"D

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It's not obvious, but I used just about every shade of blue that Grumbacher offers on Wag More; thalo blue, ultramarine blue, process cyan blue, cobalt blue, and cerulean blue. It's pretty subtle. Most are blended in the glazed background, and some form the wild, overlaying shapes. Even if I intend to paint an emotion like peacefulness, calm, mellow, what I paint almost always evolves to the emotions of joy, fun, exuberance or playfulness. That's when the vivid, contrasting pigments get pulled off my shelf and end up on my brushes and palette knives, ready to launch. Next a bit of metallic gold and silver were just the thing to give it a little gleam to catch your attention when you walk by. How could I be so lucky that my subconscious takes over when I paint and pushes me towards just about every positive emotion a person can have? Painting makes me Wag More.

Wag More arrives prewired, ready to hang. Acrylic Paint on Canvas with 1-1/2" Deep Museum Mount, Painted Edges

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16"H x 20"W x 1.5"D

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90.10 ° continues the theme a couple decades of architecture practice infused me with; linear information and right angles, regardless that I spent a lot of time trying to build curves into our environment. This is the family of paintings I began my painting career with. While I’m fond of this beginning, I’ve loosened up and included more of the organic shapes around me as well. In the end I couldn’t help but add some curves to 90.10°. The 90° series is important because it illustrates that the mind can manufacture visual beauty solely without mimicking anything in environment… and we can feel joy by looking at an interplay of color, shape and texture created by another human imagination. In this case, mine. Think joy.

Your canvas is mounted on 1-1/2" deep museum stretchers which are painted as 3D extensions of the main image.

90.10° arrives prewired, unframed and ready to hang.

Materials Used; Acrylic on Canvas

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36"W x 36"H x 1.5"D

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If you research what a Torus is, you'll find a shape that in two dimensional form looks like Torus Beacon. You'd have to slice the Torus in half, and then when you add this smoky sky and blazing heat, you might say that that a beacon is burning through the dark to illuminate your way. Reflective metallic silver and gold strike out in sparks made from the dip of my palette knife edge into liquid pearlescent paints. Burnt orange glaze was spread over the base glaze of yellow, as were a bit of Alizarin Crimson and Dioxazine purple over the burnt orange. Opaque Turquoise green, Process cyan and Photo blue completed the smoky sky before I applied the sparks of heat bursting forth from the burning source of energy. The deep edges of this museum mounted canvas are painted as a three dimensional extension of the image.

Torus Beacon arrives prewired, ready to hang. 


Heather W. Ernst holds exclusive rights over her original work, which may be issued in the form of a maximum of thirty Limited Edition  reproductions.

Materials used:  Paint, Acrylic, on Canvas with 1-1/2" Deep Museum Mount, Painted Edges, Prewired for Hanging

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36"W x 36"H x 1.5"D

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Hiya ~ Seiraô did, in fact, evolve as a playful wave of happy colors, and morphed into a vibrant, living colony of organic palette scrapes and seaweed-like squiggles. I imagine minute organisms; diatoms, crystals and ameoba; vital to sea life, being carried by this great wave just before its crests. As for the name Seiraô, saying my imagination is fertile is an under statement…

Seiraô is the root from which the Goddess name, “Siren” evolved. She was a singing enchantresses capable of luring passing sailors to their islands. The word also refers to the act of entwining. This playful, yet powerful ocean wave nourishes marine life as easily as it sometimes swallows those who seek it’s treasures.

The deep 1-1/2" museum mount edges of Seiraô are painted as 3D extensions of the main image.

Materials Used: Paint, Acrylic on Canvas, Prewired for Hanging

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24"H x 24”W x 1.5"D

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I had fun with this diptych. It was created to hang on both sides of a round, starburst mirror at a show, and the curator loved red. It features an energetic rainbow arc with playful lines and shapes of energy scattering yowards it’s terminus on the other side. A little teal and pale, sunny yellow along with naked, untouched white canvas foil the deep, ruby reds. It’s also very textural and has pressed palette knife edges in gold and silver metallic. This diptych will add melody and movement to your space, along with brightness and cheer.

Each of the two museum mount deep edged pieced measure 24” x 24”. You’ll probably want to leave about 1-1/4” between them, for a total width of 49-1/4”

90.7° + 90.8° | Diptych arrives prewired, ready to hang.

