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“Fabulous .... It looks fabulous. I am so excited. Totally trust your artistic eye. You've been just super to work with. I'm sure we'll connect again soon.”
- JoAnn from Little Rock, AR | USA May 2016, on “Hopscotch Brick No. Two”
72"W x 48"H x 1.5"D | two pieces at 36” x 48” x 1.5” ea.
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This diptych, two pieces at 36” x 48” x 1.5” ea., total an area of 72"W x 48"H x 1.5"D. My romance with 90° angles began with the infinity of right angled lines I lived with for decades as an architect. Yes, I often pushed for organic, wavy walls, but they’re inconvenient and not so affordable. Angles are crisp, though, and with the right pigment and texture on canvas, they’re musical and dynamic. Follow them with your eyes on 90.18° and you’ll weave through metallic gold lines and overlapping swaths of smoky blue, grey, taupe and pale goldish yellow glazes. Pearlescent white flow paint is traced in organic shapes that foil this intense rectilinear fabric. Those tracings are outlined in fine calligraphic lines of deep grey-blue. The big textural gobs of orange and cadmium red were laid on with my favorite tool, a palette knife.
The contrast of organic to rectilinear shapes and of smooth raw canvas to bold texture is visual food from afar and at close inspection. 90.18° is eighteenth in the 90° series.
Materials Used: Acrylic and Metallic paint
The 1-1/2” deep museum mount edges are painted as extensions of the composition. 90.18° arrives prewired, ready to hang.
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60"W x 48"H x 1.5"D
Certificate of authenticity included.
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I paint because it makes me happy and other people tell me it brings them joy. Sometimes I'm already happy when I pick up that brush, but sometimes not. Maybe I’m stressed, feel flat or harried just like anyone else depending on the day.
Painting Alright was a proposition I made myself in order to keep it together on a rough day. By the end of it, I had been notified that my ninety four year old Dad had arisen robustly from surgery. And my friend of a quarter century who had also been the maid of honor at my wedding had just spread her partner’s ashes in the Pacific. I then heard the return of a familiar inflection of her voice, the lyric in her sentences, and the words she chose. These were my assurance me she was getting stronger.
They were Alright.
Materials Used: Acrylic on Canvas
The 1-1/2” deep museum mount edges are painted as extensions of the composition. Alright. arrives prewired, ready to hang.
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48"H x 48"W x 1.5"D
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What’s in a name? A lot, in this case. Ok, in all of my work. If it's esoteric to your friends, you’ll surprise them by pointing out the abundant flora and fauna in "The Giant..."
Here’s a hint. When hiding from orca whales, the gray whales will immerse themselves in kelp forests (the Weeds) for better protection. Gray whales (the Giants) also feed on invertebrates and crustaceans that are found in kelp forests. Giant Kelp beds, which are all over the Pacific Northwest where I live, have thick, flexible stalks up to a hundred feet in length with a bulbous growth on the end. They’re black and deep blue in "The Giant.."
Find also the apple, the cactus, the leaf, the deer hoof print, the daisies, and the poppy. Not to omit tropical fare, see also the banana and the Crocodile (the Sly). "The Giant, the Sly and the Weed" is a celebration of the fruits of life, literally, those we eat and those we protect.
Materials Used: Acrylic on Canvas
The 1-1/2” deep museum mount edges are painted as extensions of the composition. The Giant... arrives prewired, ready to hang.
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60"W x 48"H x 1.5"D
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Orange is my color! It makes me feel so good! 90.11° is the eleventh in a series I began that reflected the infinity of right angled lines I lived with for decades as an architect. Yes, I was always pushing to use organic, wavy walls, but they’re inconvenient and not so affordable. Angles are crisp, though, and with the right pigment and texture on canvas, they’re musical and dynamic. Follow them with your eyes on this piece and you’ll weave through pearlescent white, metallic gold and vivid swaths of crumbled pastel dust. The indigo and cerulean blue hues along with limey celadon and light turquoise deliniate a vibrancy and joy that makes me want to paint more. And may I say that this jazzy dance of pigment will launch a locomotion of thought that takes a different cadence each time you follow it’s notes.
Materials Used: Acrylic and Metallic paint, Pastel
The 1-1/2” deep museum mount edges are painted as extensions of the composition. 90.11° arrives prewired, ready to hang.
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60"W x 48"H x 1.5"D
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This season of my life allows me the perspective of time in flow. I better understand the rhythm of emotion, goals, and the lessons of success and failure. It’s more natural to set my oar for a ride in accord with the current and know which waves to address and which to let carry me.
It’s with ease that I’ll let a blue sky absorb me or burst with the fire of excitement that I savor, knowing how temporal every experience in life is, all of them important to engage with before they’re gone. Accord is both a moment and a place of comfort, acceptance, excitement, and a contented dance with the world and with my life.
Accord arrives prewired, ready to hang.
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60"W x 48"H x 1.5"D
Certificate of authenticity included.
