Visions of Self 2025

This piece was imagined after doing a examination of my Mayan roots. In it I have depicted the four natural elements of earth, wind, fire, and water.

My Textiles and photographic collages often explore the politics of representation and the tensions and contradictions of a Black European identity.

For many years self-portraiture has played a key role in my work. Each portrait, often manipulated, is printed onto silk, hand felted with Merino wool, and then hand stitched. While most of the manipulated images become Textiles, each series of work generates ‘stand alone’ photographic prints.

‘Up close and personal’ is the working titles for a new series of prints to map and perhaps process the recent news from my doctor that if I’m to save my lungs I have to stop working with fibers.
Daunted, bemused and a little frightened of the enormous changes ahead, somewhere I’m also excited about where the work will go and how I will produce it.
In these ‘personal portraits’ felted fibers cover half my face, Mohair yarn so soft and fluffy, encroaches my eyes and mouth; and I wonder how something so beautiful can be so treacherous.

In this painting, I explore the tranquil depths of an underwater world where an old lady, my own Grandmother, finds herself floating in a delicate balance of emotion and memory. The water envelops her like a gentle embrace, with symbolic Coy Carp surrounding her and reflecting a surreal interplay of light and colour. Here, she is not merely a relic of time; rather, she embodies a paradox, aged in body yet youthful in spirit.

Although this painting is of an old lady, it reminds us the majority of us will all be at this stage eventually, and its not something to be scared of but to be embraced. Age is beauty, age is knowledge and experience.

Her expression unveils layers of happiness intertwined with nostalgia. As she drifts just below the surface, the buoyancy of the water mirrors the ebbs and flows of her past joys, now rippled with the passage of time. The corners of her mouth, curved gently, suggest laughter that once echoed through her body. Yet, there is an algorithm of unbalance in her pose, hinting at emotions that have shifted—a reminder that joy is often accompanied by an undercurrent of longing.
Here, beneath the surface, she teaches us that true age resides not in the physical form, but within the vibrant tapestry of our heart’s memory, forever intertwining joy with the weight of time.

As an artist, I find profound inspiration in the ethereal beauty of people submerged in water. My journey began in 2002 when I was awarded a scholarship to study in Florence. It was there, that I first glimpsed the mesmerizing interplay of light and movement beneath the water’s surface and captured these initial images – that sparked my exploration of this theme.

My work delves into the emotional resonance of being underwater—an intimate space where thoughts drift, and moments dissolve.

Through my paintings, I invite viewers to experience the allure of this submerged world, encouraging a deeper reflection on their own connection to water and the myriad emotions it evokes. The ongoing exploration of this theme continues to reveal new layers and complexities, allowing me to marry technique with a profound narrative that speaks to our shared humanity. As I immerse myself in this creative pursuit, I remain committed to evolving and deepening my understanding of both the medium and my subject matter, forever captivated by the stories told beneath the surface.

Sculpture created by recycling steel coat hangers and welding them into an image of myself walking my dog. Go recycling! This piece is a celebration of the close relationship to my animal friends.

The painting “Chrysalis” represents change and development. The subject’s head is open; she feels the chaos of the world spilling into her mind. She is stuck in a cage of her own making, but life and living surround her. In the foreground is my cat, a loyal companion and calming influence. An egg, a caterpillar (her eyebrow), and a butterfly symbolize dramatic growth. The murky landscape represents the toxic nature of terrible trauma and demons, and the loopy forms pave a way out of the entropy. The red Sun symbolizes nourishment for the soul, and the abstract yellow shape kissing the side of her face represents desire.

The canvas I chose for this painting was a bad painting of mine lurking around from over ten years ago, so the painting itself is a literal representation of change and development. The older painting underneath is textured, hence the scars of the alteration in “Chrysalis” are palpable.

The Reaping explores the immense responsibility, shouldered primarily by women, of determining who is born. It utilizes Judeo-Christian imagery of the reaper and reappropriates the idea of the reaping of souls as a decision that women make each day all around the world as we choose whether to carry pregnancies to term (and whether to become pregnant at all). The mugwort (an abortifacient herb) illustrations highlight the importance of reproductive choice in the creation of the world as we know it and the golden braid underscores the deployment of state sanctioned violence as a container within which we must make these decisions.