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18"W x 22"H x 0.5"D Including Frame

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I began Children’s Chatter by washing the background with reds, greys, whites and greens. Mixing, mixing, washing with water, and a lot of blending with a soft, floppy brush. I’d paint swirls of teals and green, think it not right, and then change the composition completely by washing back over what I’d done until I decided I the bright colors I left peaking out from behind that new wash were just right. Some silver, red and blue paint pen here and there, scribbles of charcoal, until it reminded me of distant happy chatter and giggles in another room. The colors are soft, and maybe a bit childlike, as are some of the shapes. I felt Children’s Chatter belonged to the world of the those who will someday inherit our lives, but are now blissfully too uncomplicated to do so... and right now in the other room enjoying the simplicity of their day.

This work is framed in turquoise, prewired, and ready to hang as your muse.

Materials Used:  Paint, Acrylic, and Charcoal on foam backed board.

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20"W x 40"H x 1.5 "D | Unframed

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The word Mélange, according to Merriam-Webster, first appeared in the English language in the 1600s, taken from the French mêler; "to mix". I did, indeed, mix linear streams of flowing liquid yellow back and forth over the red background using separate scrapes of a wide palette knife. I used instinct over plan because some of my best work evolves that way. This background blends about every color of red Grumbacher offers; Cadmium Red, Process Magenta, Alizarin Red, and ok, some Thio Violet. I didn't' want to touch the way the deep Dioxazine Purple and Turquoise Green landed right on the canvas the way I put it there because I wanted to maintain the natural result of the paint densities. With a minimum of a narrower blade scrapes over those last few colors, I left it to dry. The next day I used hot hued glazes to enrich those reds. Then some thick texture in deep purples and violets, whitened magenta, and teal greens laid on with my knives. I worked until I felt balance and complexity equally stated, yet almost screaming exuberance and strength. The deep 1-1/2" museum mount edges of this work are painted as 3D extensions of main image.

Mélange arrives prewired, ready to hang. 

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40"W x 40"H x 1.5"D

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The Story ~
A Cruzan, native of the Virgin Islands, St. Croix to be specific, said when affronted with a mangled auto on the side of the road, "She All Mashed Up!", my amused Dad explained to me as a child. This painting makes me so happy when I look it. This canvas is an explosion of joy and hues of mirth. Yet, when I think of the technique that created it, the paint is actually all mashed up! Furthermore, the thought of a toothy Cruzan grin and his version of the industrial calamity floats the same glistening hues in my head

The rippled emerald lake beyond, surrounded with flora and sunset are a huge bonus.

This work is multi-layered layered with thick pads of matte and glossy knife scrapes. Glades of semi-gloss and shimmery brush stokes glaze the background and shine the horizon.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition

She ‘all Mashed Up arrives prewired, ready to hang.

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Three at 10"H x 8"W x 1.5"D

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Hang the Trieste group vertically, horizontally, or in a mixed group. They’re wired for either. And they’re all beautifully pre-framed in deep edge maple, painted white. Creamy, textural, blue, teal, white and green are the background fields for shiny, fun, minimal white and yellow tracings. Enjoy Trieste Uno, Dos and Tres.

Each piece is mounted on 1-1/2" deep museum maple floater frame painted white.

Your Trieste | Triptych set arrives prewired, ready to hang.

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36"W x 24"H x 1.5"D

This work, 90.1° evolved from my piece, 90°, which a companion of the same size and orientation. My fascination with the harmony, sharpness and movement projected by lines and shapes oriented at this angle likely grows from the heart of my experience as an architect.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

90.1° arrives prewired, ready to hang.

20"W x 16"H x .08"D | Unframed

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This is a one piece listing for JOY, a work of acrylic glaze, pastel and charcoal, showing HANKERING, HOPE and JOY together.  JOY is third of the 2nd Spirit Series that also includes Hankering and Hope.  They're all emotions felt by the spirit, ones that human beings have with such intensity that they're vital to our lives. We want to know them every day we wake... and if we don't, it's certainly good to have a reminder. 

JOY arrives ready to mount in the frame of your choice.

Copyright Notice
Heather W. Ernst holds exclusive rights over her original work, which may be issued in the form of a maximum of thirty Limited Edition reproductions.

