“Building in Down-time” watercolor, 2018.

My brain got a little rest after the THEATER CROWD show; and now I’m working on the next exhibition!  Small scale paintings, or relatively so, that will hang the months of July/August/Sept, 2019, just outside Carbone Cancer Center at the University of Wisconsin Hospital and Clinic, Madison, WI.   People paintings, all of them.

I’ll keep you posted.

I’m back now after going away while life was happening.  I see my last entry was three years ago.  The posting had to do with a show I was working on.  Life that didn’t have to do with a paint brush was happening and I wanted to be a part of it.  I took a rain check on that show for two years. 


 In 2017 I was able to present my third large scale exhibition of watercolor constructions, THEATER CROWD.   This particular show was four years in the making.  Since 1985 my art had focused on people alone, people in  organized  families, people in happenstance crowds.  (Scroll down for previous posts.)  


For this last large scale show of my career, I didn’t want to offer any painting for sale.    I just wanted to honor people in my professional life who have shown up.  My way was to provide a venue that was safe to welcome all comers.  And all comers could welcome all other comers.


A theater crowd is a crowd unto itself.  It may look like a random bunch of people but each shares the same thing in common, a determination to locate the Common Wealth Gallery, 100 E. Baldwin Street, Third Floor, Madison, WI.  Those who have taken their seats and those who line the walls of the vestibule came from my own imagination.   I have utilized the alcove area of the Common Wealth Gallery as enclosure for our theater goers who have taken their seats.  The larger body of Common Wealth Gallery is open to human visitors and life size watercolor constructions of “Vestibule People”. 


This is a show where all are welcome in the audience and no money is needed.  Many of those who have come early, pass the time people watching until show time.  How convenient for people watching is stadium seating! You can find open seating at this performance by entering the stadium/stage center.  As long as you wish to pause, spot lights will welcome you and describe you in greater detail.  Hopefully, you are pleasantly surprised to find that the show is about you, yourself.  YOU are what’s on for this performance. 


Not everyone is ready to take his or her seat.  You must have walked by them out in that large Vestibule.   Linger on the stage of the theater section as long as you like.  Soak in the warmth of attention.  But take some time to visit the Vestibule People .   Coffee or tea, appreciative greetings by watercolor artist Virginia Huber and Petey the Pup are in the way back area. 


Come to the theater.  Come early and indulge in people watching. No need to sneak guilty peeks; these are people who are fine when they are acknowledged.  When it comes down to it, they are really just figments of my imagination. Paint and paper.  Works of art don’t judge you for your curiosity.  Works of art welcome your attention as long as you wish to offer it. 


What’s showing?  You are.  Pun intended, you showed up for my very last large show.  You came those weeks in January or you are here now visiting my blog.   Many thanks for that.  


Lots of puns in this show of mine.  Lots of sight gags.  Sight gags are both serious and silly.  My favorite balance.


Please highlight the link and now – in current times – enjoy my art show that happened in dangerously icy January, 2017!  


That’s a walk-through. 

Highlight the following pdf of theater goers out in the vestibule:   theater.crowd_4



April of 2015, I’ll be showing recent watercolor paintings, constructions, and installations at Common Wealth Gallery. More on this later.

April of 2013, my one woman exhibition, “PEOPLE, Going about their Lives” was installed at the Common Wealth Gallery, Madison, WI

Highlight to go to the pdf for a tour through the show.5.10.13.PEOPLEgoing.abt.th.Lives.ppt(1)

I’m in the last leg of my upcoming show, “People, Going about their Lives” – (Opens April 8th at Common Wealth Gallery-more info to come.)  This piece, “People Watcher,” the little girl necessarily has weights upon her upper body and clothes pins to keep her clothes together. 

4.29.11 If you highlight this date, you can go on a tour of my spring, 2011,  exhibition in Madison, WI.  “Venus, her Clothes, her Things, her Issues.”