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Yellow makes feel happy and light. You? There’s lots of metallic here; bronze, gold, silver, and I love the pearlescent white. It surrounds the sun is concentric circles. Sometimes I set out to paint joy. How many ways can I do this? The brightness of the yellow is one. My studio mate said it makes him feel like he is lying down in the grass [blades at bottom] basking in the warm sun, in the breeze. Sure, he’s a theatre costume designer, so he’s more imaginative than most, but I get it. Can we bring this joy and gentle breeze into your space? Ok, are you concerned about being too happy? It’s alright. I can tell you that I’ve had at least two collectors directly tell me that they feel so happy when they look at my work. Lots of passers-by say the same.
Materials Used: Acrylic and Metallic paint, Pastel
The 1-1/2” deep museum mount edges are painted as extensions of the composition. Wish arrives prewired, ready to hang.
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48"W x 60"H x 1.5"D
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Lion Fish is my absolute favorite work to date. All of my works are experiments. I see a color palette or a technique that moves me. Light wash, metallic silver splatter, water, wipe and emboss was the genisis with Lion Fish. Once this blue and grey became my background, I used thick lime, green and yellow to pat out shapes in what I thought would become floating leaves in an arc of wind. The next day, I extended the edges of those leaves with an outline using the edge of a knife the next day, and they became fish! On another, I grew their tail fans into explosions, and the next I interwove the orange fire that became a tidal wave of power. Last was the punch I gave to the bubbles with pearlescent metallic white. Anything that moves that fast creates this kind of turbulence. Do you know what a real Lion Fish looks like? If you do, you'll understand.
Lion Fish arrives prewired, ready to hang.
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48"W x 60"H x 1.5"D
Certificate of authenticity included.
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I Spy is a new genre for me; a polar opposite. It's more sedate and classic. Since each painting I begin is purposely an experiment, and ends as a discovery, I'll work until a visual language evolves, just like the buildings I used to design. I'd work on a building until the mass and facade created its own visual language. Typically, I start paintings with the white canvas, and layer pigment until I the work becomes a statement like joy, a snapshot of organic movement, or maybe mathmatic precision. In this piece, the field of deep charcoal is lifted with lightness, in a classic, metallic, urban rythm. I lived in Manhattan during the third year of my undergraduate degree, and I Spy reminds me of the glint off off the Chrysler building's sharp turret-like edges at dawn... when the sidwalks are bare, and a few loners make thier way down Fifth Avenue. That's what I spied one hazey, lavender orange morning out the window of my architecture school studio after I'd been there all night.
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 48"H x 1.5"D
Certificate of authenticity included.
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Do you see the metallic bronze in the detail images below? I was determined to keep Joystruck light, and I have. Wow, was I in the mood to paint big format when I started. With house paint brush in hand, I layered on a pale, breezy yellow. Using smaller brushes for smaller strokes, and I added lots of glazing medium to keep transparency. The big palette knives came out to scrape on smooth swaths, or scrape through heavy visually areas. I’d start fresh another day when the last coat was completely dry so I could keep tool work distinct. I made the dynamic patterns of repeated line patterns and sharp trajectories with palette knife edges. Finally, direct liquid pours of yellow and bronze completed the piece, except for a few paint pen outlines to emphasize those lovely, amorphous, drippy shapes. And yes, I was Joystruck when I finished.
Materials used: Acrylic and metallic paint on canvas
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48"W x 60"H x 1.5"D
Certificate of authenticity included.
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Trixie Sour is part of a series of large, layered abstracts with gleaming, metallic punch. I'm getting to the point where I create almost exclusively with palette knives. I love them, and use their edges for sharp rectilinear lines and for scraping out naturally occurring shapes and textures. You might notice that I did use a wide brush for the deep green background. The limey-yellow shapes got me thinking about sour, green Granny apples and Whiskey Sours; heavy on the lime. The originally serious tone of this work eventually took on a quirky, playful character; kind of tricky. Do you remember "Trixie" from "The Honeymooners" of 1951-55? I watched reruns with my parents when I was little. Then I bought a series of CDs. You can stream it now, which is what you'll need to do, because it's hilarious. Trixie Sour.
Trixie Sour arrives prewired, ready to hang. Acrylic paint on Canvas with 1-1/2" Deep Museum Mount, Painted Edges
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60"W x 48"H x 1.5"D
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Trebuchet began with cool washes of tonal blues, alizarin crimson and cardinal red, It was supposed to be a calm, watery scene. Here's how it instead evolved into a great display of energy. The next day I scraped on some thin diaxozine and alizarin corners with my favorite palette knives to draw your eyes toward the bright white. Then I applied highly textural lines and shapes with palette knives. This just confirmed to me that texture and pigment influence me almost without fail, towards an expression of geometry or a play of motion. In this case, say, a trebuchet; a wooden one, splintering as an expression of it's own impact? Yes. And the fabric of tightly knit lines represents the latent stresses burgeoning inside the structure prior to launch. You'll see gold metallic strings in this fabric that change in that light depending on the angle from which you're looking at it, just to make sure the painting gets your attention if nothing else about it does.