Heather's original work and her Limited Editions, whether issued by herself or by an authorized representative, are protected by both The World Intellectual Property Organization (WIPO) as administered by The Berne Convention for the Protection of Literary and Artistic Works as they pertain to international copyright agreements, and by the Library of Congress of the United States of America. Any attempt to copy or reproduce or to create derivative works from any material works or art displayed online shall be legally prosecuted as stated by law.

Materials used: Paint, Acrylic, on heavy duty Watercolor Paper

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20"W x 16"H x .08"D | Unframed

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This is a one piece listing for HOPE, a work of acrylic glaze, pastel and charcoal, showing HANKERING, HOPE and JOY together.  HOPE is second of the 2nd Spirit Series that also includes Hankering and Joy.  They're all emotions felt by the spirit, ones that human beings have with such intensity that they're vital to our lives. We want to know them every day we wake... and if we don't, it's certainly good to have a reminder. 

HOPE arrives ready to mount in the frame of your choice.

Copyright Notice
Heather W. Ernst holds exclusive rights over her original work, which may be issued in the form of a maximum of thirty Limited Edition reproductions.

Heather's original work and her Limited Editions, whether issued by herself or by an authorized representative, are protected by both The World Intellectual Property Organization (WIPO) as administered by The Berne Convention for the Protection of Literary and Artistic Works as they pertain to international copyright agreements, and by the Library of Congress of the United States of America. Any attempt to copy or reproduce or to create derivative works from any material works or art displayed online shall be legally prosecuted as stated by law.

Materials used:

Paint, Acrylic, on heavy duty Watercolor Paper

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15"W x 30"H x 1.5"D

Certificate of authenticity included

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Truly, Madly... began with a large swirls of process magenta and white using a soft, fluffy brush. I graduated to cadmium red, orange and yellow. I splattered water from my fingers to wet and press off the water to mottle the orange and yellow near the white heat. A pin sized opening from a tube layed the winding streams of pearlescent white and orange yellow radiating from the sun. After a good dry, the next day I drew the ribbons of lime and teal with a palette knife from this hot white sun, and pressed Hershey's "Kisses" of yellow paint to add more life to the canvas.  The playfulness and chaos of this work reminded me of all-consuming utterly mad, new love.

Truly, Madly arrives prewired, ready to hang.

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40"W x 30"H x 1.5"D

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I love this series, so I just can't stop painting these pieces. Most elements of 90.5° are on a ninety degree angle, using the sharp edge of my palette knife, or by scraping as if I'm plastering a wall. Pearlescent white shines back at you. You'll see a few splatters of metallic gold too, and these will change reflective qualities as you walk by. Textural magenta, teal, cyan and lime stand out on top of the smooth orange orange, red and yellow field along with raw, virgin canvas. Remember "Pick-Up Sticks" ? See short ones scatter and fly across the foreground in as if they someone rattled the table they were on. They're the only non-ninety degree shapes you'll see, and they give 90.5° life.

90.5° Arrives prewired, ready to hang. 

Materials Used:  Paint, Acrylic, on Canvas with 1-1/2" Deep Museum Mount, Painted Edges, Prewired for Hanging

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36"W x 24"H x 1.5"D

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Zoom in closer. Want to feel the texture? To see what clash of colors made you feel exuberant, energized, or focused? As tranquil as air, or as encumbered as a bubble in riptide? From a different distance, a different angle? If any brushstroke or scrape of the palette knife awakens the emotional part of your mind; the place where you visualize no tangible object you’ve ever known, that is enough. 90.1° is thick, and articulated with pigment in every possible layer of every vibrant, saturated color. Except for the background. That has quick, smooth, controlled glazes of orange and yellow upon which these pigments have been scraped or glided. This is foiled by small areas of raw white canvas, and by a couple of minute, powdery fields of chalk pastel. Awaken your space with this explosion of heat, color and playfulness..

90° arrives prewired, ready to hang.

52"W x 20"H x 1.5"D

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These canvases have a rich history. Once well textured, I applied washes, scrapes, dollops and Hershey's Kisses of paint in many different layers. I did have to let some of the layers completely dry before deciding where to take the work next. I also wanted a visually heavy base at the bottom of each canvas, and a zone of "sky" and "clouds" in the composition of each piece.

They're so similar, yet different by virtue of the hectic laces of metallic silver, steel grey, and whirling orange strings. During the process, I had to rub up some areas with a rag to achieve the pale haze that foils the mad, vivid colors from my palette knife. I'm glad I started these canvases anew. They're much better this way. Sometimes I have to gesso over a work that doesn't do it for me. Does that explain why the texture is so rich? Enjoy!