“Kalon: A Beauty that is more than Skin Deep” is not just an artistic endeavor; it is an invitation for both the artist and the viewer to explore the profound depths of beauty that lie within all women. The piece celebrates the essence of female beauty and showcases a unique, yet relatable moment in time that radiates feminine energy, highlighting that true beauty transcends societal standards and is rooted in authenticity and self-love.
In this pencil drawing titled “Kalon,” a bittersweet moment of beauty intertwined with melancholy is captured. A girl, enveloped in a bubble bath, leans over the edge of the tub, her expression a mix of contemplation and sorrow? Her slicked back hair lays on the back of her neck and she rests her head on her arm telling a story of longing and introspection.
The delicate bubbles, while whimsical, contrast with her posture and stillness and showcase the ephemerality of the moment. The gentle curves and shadows of the bathtub and the intricate details of the bubbles add depth, yet the overall atmosphere carries a sense of solitude. Soft shadows emphasize her features, revealing the emotional weight behind her serene exterior. An exhale.
Titled “Kalon,” the drawing evokes the idea of beauty that resonates beyond the surface, illustrating a poignant truth: that true beauty often coexists with moments of vulnerability. This composition invites viewers to reflect on the complexities of emotion, capturing a fleeting moment of quiet reflection amidst the noise of life. And invites viewers to become aware of the idea that strength often requires a “rising”, the powerful transition from stillness to resilience.
As the artist, this piece represents a rediscovery of my own passion for drawing after a very hard, lonely, and abusive period of time, and ultimately became the pivotal moment in my journey towards self-acceptance and healing. The act of creating this artwork was also somewhat meditative and allowed me to reconnect with the simplicity and beauty of drawing with pencil, a humble choice of medium. My hope for my art is to inspire people to rise and truly cherish the transient moments that mark their journey from stillness to resilience.

In my youth, I traveled far and wide discovering new places. Now I find myself discovering new terrain in me, and while it might sometimes be disconcerting, there are good stories behind these lines!

Stoneware bust with nesting bird, 21” high x 10” wide x 17” deep. She is a very buttoned up woman with lots of things on her mind, including ornithology. If you sit quietly with her she may open up to you. Don’t be surprised if she starts giving you advice on diet and exercise, or maybe has thoughts about your wardrobe. Most days, however, she is willing to just listen to your thoughts and hopes and fears, will say a prayer for you, or just keep your secrets.

We are so much more than our physical form.

How do we accept.. ourselves? How do we push past the weight of existence? How do we navigate through the darkness of the unknowns? On the wings of hope. This piece was made due to the hope that can be restored in humanity and instilled in ourselves. That when all feels lost we are meant to keep going. That it’s truly love that keeps us from what we would be if we gave up.

As we face the new year, the new cycle, I am filled with feelings of things being skewed and layered, with the winds of dangerous changes blowing in. I’m working to keep heart and find some kind of balance.

The ocean is where I reflect on my life. The rhythmic crashing of waves echoes the ticking of my clock. As I reflect on the phases of my identity, none have been as profound as that of motherhood.

At the ocean, I can pause and reflect on the current stage of my life. My life-giving center has grown hollow and obsolete, my body an amorphous blob. Yet my heart soaks in the wonders of the natural world and continues to grow and love more deeply than ever.

This piece is inspired by my unorganized thoughts on the themes of love, strength, vulnerability, and sensitivity, and what they mean to me. It goes beyond romantic love, encompassing love for people, things, and life itself. Personal experiences, along with the music and culture that surround me, also shaped the work. The heart and dagger symbolize both strength and hurt, while the pomegranate represents vulnerability, passion, and the delicacy that love brings. I included sketches of my teary eyes to add a personal touch, the pearls to symbolize the innocence and naivety I feel in my ideas, and a slice of persimmon as a symbol of luck, something I believe I possess or lack at times. My wandering thoughts are expressed through lyrics from musicians I admire, written throughout the piece. Every element in this work holds personal symbolism, making it a love letter to myself and to love itself.

Here I portray myself as a strong, proud woman, acknowledging the journey she has undertaken—the hardships endured, the beauty discovered, and the strength cultivated along the way.
The staircase symbolizes the way of life — each step representing my past experiences, lessons learned, and the strength gained along the way. Scattered along the path are stones—symbols of the hardships, doubts, and obstacles I have faced. Yet among them bloom flowers, reminders of the joys, gifts, and moments of beauty that life has granted me.
The vast cosmic background represents the endless possibilities ahead, a reminder that the world is full of untapped opportunities waiting to be explored. This painting stands as a testament to perseverance, self-belief, and the courage to embrace the unknown.
I painted this piece to remember where I have been, to honor the path I have walked, and to remind myself that the journey is far from over. There is still so much ahead, and I walk forward with confidence, courage, and hope.

In this pandemic era self portrait, using only texts, mail and documents that were on my worktable, I explored my current preoccupations and plans about how to proceed into the unknown future of the following year.

I am somewhat obsessed by all things celestial. During times of persistent insomnia, my mind drifts further into space and time. This self portrait evolved into a visual narration of my persistent insomnia, and the places and thoughts my mind traveled to.

This piece explores the trope of land as feminine in nature, and the age old comparison between the female body and bodies of land. In this piece, I was inspired by Botticelli’s painstaking renderings of fabric and the female form to illustrate how these connections impact myself and other women.