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.
Trebuchet arrives prewired, ready to hang. Acrylic Paint on Canvas with 1-1/2" Deep Museum Mount, Painted Edges
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60"W x 48"H x 1.5"D
Certificate of authenticity included.
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Max Lemon, the new guy in town, got his start as a rich swatch of deep cadmium yellow paint, brushed on vertically with some red on the same brush. I brought out the deep orange to the left, and took notice how rich this yellow was, like a vivid, yellow lemon fruit. Even though I continued with a few squeegees of taupe and tan, I was compelled to add circular bubbles of yellow to reinforce what felt a fizzy cocktail to me, say a martini. I sent palette knife edges and scrapes of orange shapes twisting across the room. It’s a party with a rogue guest whirling twice around this space, once in silver, and then a matching pearlescent white. Another guy crashed this crowd in semi-geometric movements; same pearlescent white, with thin seams of black tracing his steps. It’s still Max’s party. His Lemon, his Martini, his evening. Accursed, the interlopers.
Materials Used: Paint, Acrylic, on Canvas with 1-1/2" Deep Museum Mount, Painted Edges, Prewired for Hanging
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Set | 60"W x 60"H x 1.5"D
Each Panel | 20"W x 20"H x 1.5"D
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A nine pieced panel is called annneaptych, like monoptych, diptych, triptych. It's a record in time of my completely spontanious and expressionist thought. You'll see lots of metallic flow pearlescent white, gold and silver in real life, along with flow yellow and red. It has lots of raw texture with bright white virgin canvas.
The center panel is called "Nine Central", the right center panel, "Nine East", the left, "Nine Northwest". 20" x 20" each panel. With 1-1/2" between panels, the set is 63" x 63"
The deep 1-1/2" museum mount edges of Nine are painted as 3D extensions of the main image. Your piece arrives prewired, ready to hang.
Nine arrives prewired, ready to hang. Acrylic on Canvas.
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48"W x 60"H x 1.5"D
Certificate of authenticity included.
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Terra not only means earth, but is also the botanical genus for Butterfly. Unbelievably, I started with a photo of a Yellowstone Park scene framed by some evergreens. The more abstract I took it, raw, organic energetic shapes took over. The underpainting of Terra uses layers of acrylic glazes. I added detail with pastel, charcoal, and a fine, black paint pen. The metallic silver, gold, and bright yellow sparks were applied with edges of a palette knives. Two coats of varnish protect it. Scribbles of life, movement, color with little exclamations of language and sounds of nature are illustrated in so many ways in Terra.
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.
Terra arrives prewired, ready to hang.
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36"W x 48"H x 1.5"D
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Irridescent colored glass shapes sparkle on this generously sized canvas. Glints from the edges of glazed ceramic tile strips flash. The timbers are at once trickling, growing and glowing. Hard edged metallic stone sticks sprout from a ground littered with sea-glass like pebbles; some with mirrored backs. Yet the trickling tree floats on a salmon, blue, grey and yellow pastel sky that's visually muted with raw umber glaze.
The plane of the canvas image hints at the varying 3D relief finishes that range from high gloss, to satin, to matte objects. The close-up vignettes have been shot in raking sunlight, in some cases appear to add depth to the relief. Direct a light source on this actual glass and stone relief to watch colored trails of light travel through your space and towards the eyes of the beholder.demand attention and will spark conversation.
Trickle 'me Timbers arrives prewired, ready to hang.
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“Had some lovely email exchanges with the artist so was a lot more fun buying than usual internet purchases! The painting arrived when Heather said it would and in perfect condition. All good and very happy with our new piece of art. Thank you."
- Repeat collector, Camilla from Wimbledon | UK August 2016, on “Hopscotch Brick”“Love the Painting and I thought the written letter that I received from the artist from a great touch. Keep up the great work Heather! …Yes, Effuse did arrive in perfect condition, and we love it! We are looking forward to giving it pride of place once the house we are renovating is ready to move into. I look forward to watching out for your new artworks in the future. Kind Regards! ”
- Gareth from North Yorks, UK | USA October 2015, on “Effuse”
60"W x 48"H x 1.5"D
Certificate of authenticity included.
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Beso de Tarzan in spanish is Kiss of Tarzan to us. It’s also my latest novelty. I was exploring organic graphics and began my foray into this collage. I painted a crescent of magenta nuts cracking open from right to left and realized how like a kiss they were. I originally meant to exclude any recognizable shapes here because I’d set out to create a visual fabric that would be used purely as a tool to let your mind wander. Forty eight hours later, I gave in to the risqué undertones and matched it with the reference to Tarzan. My jungle of vines, flowers, nuts and kisses became a venue, the place your mind goes when you get kissed by the original he-man of the vine. There’s even a jungle python in pale blue. See him? This is a comical cartoon happening.
Materials Used: Acrylic on Canvas
The 1-1/2” deep museum mount edges are painted as extensions of the composition. Beso de Tarzan arrives prewired, ready to hang.
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