Thrice Considered includes three canvases, each at 16" x 20". If they're mounted horizontally, with the long canvas dimension vertical, you will probably want about 1.5-75" between them for a total width of 52.5" and 20" tall, and 16" wide by 64.5" tall if displayed vertically. 

Thrice Considered arrives prewired, ready to hang.

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36"W x 36"H x 1.5"D

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Alight came by way of some similar background brushstrokes as "Not Miscable" and ended with a massive explosion like "Salvo". I graduated red and magenta glazes from the lower right, one by one, to cool hues like process cyan and pthalo green. I used the edge of a few palette knives, my favorite tools, to spread sparks igniting from this detonating sun. The sparks seem to lift off that canvas because I used hues that are polar opposites of the atmosphere through which they're propelled. Some of these sparks and shards are glittering metallic white. All of them them, however, are mid-ignition. They're like the best part of a firework; during that moment in time when this sky is acutely Alight.  The deep 1-1/2" edges of this work are painted as continuation of it's surface as if it were three dimensional object. 

Alight arrives prewired, ready to hang.

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20"W x 16"H x 1.5"D

Side Winder ships rolled and arrives ready to mount in your frame of choice. As a suggestion, the in-situ image shows the work with a warm gray matte and black frame.

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Some washes of photo blue, of warm gray, a bit of Hooker's green. Ok, and a splash of orange. Just a dreamy, watercolor-like amalgam of landscapy type subtieness. What to do? Next day, now that Side Winder was dry, it was ready for charcoal; some great scribbles. But yet, it sat there a few more days, and I had to add some squiggly swirls. Yes, almost done. Some white paint pen, another drying session, and when outlining with an ultra fine black paint pen I find yes, it now has the detail and variation I want. It is finished, and I feel it must be named Side Winder.

Materials Used:  Paint, Acrylic, Paint Pen and Charcoal on Watercolor Paper

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48"W x 48"H x 1.5"D

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I washed this oversize canvas with sky blue, eggplant and sienna brown with the intention of serenity. Hah! Over the course of it's evolution, the more energetic it became. Each day I was compelled to dribble, scrape, or lay on a shape more dynamic, or a color more vibrant than before. As strong as my desire for serenity is, my natural tendency is to get more excited as I like something more intensely. Yes, it shows. Color spins me into into an energetic state of infatuation. It's "Emergent" no matter what I do.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Emergent arrives prewired, ready to hang.

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24"W x 24”H x 1.5"D

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This is a completely abstracted expression of my view out my studio window. It’s reinterpreted with colors that belie little of reality too. There’s a yellow and orange tree on the other side of a vast expanse of glass. There are remnants of furniture on the foreground of a common area. Straight lines and window panes overlap to form the impression of the mullions of my building in a collage with those of the building across the street. Charcoal and pastel reinforce some of the junctions my mind has left over from it’s interpretation of what I see behind me when I paint on my easel.

The deep 1-1/2" museum mount edges of Studio are painted as 3D extensions of the main image.

Materials Used:  Paint, Acrylic, Charcoal, Pastel on Canvas, Prewired for Hanging

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36"W x 36"H x 1.5"D

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Tablets of color vibrate and flow through, behind, and around each other. Woven strands of knife scrapes skitter across the surface preventing the tablets from elevating off the canvas and into your space. It's almost mathmatic.

It is definitely exponential, because each filmy shade merges with another to create yet another different depth on this field, and a yet a new hue, incalculable but never ending. Intensely vibrant and playfully bold. Exponential is the home of discarded cellophane confetti and obsolite lens filters. It's the all the left over red lollipops and blueberry suckers arranged ever so carefully in a logical, weightless vacuum.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Exponential arrives prewired, ready to hang.

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20"W x 16"H x .08"D | Unframed

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This is a one piece listing for MIRTH, a work of acrylic glaze, pastel and charcoal, showing LOVE and MIRTH together.  MIRTH is second of the Spirit Series that also includes Mirth, Hope, Joy, Levity, Hankering, Infatuation and Devotion.  They're all emotions felt by the spirit, ones that human beings have with such intensity that they're vital to our lives. We want to know them every day we wake... and if we don't, it's certainly good to have a reminder. 

MIRTH arrives ready to mount in the frame of your choice.