This piece originated as a vision I kept having while living in New York of myself, extremely pregnant, in a white dress outside my house while a murder of crows took flight. While this could be attributed to the proliferation of the trad wife movement on social media or my awareness that I was about to leave the city to pursue a life with my husband in North Carolina, it felt apocalyptic to me; an illustration of prospective motherhood in a burning world. It felt fitting to try and do it justice in a drawing.

This piece is made to represent the false protection that my ego has on my ‘self’, allowing me to become aware of it and redefine my relationship with it. For most of my life, my ego was attempting to protect me from harm, but ultimately it was creating a reality that felt safe in my mind and only brought me further away from my authentic being. By redefining my relationship with my ego, I can now learn to use it as a way to acknowledge my shadow self and the parts of me that I refuse to look at. By turning to my sadness, anger, frustration, and other repressed emotions, I am able to grow as an individual, find compassion for myself, and embrace the time I have left in the ever unfolding journey of life.

I represented my ego as a raven because it is the meaning behind my actual name, and a human skull to represent my physical being, being the vessel for all the emotions I am moving through in this human experience.

Travelling the world, finding beauty in details and expressing it through various medium are my most favourite things to do and that has been one highight of my career. Growing up in an Indian family rich in art combined with my academic background of architecture has helped me create my own style of art. I started with drawing portraits for friends as commission and then slowly moved on to creating my own collection and presenting it in shows Nationally and Internationally.
Having lived in many parts of the world through my lifetime has made me even more grounded and closer to nature. The only factor that is constant in my lifetime is the intimacy with this earth. The beautiful stretch of arms in form of tall winding trees and freedom of birds all the way down to a miniscule beetle; the interconnected mushrooms and the far stretched tentacles of an Octopus; the free flowing form of a jellyfish to the detailed fibonacci spiraled sunflower. I can keep talking endlessly about how my soul is connected with all of these elements and more.
I am the Earth and earth is in me!

“Reflection of Self” is by Stacey Chen a delicate charcoal portrait that explores introspection and identity. The subject’s thoughtful gaze, framed by soft, flowing lines and textured shading, conveys a quiet depth of emotion. The minimalist composition draws attention to the expressive details of the face, creating an intimate and personal narrative. This piece invites viewers to reflect on the nuances of self-awareness and the moments of stillness that define our inner worlds.

“My Many Hearts” is an exploration of resilience, love, and the layered nature of human emotion, captured through the delicate yet striking form of the bleeding heart plant. The organic elegance of its cascading blossoms, each shaped like a tiny heart, mirrors the way our own experiences of love, sorrow, and connection unfold over time.

“I Always Remain True to Myself” is a celebration of identity, resilience, and the unapologetic embrace of femininity. Through bold colors and layered textures, this mixed media piece reflects the vibrancy of self-expression and the ever-evolving journey of staying authentic in a world that often demands conformity.

I create narrative sculptures which center around issues of personal identity and family. Having a complicated history, it is difficult to assign specific meaning to each of the pieces. Working with emotional material pre-dating even my own birth, I submerge myself in the painful feelings… This job, this commitment I have made to myself to make art — art that is as much a part of me as my hand. Art that spills the contents of my soul onto the floor.

This is from my “Memory Series,” where I paint old photos of myself from the 80’s and early 90’s. This was a selfie with an inexpensive Kodak camera. I was about fifteen. I like the shadow on the face, the early selfie before that was a big thing, the direct eye contact. Perfect one for “Visions of Self.”

When I was a teenager, I wrote a poem with the refrain, “ Box inside a box inside a box inside of me, that’s the secret place I hide me.”

Many of us hide parts of ourselves until they are matured enough to show, to keep them safe. Eventually the walls are ready to come down. That’s what this piece is about.

This is part of my “Memory Series” for an upcoming show. All are reinterpretations of photos of myself from the 1980’s and early 90’s. This was from a backpack trip with my dad and I like the similarity to the thinker pose, the reflection that comes from being around a campfire.

My mother died a year ago at age 95. In her last 10 years she suffered the effects of a major stroke: aphasia and cognitive impairment. I made this image of her as she stood between two realities: her current life and a sideways look toward her future. After her death, my brother had a dream in which she said, “Finally, I feel like myself!” As I look at my own mortality, I hope that my transition is as graceful as hers.

I am an indigenous woman of two hearts.
One foot in the human race and the other is hand in hand with Nature.

My bird watches for me while I must remain in body.
She will tell me when it is time to take flight.

Many of my pieces featuring women include “Little Martha” in the title for my mother, Martha, and the sweet Allman Brothers tune that reminds me of her. I wanted to hand build a face vase where flowers could adorn her hair. The loss of a beloved dog was also an inspiration but the bond I tried to create is one of gratitude, not sadness.

