Evolution to Distortion

After my last post describing and updating the progress of a new Nasoki painting I was working on, the piece took a turn for the worse. I resigned myself to accepting that is was a failed attempt and I let the painting go. A few kinds words from friends requesting I send them my failed painting(s) and it was back to work. I realized that after a year of working on this idea and with the failure of my most recent effort, that the Nasoki series was officially over and it was time to move on to something new.

I started exploring a new idea and this is the result: The painting is called Distortion 1, 2012. The title refers to palette’s manipulation of the eye – the blur of two colors vibrating next to each other. The colors can be defined and quantified by the degree to which the viewer absorbs the spectrum and the visceral effect the palette elicits.  And the idea is based on the notion of a ripple effect and how one action is directly related to or a consequence of the previous event. The imagery also suggests that information can be disseminated from person to person to broaden the impact of a message. This new series of work combines visual color play with the idea that a second event is a direct consequence of the first as a beginning of either disintegration or positive influence.

This painting is acrylic on canvas and measures 72 1/2″ x 60″. I documented the painting along the way with fourteen images of the piece in progress. (slideshow-progression)

And finally, to current events: My Nasoki 10, 2012 painting, which was previously exhibited in Madrid, has now made its way to Dallas and will be on view at Galleri Urbane in the project room this month during the Jessica Drenk show:

Client Dwellings I

I have just started to document my work in client’s homes and businesses. Here is where some of my work lives now…

This painting (Oblik 3, 2008, 36″ x 60″) is at the Bath-Fortuit residence in the Ladera Heights section of Los Angeles.

Here is another installation view…

These next two images are of Oblik 2, 2008, 56″ x 84″ installed at Orange Berlin Salon on Beverly Blvd. in Los Angeles:

This next image is an installation of three paintings at the Sanchez residence in Orange, California:

I’ll be adding more as I visit and photograph my paintings…

Bourgeois and Oblik

So, I had this potential client for a studio visit a couple of months ago. She said she loved my work but the colors didn’t suit her; they were too bright. She preferred something black and white. I had never made a black and white painting nor had I ever even considered doing so. After she left, I set to work on a black and white painting. As the painting progressed, my color sensibility kicked in and I was compelled to add green.  The result was Oblik 12, 2010 and the discovery of a new palette with rich gray tones layered together with black, white and the dark green. The moment people started to see this new painting, their reactions were amazing. Normally when an artist is asked to shift their mindset to something foreign, it is rejected outright. But when I opened myself up to this black and white idea, it allowed me to explore a different palette I might not have otherwise discovered.

Here is my most recent work from May 2010:

Untitled 2010

Oblik 17, 2010, 48″ x 60″, acrylic on canvas (SOLD)

Yesterday (May 27, 2010) I heard the sad news of the death of Louise Bourgeois. The first real piece of art I ever purchased was by her; a beautiful Mixografia print which looks like red rope glued to paper. Simple and sensual just like her. My grandmother, Marion Pike (also: book), was also an artist and a great inspiration to me as a young student. Click on the Marion Pike post to read more about her and see some of her paintings.

Oblik Series

The Oblik series began at the end 2007. I decided to make a group of large canvas pieces and sat down to work. Nothing was going well and I furiously tried to erase some persimmon colored paint with my brush. I thought if I could wipe away most of paint, I would later cover over it. The result was an astonishing discovery of a new technique I have now explored and improved upon over the last 2 ½ years. The painting I created that day became Oblik 2, 2008. The title comes from a Macedonian word my husband used to describe the shapes in my composition.

Click here to view a full screen slide show.

Oblik 17, 2010, 48″ x 60″, acrylic on canvas (SOLD)


Oblik 16,  2010, 5 1/2″ x 7 1/2″, acrylic on paper (SOLD)


Oblik 15,  2010,  48″ x 60″, acrylic on canvas


Oblik 14,  2010,  11″ x 14″, acrylic on canvas


Oblik 13,  2010, 16″ x 20″, acrylic on panel


Oblik 12,  2010,  48″ x 60″, acrylic on canvas


Oblik 10,  2009,  11″ x 14″, acrylic on panel


Oblik 9,  2009,  11″ x 14″, acrylic on panel (SOLD)


Oblik 8,  2009,  9″ x 12″, acrylic on panel


Oblik 3,  2008,  36″ x 60″, acrylic on canvas (SOLD)


Oblik 2, 2008, 48″ x 72″, acrylic on canvas


Oblik 4, 2008, 22″x30″, acrylic on paper


Oblik 6, 2008, 9″x12″, acrylic on panel (SOLD)


Oblik 7, 2008, 11″x14″, acrylic on panel


Oblik 1, 2007, 56″ x 72″, acrylic on canvas

Click here to view a full screen slide show.

Vezila Series

I began the Vezila series all the way back in 2002 when I was pregnant with my first child. My studio was being built and I had just given up using oil paint because of the fumes. I had to devise a way of working small and without the chance of spilling acrylic paint in the dining room (which had become my temporary studio). This is when I came up with the idea to “paint” with a needle and thread. I would first do a drawing on paper then poke guide holes to later stitch the thread through. The work was very well received by clients and curators alike. Vezila in Macedonian loosely translates to: made by hand. Later I used the hand-made crochet table decorations by my late mother-in-law as inspiration for the imagery in the work at the end of this series right before I started the Oblik series.

Click here to view full screen slide show of the entire Vezila Series.

Untitled 3, 2004, 40″ x 72″, rice paper & hand-stitched thread on linen

Untitled Collage 11, 2003, 24″ x 18″, rice paper, acrylic, pencil & hand-stitched thread on paper mounted on panel

Vezila-triptych, 2005

Vezila, panel 3, lithograph, 12″x24″

Vezila, panel 2, lithograph, 12″x24″

Vezila, panel 1, lithograph, 12″x24″

Vezila Drawing 1, 2006, 36″ x 64″, enamel on rice paper

Vezila Collage 5, 2006, 9″ x 9″, enamel, rice paper & hand-stitched thread on colored paper

Vezila Collage 1, 2006, 5″ x 5″, (SOLD)

Vezila Collage 3, 2007, 17 1/2″ x 20″, enamel, rice paper & hand-stitched thread on paper

Vezila Collage 1, 2007, 22 1/2″ x 30″, rice paper, enamel & hand-stitched thread on paper (SOLD)

Untitled 6, 2005, 10″ x 12″, hand-stitched thread on canvas (SOLD)

Click here to view full screen slide show of the entire Vezila Series.