I’ll admit it, I am not a particularly talented gift giver- or giver of things. My leaning more towards a minimalistic bent might have something to do with that. (As a mother of five children and all still living at home, I view myself as a minimalist who is surrounded by entirely too many things, most of them strewn across the floor. I digress…)
If I happen to have a lightbulb moment and come up with a gift idea I think is perfect for someone in my life I get really excited because it’s kind of like lightning striking, I’m afraid- a rare phenomenon.
Last year my friend and her husband stopped by for lunch as they were passing by on their way to visit extended family. (Have I mentioned that I love living in a rather large metro area??) When they arrived she gave me this- a gift of beauty. Not only did I appreciate her thoughtfulness, but I saw immediate possibilities as a photo subject! I love gifts that are not only beautiful, but that are also practical for this flower loving macro photographer! :)
This image, “A Gift of Beauty”, is available for licensing or in print form using my Contact form: Contact Pamela
This piece combines several types of work that I have been doing over the last few years. One thing I have been thinking about for several years is how to combine the metaphors I use in a single piece that deals with the totality of being human. That is probably something I will never achieve. But, the Parable series does combine imagery from my Ecclesia series, Knowledge series, Collaborating with Providence Series, and Things Eternal series. As such, it more fully looks at what it means to be human. When I was explaining this piece to a student, he remarked that it was like a visual parable and thus the series was named.
This is one of my favorite images from Grand Central Station in New York City. I have found Grand Central Station to be a challenge to photograph well. Typically, you see images of the gorgeous roof inside the main terminal area, and I do have some of those, but I enjoyed finding an image that one may not immediately recognize as Grand Central.
The idea image presented itself as I was walking across this hallway one level up. I was drawn to the light fixture and the window first, but I also loved the canyon-like feel of this grand hallway. I have long loved the soaring architecture that characterizes much of NYC and this hallway provided much the same feel one gets when walking down Manhattan’s skyscraper lined city streets. For this image, I stopped, balanced my camera on a railing, and waited. This gentleman soon appeared providing me with just the image I wanted.
This image, “Every Man”, is available for licensing or in print form using my Contact form: Contact Pamela
I posted a piece from this series on Instagram today so I figured I would share my favorite from the series, so far, here. The smears in this series are representative of the individual while the line work points to the individuals interaction with society. The paint is a simple smear un adjusted and transparent to the audience with its beauty and flaws.
The title of the series, I Am What I Am, is a reference to our individuality, via a Popeye quote, and a reference to the ‘I Am’ phrase in scripture, thus pointing to our Imago Dei.
If you want to see more works from this series you can check them out here.
IN COMMENTS BELOW: I’d love to hear your thoughts about this series!
This is one of my favorite images from a local open space near my home. I find that it represents so much about here, the home of my childhood and now once again my home as an adult. With its beautiful skies, gently rolling hills, and the golden grass which sweeps over them as far as one can see throughout the summer months here in northern California.
Back in February, I posted a piece from my Collaborating with Providence series. This piece is still from that series but a newer iteration of the series. There are two key elements in this series. The first is the drips of paint left over from my other paintings. The second is the ink line work what I initially called interventions. Originally, the interventions were ink line work or pastel work that helped transform the messy overlapping drips into a coherent composition.
In this iteration of the series, I am more intentional about the drips. They help provide the structure of the work. As before all the paint comes from what is left on my from my paintings. But in these works, I begin often with non-standard paper sizes. I am more intentional about the color relationships and allowing the drips to speak. This long paper format has become a favorite of mine allowing each drip its own voice.
The line work, on the other hand, takes the vocabulary from my Ecclesia series. These drawings reference the persons more explicitly that the previous interventions and speak more directly to the work of providence, the drips, and our interaction with it, the line work.
I enjoy how the drips provide a structure reminiscent of Gothic architecture and stained glass while the contemporary line work references the contemporary believers. History and today working together.
This single image of a Buckeye flower was hard-fought! As I was photographing in some vineyards, I noticed two large trees covered in spikes of flowers at the edge of vineyard near the creek. I asked one of the vineyard owners if he knew what they were, and he told me. Flowers pretty much always call my name, especially flowers I’d never seen before, so I wasted little time hustling over to investigate. The early morning was overcast which made it perfectly suited for photographing these small, delicate white and pink blooms.
In all I spent about 20 minutes photographing these beautiful flowers before the sun came out and the wind picked up making macro work pretty impossible. I did go back the next day as well, for another hour. Flowers fade quickly, and I didn’t want to miss these. It’s hard to tell which day I came into contact with the poison oak (to which I’m highly allergic)… but I’ll not soon forget how chasing something so beautiful can result in making one so miserable! Perhaps next time I see a lovely flower I’ll be a little less like moth to a flame and be a little more cautious!
There’s always hope, right? :)
All images are All Rights Reserved and may not be used in any manner without prior consent. Images are available for licensing or in print form. Please use my contact form to inquire and use the image title “Symphony” when referring to this image.
In 2008, I was selected by the Nagel Institute for the Study of World Christianity at Calvin College to be one of eight art professors to take part in a cross-cultural seminar in Indonesia. It was an amazing experience.
Part of the commitment from participants was to produce artwork inspired by the experience for a traveling exhibition. For my work, I took 10 Mardi Gras masks (I was living in Louisiana) and 10 Indonesia ballet masks. I then white washed the masks and covered them with my contemporary imagery. The concept was, in part, to reflect the white washing of traditional cultures that happens with modernity and globalization.
I finished the series in time to take part in a faculty exhibition. I had not yet decided on the title of the series and I mentioned this during the artist talk. I asked the students to bring me any title ideas they had. For the most part, they had all the same silly ideas that I had…none of which I liked. After the opening, my wife and I were walking to our car talking to one of my star students. She commented that the masks were beautiful but they kind of made her sad. She got it. That is exactly how the work should make her feel. I had my title, “It Made Her Sad.”
I still pinch myself when I view this image. It has a beautiful vineyard, the moon, a huge lenticular cloud backstopped by a beautiful blue sky, a golden hill with oak trees, and it was actually clear enough to see all the way to Mt. Diablo quite some ways away from my vantage point in the Suisun Valley.Continue reading
This series was a part of my Master’s Thesis when I was working on my MFA at Pratt Institute in NYC. This series was a counterpart to my virtue series which I will have to show in a different post.
While I was in graduate school I had some what of a crisis of faith in my art. Previously I had been working fairly large because historically size has to do with having something important and universal to say while small is more personal. I was questioning the importance of art. I tried to deconstruct my artwork and determine what the most important visual elements were. For me, they were the line and the drips. As a result, I made two series of works about those elements.
I used the cube as the base to this series because the cube does not appear in nature, at least not to the naked eye. It is an abstractions which, for me, references humanity and our knowledge structures.
There is also a Christological element to this work. The square is also a pure abstractions which I correlated with truth and thust Christ. The cube is white, pure like we are through the attonement which is implied by the reds in the drips.