Self-Portrait of Salvation in Chicago is a self-portrait. The piece represents the tension between vulnerability and empowerment. The title is inspired by a horoscope I received on the day I needed it most: “Your salvation is your responsibility.” The piece embraces that responsibility, not as a burden, but as a gift.

HARVEST OF THE SELF
My soul purpose
My commitment and focus
Is to radiate the power of
LOVE AND LIGHT
And tip the balance toward goodness
With gratitude
From my heart

I see myself as a dark person, but at the same time, I feel that my light shines brighter when there are no colors around.

When you become a mother, you lose a bit of yourself.
Sometimes I feel the need to hold the child version of myself, to comfort and reassure her, just as I do with my own children.

How will I retire from being a Public Information Officer (PIO)?
I enjoy engaging with friends and strangers about fire, it’s ecology and management. It’s deeply ingrained in me and tied to the community.
In the joy of retirement is setting aside the badge, uniform and tent gear hauled to each assignment. The community, the wonderful community stays alive and grows.

My first grandchild has a very special bond of love with me and the photo I used as a reference for this painting was taken by her grandfather so it is also about how we see each other and present ourselves for the camera.

The painting is paradoxical, embodying the essence of both completion and incompleteness. The canvas showcases bold palette knife strokes of vibrant color that pulse with energy, while other areas remain soft and murky, hinting at unfinished thoughts and ideas.

I was tempted to further refine the piece, but the painting resisted, and I acquiesced.

Ultimately, the painting feels alive, an ongoing dialogue between my intent and the viewer’s interpretation. We are both forever unfinished yet wholly complete.

Kewpie is Cupid’s alter ego, as they help people getting out of trouble, rather than getting into it. As an artist, I find solace in creativity. I use my energy towards positive and cathartic platforms rather than impulsive and anxious activities. Art speaks for my myself when I am unable to. Find your inner Kewpie and give them their time to shine!

I sit in the water, defensive of the attacks of men, staring at my next opponent, in fear of what comes next.

Inspired by the Nick Cave retrospective at the Museum of Contemporary Art, Chicago and part of my dyed and molded silk series on feminism

We draw strength from those who came before us and the battles they faced to get us here. We continue the strength in our hearts and minds, forging a path forward. And with the blood of our ancestors coursing through our veins, we find our strength within. This artwork is from my newest series “Indigenous”.

Indigenous people as connected to and caretakers of the Earth. The appearance of natural elements reflects on my connection with the land of my ancestors and the continuing wish to be stewards/protectors of Earth. This artwork is from my series “Indigenous” – (for both pieces I’ve entered): I returned to the theme of reconnecting with my own ancestral Indigenous roots and how this integrates into my whole being as a woman, an artist and a person of Indigenous heritage. I feel a desire to investigate further my thoughts on what this recognition means to me, and through the personal examination of my background I reconnect with the path of my ancestors that has led me to this current version of myself and how I connect with the world, as well as how the world views me. All pieces include fabric and threads I inherited from an aunt, Tia Mary, which she used in her own sewing projects.

Acceptance is a deeply personal photograph taken at Hetch Hetchy in Yosemite, California, marking my first self-portrait after surgery. This image reveals my new scar, a symbol of a life-changing experience. I approached this moment with fear and anxiety, as my work has always embraced the timelessness of nude photography in nature. However, the presence of my scar introduces a specific timestamp, altering the essence of my art. This piece reflects the complex emotions of vulnerability, change, and the journey toward self-acceptance.

Denial of My Truth is a powerful painting that visually represents my struggle with suppressing my voice and not being honest about the pain I was experiencing. The painting depicts an intense and almost suffocating gesture, where I am portrayed as if I am strangling myself. This imagery reflects the inner conflict and the self-imposed barriers I created around my throat chakra, symbolizing my difficulty in expressing my true feelings and struggles. The background features a white symbol representing the throat chakra, which underscores the central theme of communication and self-expression. The contrast between the constrictive act and the chakra symbol highlights the tension between the need for honesty and the challenge of overcoming the barriers I had erected around my voice. ‘Denial of My Truth’ is a poignant exploration of the impact of not speaking up and the journey towards reclaiming and articulating one’s authentic self.

Early one morning at the Alabama Hills, I saw my shadow in the composition alongside the Mobius Arch, which made me smile, as I rarely think of taking photographs of myself as a landscape photographer.

What’s better than sitting in front of the fire with a purring cat on your lap? It’s the little things in life like these that bring peacefulness that I appreciate .

This year, Hanukkah fell during the same time as Christmas and New Years. During the last night of Hanukkah on Jan 1, 2025 I wanted to try some long exposures in studio with my fully lit menorah. A pop of flash helped solidify the menorah while I used shutter drag and the glow of the candles to create a more ethereal portrait of myself. This aspect of my life isn’t always something I share, you never know how it will be received in today’s world, but my Jewish heritage is a part of me and it is something I am proud of.

