NEPTUNA, 1995

Neptuna came to me while I was on an island beach off the coast of Belize. With the paper laid directly on the sand, I began the painting, allowing it to evolve naturally. I am a small woman, 5 feet tall and 105 pounds. It started with a single sheet of paper, then grew piece by piece as the work demanded more space and presence.

During that time when I was creating this piece, I had a vivid dream in which a powerful voice suddenly shouted, “LET ME OUT!” When I completed the painting, I understood the message. Neptuna had emerged.

THE BASKET, 1996

Past, present, and future in one painting.  I am moving on as the future appears, bringing a basket full of adventures.

ASPECTS OF MYSELF, 2006

I appeared to myself. Who is this busy woman?

She is the old crone who has spent a lifetime happily finding the totality of herself. She is pleased with what she has found.

BIRTHING, 1997

This painting was born in an Aviva Gold workshop.  Starting with an eighteen inch by twenty-four inch sheet of blank paper – having no “idea” as to “what I was going to do,” using a good-sized brush - I just took off and followed myself from one panel to another until it became clear to my left brain where my right brain was going.

The first brush stroke was the red of blood, the red of internal organs, the red of the first chakra. Then the brush selected black, the color of the unknown, the color of mystery. That was how this painting began. As I worked, the emerging image demanded expansion. I filled one panel to find I needed to add another and then another eighteen-by- twenty-four inch sheet of paper, until the twelve foot by six foot painting said it was done. After two days of working in a semi-tranced meditation, the womb appeared. The birth canal, ovaries, vagina, and thighs followed. The souls and ghosts of baby girls were next.  And then the four happy babies manifested to grace the top of the painting. I covered the ghosts of baby girls who had suffered infanticide with strips of toilet paper, for like used toilet paper, they had been tossed aside. These “toilet paper tears” were the grief and sorrow experienced by countless generations of Chinese women.

We had a ritual closing on the last day of the workshop.  This twelve foot painting hung magnificently from the rafters. In the area of the vagina, I made tears in the paper and I personally jumped through it - out of my painting - experiencing a rebirth. Aviva and my friends greeted me with shouts of welcome and, “It’s a girl!  Welcome!  Welcome!”

CAVE SITTING, 1998

Little Buddhas in the niches of the cave. Sitting quietly, they heal the past. Big Buddhas sitting on the cave calls for attention and action. Much work is to be done to cleanse our karma.

CONSTIPATION, 1998

Many of us are constipated with old memories,  wounds, and pains. How to release them and flush them out of our systems is a great challenge.

There are many healing methods that can bring to light those long forgotten and hidden dark memories. One is “Painting from the Source.”

This painting is the first of a series of four:

OPEN CHAKRAS, 1998

When the chakras are open and the energy is flowing freely, we are healed.

DANCING WITH MY SHADOW, 1998

I discovered my shadow and danced with it. I acknowledged its own personality, and bowed in honor. We became one. 

MY SOUL'S GARDEN, 1998

I painted this garden and my soul appeared. It was a joyous moment.

UNAVAILABLE, 1999

I waited and waited, awash in silent tears, but he was unavailable.

YOGINI, 2000

The Yogini - growing and growing!  Evolving and evolving into the Dakini.