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20"W x 16"H x .08"D | Unframed

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This is a one piece listing for LOVE, a work of acrylic glaze, pastel and charcoal, showing LOVE and MIRTH together.  LOVE is first of the Spirit Series that also includes Mirth, Hope, Joy, Levity, Hankering, Infatuation and Devotion.  They're all emotions felt by the spirit, ones that human beings have with such intensity that they're vital to our lives. We want to know them every day we wake... and if we don't, it's certainly good to have a reminder. 

LOVE arrives ready to mount in the frame of your choice.

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24"W x 24"H x 1.5"D

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I walked in circles around the canvas to create Trick Giblet, which was positioned on a round table. It's intentionally freeform, exclusively an effort to follow form and color where it took me without any preconceptions. I used brushes and knives, sometimes applying acrylic paint directly from tube to canvas. I want the viewer to imagine whatever comes to mind, or to simply enjoy how the hues and shapes dance on the canvas. Texture and meaty globbits of paint, to me, give it life. Why the name? It's as playful as the composition. Funky.

The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Trick Giblet arrives prewired, ready to hang.

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20"W x 16"H x .08"D | Unframed

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This is a one piece listing for HANKERING, a work of acrylic glaze, pastel and charcoal, showing HANKERING, HOPE and JOY together.  HANKERING is first of the 2nd Spirit Series that also includes Hope and Joy.  They're all emotions felt by the spirit, ones that human beings have with such intensity that they're vital to our lives. We want to know them every day we wake... and if we don't, it's certainly good to have a reminder. 

HANKERING arrives ready to mount in the frame of your choice.

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24"W x 24"H x 1.5"D

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I really had fun with this. It's in my 90° series. Since a great deal of my other work is now quite large, this one grew with a familiarity to me that was gratifying. The tangerine background is thinned to translucency with glaze. Once I applied it with a brush, I had to get back to my favorite tool, the palette knife. I have so many and I'm getting more precise in understanding the marks they'll make. I used Cobalt lightened to a dark periwinkle, Cerulean Blue, Lime Green, elemental Red, Turquiose and Magenta mixed with white to complete the palette in the way I hope 90.4° will complete your space. 

The edges of this deep 1-1/2" deep musuem streched canvas are painted as part of the composition.

90.4° arrives prewired and ready to hang.

Materials Used:  Paint, Acrylic, on Canvas with 1-1/2" Deep Museum Mount, Painted Edges, Prewired for Hanging

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60"W x 40"H x 1.5"D

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It was time to re-create how my journey of parenthood should be negotiated. I pondered this as I washed the canvas with a background of glazes. How could I better help, understand, and express how I love my son and still be me? Our progeny deserves every ounce of our being while we simultaneously gift them our own example to thrive as we travel our own path.

As I lay down thick swaths of color, I thought about how sometimes we must reposit exactly how we forge this path, how we position each step, one at a time, until we again travel with joy, ease and exuberance.

Reposit the Path has two canvases, each at 30" x 40". If they're mounted horizontally, with the long canvas dimension vertical, you will probably want about 1.5-75" between them for a total width of 61.5" wide and 40" tall.

Reposit the Path arrives prewired, ready to hang in this orientation.

36"W x 36"H x 1.5"D

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There was an article in the Denver Post about building re-use in Boulder, Colorado. The subject didn't embed so much in my mind as did the image of a brick wall in the background. It had a muted, playful quality that got my attention. The bricks were purposefully, yet randomly painted with light, earthy pastels that faded, brick by brick, back into the plain, monotone color the last owner of the old building used, figuring it would go unnoticed.

I hadn't done a calculated, rectilinear painting like this in awhile, so I was enjoying being precise. As the layers of candy striped mortar and multi-colored brick units attained their own language of pattern, I realized that sequences of paint strokes felt like I was hopping randomly across the canvas with my paintbrush like a slow motion game of hopscotch.

Hopscotch Brick arrives prewired, ready to hang.

36"W x 36"H x 1.5"D

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Tom Jones; "What's New Pussycat?" was playing when I really got my groove on this one. What could be more fun? Exuberance and playfulness take me in that song. Ok, there's no cat, except maybe the one I felt like when I was pawing around this canvas. And it's passionate... like Mr. Jones. Maybe the painting moves like him. What feline wouldn't want to bat around inside this frenzy of motion in "What's New Pussycat?" Me for one! This is just for you... and your hot deep pink, magenta pussycat nose!  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composite

What's New, Pussycat? arrives prewired, ready to hang.