This image came about through serendipitous combinations of pieces of sculptures and materials I had made for pieces in the past.

Narcissistic abuse inspired this piece, and I believe many women can relate to this topic. Having experienced an emotionally abusive relationship in the past, I can attest that gaslighting is one of the most damaging tactics used by narcissists. It forces you to question the very essence of your being at times.

While our subject longs to escape, her fear will keep her trapped until she is strong enough to recognize the lies and break free. Once she does, however, she will never fall prey to this tactic again.

“Windows Into Loss” is the first installment in a series that explores the stages of grief. While acceptance is typically viewed as the final stage of grief, I have chosen to present it as the initial window. I believe that grief does not have a definitive end; rather, it resembles a spiral staircase or a never-ending circle, even after reaching acceptance.

This window features a raven as its focal point and includes dried black roses, textured yarn, beads, and shredded sequined fabric, all of which create a dark and moody atmosphere. It serves as a reminder to the viewer that there is beauty in acceptance.

This striking black and white photograph captures an intimate moment through unconventional framing. A partial view of a face emerges from deep shadows, while textured patterns from what appears to be a woven or gridded surface cast gentle shadows across the frame. The high contrast treatment and diagonal composition create a sense of dynamic tension.
The image plays with the concept of revelation and concealment – only a fraction of the subject is visible, yet this fragment tells a compelling story.

The geometric shadows add layers of visual complexity, creating an interplay between the organic curves of the human form and the rigid patterns of light and shadow.

Like a modern interpretation of film noir aesthetics, the photograph demonstrates how partial visibility can be more evocative than full disclosure. The monochromatic treatment emphasizes form and texture, turning an everyday moment into something more abstract and contemplative.

In this haunting capture, time seems to pause at the intersection of shadow and radiance. A solitary figure, backlit by the day’s dying breath, becomes both sentinel and storyteller. The amber glow kisses the edges of darkness, transforming an ordinary window frame into a portal between worlds.

The composition speaks in whispers of Hopper-esque solitude, yet carries its own distinctive voice. Warm hues of honey and crimson seep through the space like liquid gold, creating a cocoon of contemplation around the silhouetted subject. This is not merely a study of light and shadow, but a meditation on those in-between moments when we find ourselves suspended between being and becoming.

The technical mastery lies in its seeming simplicity – the way the photograph captures not just light, but the weight of silence, the texture of solitude. Each shadow is purposeful, each gradient of warmth intentional, crafting an atmosphere that feels both intimate and universal.

There’s a cinematic quality here that transcends the still frame, suggesting a narrative that extends beyond the edges of the image. It’s reminiscent of those precious moments when time slows down just enough for us to notice the extraordinary in the ordinary, when mundane spaces transform into sanctuaries of reflection.
In an age of constant noise and motion, this image offers a quiet rebellion – a celebration of stillness, of waiting, of simply being present in the glow of a passing moment.

this is a quiet piece…inviting the viewer, through poetic suggestion, to practice stillness. gratitude. acceptance. kindness. love.

a monoprint of sweet agatha, my first cat, provides the backdrop.

Faye reflects goodness and joy, fun and beauty, and love….

She expresses a freedom through her style, follows her OWN trends, and loves experimenting with headdresses!

Creating these figures, now for 10 years, continues to bring me joy. The uplifted arms represent a peaceful, open heart and gratitude for each precious day.

It is my hope that Faye, with all her lovely, intricate details, will make you smile and bring your focus to the beauty that surrounds us, both in nature as well as that which artists create with their hands and imagination.

About a year ago the vision in my left eye became blurry and surprisingly this led to the discovery of disease in my lungs. After the initial shock the journey to a diagnosis led me to look differently at my body and my life at this time.

Moving to the foothills near Yosemite reignited my passion for painting. Surrounded by nature’s grandeur, I rediscovered the joy of standing before a blank canvas, brush in hand, and the profound connection creation fosters with something larger than ourselves.

This piece reflects my journey back to art and my unwavering commitment to it. My back faces the viewer, inviting them to see the world as I do—through the vibrant hues of a setting sun and the timeless strength of nature. The river winding through the scene parallels my creative journey, a current that carries me forward now that I’ve reclaimed my purpose.

Painting has become my devotion, a celebration of this world’s beauty and the gift of time I have left. My greatest hope is to keep painting until my final breath, leaving behind not only a legacy of my work but also an enduring impact on the artistic community that has inspired and supported me.

My most important purpose in life was to raise this amazing human being. As a single mother it wasn’t always easy, but we had – and have – a wonderful life together and a strong relationship. I’m so proud of the woman she’s become, but she will always be my baby.

