MangHoe Lassi Rising

MangHoe Lassi Rising

36 x 96 inches | Oil fingerpainting plus brushes

Towering eight feet high, looking down at the viewer, is a non-gender-binary goddess named Manghoe Lassi. A peacock-psychadelia of radiant fabric cascades down her body. The glowing center of the dress emulates the stained glass windows of grand cathedrals. Tiny yellow flower petals float around her torso. Her serpentine turban wraps up into possible infinity. The collar seems to be made of fine violet feathers. A jeweled necklace sits above a plunging, orange-red bodice that frames a lovely hairy chest. Oversized sleeves reminiscent of ceremonial robes complete the extra long, glowing dress that exudes warm authority and fearless sense of self.

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Coyotyl

In early light, at a great distance, a coyote is aware of the viewer—you—before you are aware of him. The sky is transitioning through multiple parts of the morning, including a piece of a starry night retreating from the scene.

Rosy hints of daylight approach, blushing and serene. The stylized, patchwork hills billow through a quilted carousel of fabric textures: chintz, tweed, velvet, brocade, corduroy, and damask.

The surface texture on the artwork itself is more dramatic than the majority of my paintings. Why? This painting was not intended to be a painting of a coyote (or even a landscape!) until very late in the process.

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I of the Needle

“I of the Needle”

Self portrait | 36x96 inches | oil finger painting with brush -painted skin

Holding a needle in her right hand, the subject pulls thread through the fabric of the dress she is wearing. The dress is full of textural surfaces, the bodice is a patchwork quilted together. The fabric has no stretch, it’s stiff, prickly in places, and likely uncomfortable. Her skin is smooth and she wears no jewelry. Her left hand clutches the thick fabric which appears to be covered in tiny metallic scales or sequins. The dress is heavy and a little difficult to lift based on how she bends to pull it upwards toward the thread. Her expression is focused and not aware of a viewer. Her height is surreal but the proportions of the torso are not ellongated. Is she standing on a chair? Is she on stilts? The background at first glance seems to be a real forest, but on closer examination we find an antique light switch, giving away the fact it’s wallpaper. The carpet is a velvety green, reading almost like grass on first look, but no this is entirely an indoor scene. Is this woman reattaching a sequin away from the party? Or is she building a dress from scratch and we are catching her only partially done with her ensemble?

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Fuchsia Shamanka

Fuchsia Shamanka

36 x 96 inches

Portrait measuring 3ft wide and 8ft tall | 2019

Fuchsia is the color of her dramatic garment, but the word also sounds like “future”. This title was chosen because she is a shaman woman living in the future. This powerful and otherworldly priestess gazes down and knowingly at the viewer, her slightly glowing clothing seems to be lit from the inside. Light-Beings surround her, and an unseen fire warms the underside of her face. Could she be my great great great great granddaughter? By painting her portrait am I crossing time? Does she already exist and that is why I already knew what she looked like? These are questions that give me goosebumps and it’s what makes painting so thrilling.

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Cactus Nocturnas, Cactus Refractus, Terracotta Cupcake

“Cactus Nocturnas” | “Cactus Refractus” | “Terraccota Cupcake”

16 x 20 in, 16x16 in | oil finger paintings on canvas

I will be moving to New Mexico some time in 2019. This move is a long time in the making and it will be the first time I have lived in the desert. My dream is to build a small house, and a very large state-of-the-art studio and shop. I’m also eager to have a drastic change in scenery and energy, I’ve always loved big changes. In 2014 I moved to New York City, on a whim. It was a little scary at the time, but if you only do what you’ve always done, you’ll only get what you’ve already gotten. Time to shake things up. 

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