"Prairie"“Prairie” – watercolor/collage/yarn – 7′ x 5′ – 2009.

When I first learned about “prairie” I was fascinated to learn also that prairie roots go down many feet into the rich soil.  This recently completed piece is about those deep roots that anchor the grasses below the surface and the air currents and winds that move the grasses from above.

It’s January in Wisconsin.  I’m thinking how to post recent work on my web site when I no longer have my hands on the controls.  This new website is far and above my expertise, but I do know how to blog.  So from now on, I’ll keep you posted here on the blog.


“Living for Winter” Installation – 4.”   These torn pieces of watercolor paper take the form of snowflakes – some with paintings of wintertime inhabitants, some are torn pieces of watercolor paper, like frozen suspended water.   Currently, they hang from the rafters of my studio.


The election politics and our new President Obama have occupied my thoughts.


“Jump-starting the Economy” watercolor.


I also like to imagine scenarios by depicting a scene I’ve seen or imagined.  This time I’m extending the scenario over time, so that the scene changes but the general scenario is the same:


“Ogling Habit” – – – – – – – – – – – – – – – – – – – – – “Ogled – One”

One studio landlord asked me what he should put on the metal door label he planned to put on my studio door. I told him, “Watercolor Constructions.” That was intended as a joke. It’s taken me many years to be able to fully duplicate what happens in the studio to what visitors read on my studio door.

“Evening Nus” – an installation.

The watercolor constructions these days are more often than not larger than life size. The ones I’m working on now are about people.

“I-Pod Girl”

Visitors can’t hear the soft sound of paper tearing as I add pieces of content or tear away content that doesn’t belong. They can’t hear the gentle splashing of water as I clean off my brush. And most likely, they don’t care about that. That’s for me.

Look for these watercolor constructions in group shows.  I’ll be showing them one by one.  Some of them are many part installations, so I’ll be looking for curators who want to include installation pieces.

Life happened.  Even though I dearly love autumn leaves, in the mid nineteen nineties I became allergic to them.  I didn’t just get stuffed up; I got dangerously dizzy and nauseated.  So I stayed away and it was a loss to me of several months in the year for 10 years duration.

I was invited by the University of Wisconsin Arboretum to exhibit a one person show in the Steinhauer Trust Gallery in 2003. Here was a golden opportunity to take myself on an autumn walk that would not make me sick.  Twenty four artworks reminded me of the many years of living next to the Arb – the bike rides, the tour groups, walks with friends, the colors.  I could even remember the fragrances and the windy days and the colors.  I remembered what a relief it was to walk freely in autumn without insect repellent, and the colors.  I thought about autumn and how I was in the autumn of my life

“My Inner Child Resists this Fact of Life:

and how easy it had been to say good-bye to summer when it’s autumn.

“Legacy of a Tree”

I was also missing painting large, so I decided to paint this show large.  I discarded old, ugly looking canvases from stretchers and stretched soaking wet sheets of watercolor paper that had been cut off of large rolls.  I emptied the studio of furniture and laid the “canvases” out across the floor with narrow pathways between.

Some of the paintings were exhibited still on their stretchers.  Some, I sanded off the stretchers and framed.  Some never seemed to gel.  I tore those in small pieces and recycled them in a free-form piece called  “Letting Go/Relaxing Outward.”

The show, for me, was an experiment in presentation as it evolves from content.

I know very little about botany and was exhibiting in a location where most of the passers-by were botany experts but probably not as familiar with experimental art.  I was recreationally familiar with every section of the Arboretum and loved and valued it.  Often on walks, I would happen upon indications that an experiment was on-going.  I or my companions would murmer to each other so as not to interfere with the experiment, “Some experiment or other!”  This is the title of one of the pieces.  I imagined what the botany experts would say as they carefully made their way down the corridor of art that was my show.  I imagined that they would murmer to themselves a correct assessment of my show, “Some experiment or other!”

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