Dual Vision is inspired by my journey with Binocular Vision Dysfunction (BVD), exploring the complexities of altered sight and the interplay between clarity and distortion, both literal and metaphorical.

Here, the known and unknown blur together, boundaries dissolve, and duality thrives. This journey explores the complexities of vision—both literal and figurative. Colors and shapes float like fragments of memories, remembered yet forgotten, enduring yet elusive, slipping in and out of view, tangible yet remaining just out of reach. Clarity becomes blurred, posing questions instead of providing answers. The double image suggests the complexities of navigating the world with this dual vision—raw, uncertain, and overwhelming. It demands adaptation to a disorienting reality and persistence amidst difficulties. This is a realm where contradictions intertwine, where clarity and distortion coexist, where light and shadow intermingle, and where truth emerges from the spaces in between. The familiar becomes uncertain, and what once seemed certain now feels ambiguous as perception constantly shifts.

The act of creating art is the process of making the invisible visible. We reach into the aether, into the unseen realms where inspiration flows, and return with intangible ideas that are then transformed into physical form through the creative process. To create is to commune with the numinous, to become a vessel through which the ethereal takes shape. In these moments, we are in rhythm with something greater, a dance with the Divine that breathes life into our work. Through this creative flow, we become a Creatrix, weaving together these fragments of inspiration to create tangible expressions of the unseen. This is the artist’s gift: to bridge worlds, to shape whispers from the beyond into something that can be seen, felt, and known.

Creating art tethers us to the physical world. Art becomes a declaration that we are here, that we matter. We take up space in a world that often demands that we remain silent. Through creating art, we create a piece of ourselves that endures. When we create art, we capture a moment in time, preserving our history. Our art acts as our voice when we are no longer present, reminding the world that we once existed, that we experienced life, loved deeply, faced suffering and grief, and expressed that rich tapestry of life in our artwork. In this way, art offers a form of immortality—not through the physical body, but through the stories and emotions woven into each piece. It creates a lasting legacy that endures in the world, even after we are gone.

At the heart of creation lies a vortex—a swirling force of ideas and inspiration. We bravely stand at the center of this whirlwind, channeling the energy that flows through us. This creative vortex draws us into a space where time bends, and ideas are born, reshaped, and released into the world. In these moments, we become conduits or vessels for the currents of inspiration as they rush through us and manifest in our work. It is within this blend of chaos and calm, in the ebb and flow, that the creative process unfolds. We do not control the vortex; instead, we surrender to it, allowing it to move through us and create through us.

In the studio trying to channel creative inspiration after the recent passing of both my parents, feeling like I might just unravel.

Radiance is a self portrait during my time in Cal State Northridge, portraying the act of caring for the “self”. In order to radiate positive energy, it is fundamental for us to pour back into our own “cup”, especially during times of hardship and uncertainty. We may not be able to control the things around us, but we can control how we take care of ourselves.

Creating a garden requires knowledge of plants, and now, concerning foothill fire, my garden muse helps decide who goes and who stays. We give our famous David Austin roses to our neighbors and feel good about it. Adaptation and change!

Identity is fragmented. It is shifting, reconstructed, and shaped by perception—both our own and that of the world around us. This piece explores the dissonance between self-image and external expectations, portraying the self as an amalgamation of parts rather than a singular, whole entity. The misplaced facial features reflect the way identity can feel disjointed, constantly examined, rearranged, and altered by societal standards, personal insecurities, and the gaze of others.

This piece explores the pressures of societal beauty standards on body image. The figure wrapping a measuring tape around their waist represents the constant self-measurement and desire to conform. The background collage of magazine models symbolizes the unrealistic ideals promoted by the media, highlighting the tension between self-worth and societal expectations. This work challenges viewers to reflect on how these pressures affect our perceptions of ourselves. Furthermore, I intend to criticize the beauty standards posed to women to promote body positivity and acceptance.

This piece examines the influence of beauty standards, particularly how they are instilled from an early age through childhood toys. Barbie, a symbol of perfection, is often seen as an aspirational figure, yet behind her flawless exterior lies a constructed, unattainable ideal. The machinery in the background represents the relentless process of alteration—modifying, shaping, and refining—suggesting that what is perceived as “perfect” is, in reality, artificial. Through this work, I seek to challenge the idea of perfection and expose its contradictions.

My work explores the intersection of identity, culture, and personal transformation, drawing from both my Chinese heritage and my experiences as an immigrant in America. These “artificial” worlds are a means of processing and expressing the complexity of my own experience—where moments of struggle and alienation coexist with the moments of growth, resilience, and joy that come from embracing new possibilities.
My work is deeply rooted in the emotional and cultural landscape of my transition from China to America. It captures the tension between my past, steeped in tradition, and the new realities I face in a foreign land. These pieces are not just representations of my identity—they are windows into the emotional terrain of what it means to be caught between two cultures, seeking a place of belonging while navigating the challenges of assimilation.