30"W x 24"H x 1.5"D

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Do you feel as uncontrollably swept up as I do when both joy and tragedy occur at precisely the same time? I was so excited to be asked to feature in the Denver Prism First Friday exhibit while one after another episode of health was plaguing our family. During this chaos, it was natural for me to respond with powerful expression. This painting, created after "Contracted Decision" and "Trick Giblet", has the high energy, saturated contrast of the latter with the dynamic vigor of the former. But it's even more explosive. "Effuse" has the hearty texture that I love in so much in my work, but in it's most extreme expression. The determination with which these meaty gestures of pigment hurl across the canvas is equal to the force with which life sometimes catapults us through circumstance without our consent.  The deep 1-1/2" edges are painted as an extension of the main image of this work.

Effuse arrives prewired, ready to hang.

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48"W x 24"H x 1.5"D

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I missed paintng my 90° series, which began in 2013. It's commonality is ninety degree angles. This work, 90.2°, continues the sunny yellow theme of the original 90°, but follows rich tangerine 90.1°. I did want another go at this highly textured fabric of color I find precise, rectilinear, but playful and fun at the same time. This work though, is bigger yet by another foot. There are glowing pearlescent metallic white cross hatches that highlight the most dense parts of 90.2° it alters how you percieve it from different angles, and It's saturated with vivid hues that'll steer you to joy!  The edges of this deep 1-1/2" deep musuem streched canvas are painted as part of the composition.

90.2° arrives prewired and ready to hang.

40"W x 30"H x 1.5"D

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The joyful Razz began with an intention similar to my paintings 90° and 90.1°. I used a 4" broad brushed rectilinear background. My next layers were laid on one color at a time, using 1" to 1/4" brushes for more narrow rectilinear strokes. I poured on metallic black, silver and white pearl, spreading it with palette knives to enrich the fabric of color, but I felt the rigidity had to be softened, so I created playful wavy motif, applied with acrylic paint markers. After a few days in my studio I chose to balance out the composition with the largest and only red wave. Only at that point did I realize how much more rich and detailed it would be if I added the delicate metallic silver threads. Now bold yet delicate, Razz was complete.

Razz arrives prewired, ready to hang. 

30"W x 24"H x 1.5"D

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A diminutive collage; "Demináge" is my moniker for this work. It's small, but not lesser. It's jazzy, but not chaotic. And it's cool. Meaty texture, glazes, and raw canvas play their part in this composition. Defined in urban slang, "demi" means "cool; a beautiful woman who loves all, even when the clouds are grey, she brings sunshine to the world." I feels jaunty but balmy, a delicious melody, that lightens my mood as I hope it does for you.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Demináge arrives prewired, ready to hang.

49"W x 30"H x 1.5"D

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Smoggy, hazey, hot. Sunset, moon, cool desert. Heat distorts the setting sun. Orange and red translucent brush strokes glisten on the water droplets in the sky. The sun seems very far away, but I have to stare. I become transfixed by the way the suspended droplets float and flutter in the heat.

Seriously, as I painted the steamy scene in my mind I could almost feel it, and could almost hear a mild water wash on the beach and the horizon disappear and reappear in the distance. The water portends relief while the impasto hues ground the emotion. Thickset ribbons of the palette knife in flat platinum and gloss stripes of orange-red flame float. A light muted metallic glaze shines the open vista of the horizon.

This is a diptych. If hung with a 1-1/2" seam, the total width of the two 24" wide canvases together will measure 49-1/2" with a height of 30".

The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

30"W x 24"H x 1.5"D

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A celebratory story... I began this painting after a sabbatical following two losses in our family's leading generation. Feeling only grey, I had to force myself to think in color.

My thoughts were pretty hazy, and for me, purple is rather somber. I knew there was, at least blue sky to be found. I added it even though I didn't feel it. With trepidation, I dabbed bits of brightness to make it less moody, and soon little chads of confetti swirled about like flotsam and jetsom of my emotions, free floating in the breeze. The more festive the colors I added, the cheerier I felt; much more like myself, and ever more glad that I picked up that brush, eager yet to saturate my next canvas. What a relief.

Proof that motion and color can lift one's tatterd soul. My hazy thoughts transformed into a gentle, peaceful celebration of confetti. 

