and maps these thoughts and images . Drawing , shapes , symbols and colors are projec-tions of my conception of memory ; not sentimental in nature , but instinctive . They are expressions of things in life I don ’ t thoroughly comprehend .
Mark Rothko said “ I put my trust in the psyche of the sensitive viewer who is free of conventional patterns of thought . I don ’ t know how the viewer will use my pictures to meet the needs of his spirit , but when the viewer has both needs and a spirit there could be a true exchange .” This is the intent of my work . It ’ s personal , spiritual , relative , intuitive .
IN-BETWEEN The creative energy and time that I devote to art comes in-between running Studio 2055 , a graphic design firm that Richard , my husband , and I manage together . Circumstances toss me around between time at our company and my art studio , which is only 25 steps from my desk . It comes down to this : I recommit everyday to make the time for art . I work in the early morning hours , even if just for a few moments . I work on something every day to become a better painter .
The preeminent graphic designer in the U . S . is
Milton Glaser , who designed the famous Dylan poster with the multi-colored hair and the I ❤ NY logo ( that he did for free ). That led me to Lewis Hyde ’ s book ,
The Gift .
Car Coat Madonna encaustic on canvas 24 x 18 inches . Collection : Encaustic Art Institute . © 2007
Sandboxed August 18-20 , 2006 Carlsbad , California . © 2008
This dense volume covers “ anthropology , literature , eco-nomics , and psychology and defines how the ‘ commerce of the creative spirit ’ functions in the lives of artists and in culture as a whole .” The book revealed what constitutes the nature of artistic drive powered by an innate desire to make art without any