Women’s rights are under attack. The old order struggles to maintain its grip, thinking that the only way to raise themselves up is to push others down.

When I did this abstract photo, I thought it looked like a dancer To me, it expresses joy, freedom and living in the moment.

It hurts. The only way through the pain though, is to sit with it. Feel it. Then you can slowly let it go.

Although all of my work portrays aspects of me, this is a rare actual self-portrait. It shows my wild, sometimes goofy side.

The life of a flower is short, compared to ours, but you can read a world of emotion in them if you look hard enough. In this image you can almost see three life stages.

The life of a flower is short, compared to ours, but you can read a world of emotion in them if you look hard enough. I had just seen “Wicked,” and this image reminded me of the song and dance when Glinda decides she’s going to make Elphaba popular. It made me giggle.

The life of a flower is short, compared to ours, but you can read a world of emotion in them if you look hard enough. I think older flowers are beautiful, and do not believe we need to be demure as we mature and more self-aware.

Portrait of our feminine spirit – taking a moment to dream in the Garden. She dreams of love, of ultimate connection; connection to self, to all sentient creatures, to the physical and spiritual worlds. By force of the dream, reality awakens.

We are born thinking
We will get better as we get older
⭐️
But as we get older
We realize
We are the same person
In a different moment of life
⭕️❌❤️
Never doubt yourself
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The main image in this artwork inspired the artwork, and for me, evokes the sense of loneliness. Even with good friends, a loving family, and the wonderful groups I belong to, it feels like my life’s journey is, ultimately, a lonely one.

My Textiles and photographic collages often explore the politics of representation and the tensions and contradictions of a Black European identity.

For many years self-portraiture has played a key role in my work. Each portrait, often manipulated, is printed onto silk, hand felted with Merino wool, and then hand stitched. While most of the manipulated images become Textiles, each series of work generates ‘stand alone’ photographic prints.

‘Up close and personal’ is the working titles for a new series of prints to map and perhaps process the recent news from my doctor that if I’m to save my lungs I have to stop working with fibers.
Daunted, bemused and a little frightened of the enormous changes ahead, somewhere I’m also excited about where the work will go and how I will produce it.
In these ‘personal portraits’ felted fibers cover half my face, Mohair yarn so soft and fluffy, encroaches my eyes and mouth; and I wonder how something so beautiful can be so treacherous.

My Textiles and photographic collages often explore the politics of representation and the tensions and contradictions of a Black European identity.

For many years self-portraiture has played a key role in my work. Each portrait, often manipulated, is printed onto silk, hand felted with Merino wool, and then hand stitched. While most of the manipulated images become Textiles, each series of work generates ‘stand alone’ photographic prints.

‘Up close and personal’ is the working titles for a new series of prints to map and perhaps process the recent news from my doctor that if I’m to save my lungs I have to stop working with fibers.
Daunted, bemused and a little frightened of the enormous changes ahead, somewhere I’m also excited about where the work will go and how I will produce it.
In these ‘personal portraits’ felted fibers cover half my face, Mohair yarn so soft and fluffy, encroaches my eyes and mouth; and I wonder how something so beautiful can be so treacherous.

Dear reader, this painting represents me – a smiley, optimistic girl amidst the jungle, called life. This piece of art is a naive and childish representation of a fierce girl with a strong personality and determination to achieve any goal set out within the purpose to follow and the values to respect – set out by (her)self. This piece of art depicts an optimistic and cheerful person, seeing life as a glass half full.

This is for the woman that have been passed over. The ones overlooked. The “forgotten”.
She will not be silent. She will no longer be the misunderstood. Her purpose will have meaning and bring with it a force that can’t be neglected.

Dr. Lois Tonkin, a well known psychologist, challenged the model of grief. That our grief doesn’t shrink but rather we grow around this. This to me is a cross section of the soul, giving a visual by our surroundings. The rings of the tree show the life we experience. The incandescent happiness and the deepest of emotion. By the darkest we experience the brightest of times. This is, in its most raw form, my self portrait.

In the face of everything, never let your guard down. Repressed feelings that betray what you want to say.

The Green Man is an ancient, archetypal image of a leafy human face, created over the ages in wood, clay and stone. Usually shown as a Green Man, I painted a Green Woman, as I so relate to this visionary depiction of humanity’s tie with nature. Going Green is my conviction that now, more than ever, we must mend our ways and heal our ties with our precious, beleaguered earth.

I love painting faces, especially women’s faces. I call it story art. We have so many stories to reveal about our courage and perseverance, our fierce commitment to surviving and thriving that I return to Her again and again. I’m a survivor. And I’m partial to abstract Impressionism. And minimalism. And I wanted the bullies to know I’m Still Here.

