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S E E I N G  I N  T H E   D A R K

Artists are the modern day mystics, the seers, the translators,
who negotiate two worlds. One of bright exteriors, measured by the
senses, perceived as real. The other a veiled interior of permeating
undercurrents, pulsing with possibility, beneath and beyond all we know. 

One is dream, the other true. 

Stars and seeds I see
wink inside
 all shapes between.
In each humble
unhollow cell
potential's potent
ringing bell
sings dark bits
 to bright explosion.
Raining keys
in colors pulse,
 sink and strike
 chords and notes
upon the lid of
 heart and eye.
Overfull will spill
 the seen unseen
stars and seeds.





P A  I N T  A N D  P O E T R Y

A poem can pierce the heart of a matter without killing it
or draw us toward an illumination by dancing in the shadows.
Brushing at peripheries or the space between lines, poetry suggests.
Spare and elegant, eloquently convoluted, contained or loose,
simple word forms become a supple language for translating
the subtle and ineffable, allowing layers of meaning
to emerge. This is my aspiration for my art.

The painted image is my poetic medium.
It lets me unravel ruminations, pull passions and furies,
 questions and convictions, haunts and visions from a dark
intangible tangle to recreate them as artifacts in real time.
I am articulating an interior world. Opening pathways toward
intimate insights nested in our cells. Leading to places of
bendable reality.  Stars, seeds, birds, faces, fire, vessels, branches and
waves, the contours and gestures of nature, map my movements through
inner landscapes. Particular forms emerge and persist to accumulate
meanings, shape shift and wink, so that interpretation is elusive
and changeable. As specific or ambiguous as a dream
where always, like looking in a mirror or scrying
a bowl of water, the self is reflected. 

  



I N S P I R A T I O N / E X P E R I M E N TA T I ON:   E D U C A T I O N

Since I have no formal art education, I have developed my expression through a mix of
inspiration, and experimentation. Basically, it was paint that taught me to paint and my
subject,  the inner realms, has revealed itself to me through many years of orientation inward.
Quiet introspection, deep intentional imagining, lucid dreaming and psychedelic explorations
seem to come naturally to an introvert.  I am voraciously interested in the underpinnings, where
things connect: bodies and psyches, religion and science, dreams and realities.  Born under a
Piscean sun, I relate closely with the element of water which allows me to stay creatively
fluid, open to intuitive influence and at home in the deep wells of the imagination. 


I was born with a fragile circuitry and general creative tendencies so making things has
always been a refuge.  Working with sensual and beautiful materials has buffered a
world that feels at times abrasive and ugly. I am especially captivated by things natural,
dark, timeworn, storied or hidden: moving water, seeds, pods, petals, bones, vintage fibers,
musty books with thick yellowed pages, old velvet, patinaed metals, wet clay, weathered wood,
forgotten tools, esoteric knowledge, strange ancient symbols, handmade things... through the
years I have played with them all in some form. Filling my pockets, drawing my dreams, shaping
vessels and creatures, stitching amulets and dolls, elaborating clothing into costume, inking symbol
systems, scratching out poetry, studying, unpeeling, assembling.  I become steeped in creative
activity and strange inclinations take hold leading me on to new paths. I don't find it odd to set
out bowls of water to catch moonlight or accumulate happenstance altars of bird skulls, expired bees,
broken glass and tiny roses. I tend to trust my impulses. Particular things speak to me profoundly
and I read personal meanings into them.  Not superstitiously, because I am not especially rigid
in my perceptions. Rather I see the world as liquid. It shifts, ripples and always reflects. 

Eight years ago I began to paint. People who saw my early work responded
deeply. Surprised and encouraged, I began to focus on painting with the clear
intention of sharing my work.  My studio, Deva Luna, was created in 1998. I began
to sell work and soon published a line of art cards. I have reclusive leanings and
rely on my work to be more outgoing than I am but so far that has been
enough to cultivate connections with kindred souls around the world. 

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