Haze Fetti arrives prewired, ready to hang.

50"W x 36"H x 1.5"D

The purpose of abstract art, other than to elevate the soul or lighten the heart, is to create a spring board for your imagination. Realism prescribes exactly what your mind will see before you have the chance to choose how you would like to interprate it yourself. The abstract leaves incumbent on you the selection of art that makes your mind fly. That's what my husband said when "I Want Candy" was in progress. "A mass of balloons ins flight", he exclaimed. As I further massaged this diptych, it took on the whimsical, character of a Disney candy store. Hang "I Want Candy" in a smart, sophisticated space, and it might make you take yourself and your day a little less seriously. The deep 1-1/2" edges of your canvas have been painted as a 3D extension of your image.

I Want Candy arrives prewired, ready to hang.

20"W x 16"H x 1.5"D

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Six to Four began with washes of teals and pthalo greens, with drenches of water. That created the appearance of blue and green rain streaming down a window pane. I used a the loose brush I love to paint swirl on cadmium orange, alizarin crimson and bright white circles. The paint pen scribbles I added on the next layer created this dimension of background noise on top of the heavy rain, while the circular swaths added the bigger crashes of a symbol. Let’s say it’s a moment in time where there’s lots of commotion indoors during a downpour outdoors. It’s easy for me to say that I see a scene along with it’s accompanying sounds in everything I paint, because the variety of colors, brushes, strokes, and lines is to me like layers of movement and music. That’s what makes the layered richness in places you and I live in every day; the sounds of life. Six to Four? Perhaps it's the time in the room when it all happened, and maybe the song by the Group Chicago was in my head when I was thinking of the name too. 

Six to Four arrives ready to mount in your frame of choice.

Materials Used:  Paint, Acrylic, Paint Pen and Charcoal on foam backed paper board

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40"W x 16"H x 1.5"D

Certificate of authenticity included.

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Harlequin Plaid began with wide, overlapping swaths of burnt orange, yellow and red using a three inch wide palette knife. After a day of studying the canvas, I chose to create tension by overlapping those scrapes with a diagonal pattern of deep, purple-blue using the edges of that same tool. Seldom one to shy aware from deep, vivid hues, the next day I couldn't help but to apply some meaty chunks of teal, lime and true cadmium orange using the short end of a quarter inch knife. My last decision was to bring in reflective metallic gold to reinforce the harlequin pattern, and silver to foil that geometry with concentric rippling echos of pearl.

Harlequin Plaid arrives prewired, ready to hang in a horizontal orientation. 

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48"W x 24"H x 1.5"D

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The universe moving at the speed of light is this; a spinning vortex of atomic matter desperately seeking to rest in it's natural state; a place of inertia. From a scientific perspective of matter, that is the concept. From a spiritual point of view, this is the force and light of the soul reaching out to connect and thrive with other life. It's dynamic. It's what we do every second of life on earth.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Entropy arrives prewired, ready to hang.

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40"W x 40"H x 1.5"D

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It's not typical of me to ask questions when I paint, but a venture into this somewhat organic style sent me awry.

In particular, I had some raw, white canvas areas that left me uncertain whether I should add more color, or keep the bright, light open spaces. Some of my client favorites have specific areas of negative, unpainted space. Still, I paused. I talked to friends, texted and emailed with questions, "If this were on your wall, you would say that you only wished... and what bothers you is... ?" Even though everyone loved it, replies were all over the board with “this little splotch”, or that “minute gesture”. I was going to leave it as is, but I came back from vacation, headed straight towards the canvas to strengthen the motion, and stroked on more cool colors to foil the hot ones. Viola! Still happy, still airy with lots of vibrance; despite my contracted decision.  The deep 1-1/2" edges of your canvas have been painted as extensions of the main composition.

Contracted Decision arrives prewired, ready to hang.

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10"W x 30"H x 1.5"D

Riddle Me This started with water; a stream. Texture and color began to layer into swirling currents atop the water. Ellipses crowned and floated above the currents like halos, as the colors began to take theme for each direction, some with their unique impasto patterns. Friends tell me each swirl represents a new path like a Zen maze. Yellow "kisses" of paint skitter across the sky into chaos above the red halos while the hot red vortex dives into the blue depths.

I will sign your piece where you please. It is stretched and ready to energize your space and your world.

Riddle Me This arrives prewired, ready to hang.