This piece is for my love of toads. I love toads and I feel like there just always chilling (that’s why I did the book). The type of toad it is is a California toad which is a subspecies of the Boreal toad and the Boreal toad is a sub species of the Western toad. I have a pet toad that’s where I got my inspiration I added a lot of detail with the body (Like where the bumps and stripe are that is actually accurate). If you have any questions or need to know more about toads you are welcome to ask me.

The painting is busy, like my mind. Anxiety related to global warming, the demise of democracy, horrors of war with civilian attacks. Add aging with body decline, loss of friends, and little time left to enjoy. Often It is just too much.

Horrors related to aging, global warming, and politics.

How my heart feels with the loss of friends, including the furry kind

Fears arround aging. Looking at death closing in. The nudity is related to the saying “you enter this world with nothing and leave with nothing” Silver bracelets are my mothers, a link to the spirit world.

For a long time my beautiful thoughts were drowned by anger, hurt and painful memories. My beauty lies it my my ability to rise above and contribute all the color I can to the world.

I delve into the complex tension between the internal self and the external body, exploring the interplay of flesh and form. This piece confronts the body as a mutable, less defined entity, capturing the raw and often messy aspects of our physicality. Compositionally the series is cropped, claustrophobic, emphasizing the uncomfortable nature of the body. The larger than life sizes aim to overwhelm the viewer. The limiting tonal nature of charcoal, allows for the focus on form to be highlighted. Tools such as foam brushes give the skin a soft, porcelain like look.The goal is to create a confrontation—an invitation to experience the fragmented, often uncomfortable dialogue between self and body.
This project is deeply personal, emerging from a turbulent relationship with my body, shaped by past experiences with sexual abuse. The visual confusion of limbs, works to convey the disconnection I feel between my inner self and my external form. Rather than narrating my experiences directly, I aim to alienate the viewer from the specifics of my personal journey. This detachment serves to highlight the universal sense of separation that many might feel, allowing the viewer to engage with the work on a more emotive and interpretive plane.

“What a Ride” is a painting of my husband and me with our seven children based on a trip to Colombia after we became an adoptive family. I endeavor to capture the chaos we have lived as a family of nine, mixing culture and language, as well as the potential we all have to improve and help one another. The geographic coordinates for La Casa de la Madre y El Niño are included- the foundation in Bogota that provides a home for abandoned children and expectant mothers in need, where we had our first “encuentro” together. The coconut and the cookies represent gifts and talents each family member brings forth, and the ocean represents stability and unfathomed depths that are concealed.

Other symbolism in the painting is shown in the placement of the figures; at times we have to carry each other, and often we are separated geographically. I painted myself huge because I feel the weight of this great responsibility to my family, and with my mouth covered (because it has been my experience that children often don’t listen to wise counsel). The egg-like forms represent our infinite potential. This is the first time I have painted nine portraits in one painting, and it was relentless- similar to motherhood. In “What a Ride” I celebrate the opportunity to nurture these precious souls and help them along in their journey.

The person behind the radiograph. The patient behind the malady.

The title of this piece is taken from the song “party4u” by CharliXCX. Charli’s song describes throwing a party for someone who does not show up. She begs them to come during the bridge, hoping they will acknowledge how much she has given. The center of the piece is a girl, the only figure seen clearly. She looks on, disoriented; text messages are shown next to her. The piece represents putting more into a relationship than you are getting. Here, the girl waits for someone who may never come.

Idea stems from the metamorphosis of age, and transitioning into a someone who is more self forgiving as one ages.

Appropriation of Botticelli’s “Birth of Venus” using my own ridiculous spin.

This composition celebrates my creative felting passion that I’ve explored for many years and the transformational path ahead with needle felting. The photograph is a mixture of poetic license and imaginative muse that expands my artistic inspiration. I love learning and pushing the ‘what-if’ universe which allows me to gain a deeper appreciation for my felting vision.

Wars, polarized politics, and climate threats are so prominent these days that I find myself yearning for peace with a nearly child-like naivete, hoping and halfway believing that Peace can just suddenly arrive and put all the chaos to rest. That hope is visualized in “A Child’s Dream of Peace.”

Imagery from the unconscious is the subject of my artworks and fuels my painting process. As I paint, I am in constant dialogue with this spontaneously flowing imagery, as if I am both dreaming and, with an artist’s eye, scanning the imagery to determine which images I want to grab hold of and explore on my canvas. “Sinking Into Dreams” depicts this double-consciousness of my painting process — being lost in a dream and being wide-awake in search of painting possibilities.

For me, painting has always seemed to be a two-way, reciprocal creation process — not only does the artist create an image but that image changes and creates the artist throughout the painting process. “The Artist at Work” explores this uncanny dynamic with a bit of surreal humor.