Exhibition Art Available For Purchase
Each work on this page has been included in a Gallery13 exhibition at Aloft Minneapolis and is available for purchase. To Purchase a work click on the work and you will be taken to a page where you can add the work to a cart.. If you prefer to purchase a work in person or if there is there is any issue with the checkout process please do not hesitate to call or email us between the following hours:
9:00 a.m. - 9:00 pm.
All Works can picked up At Aloft Minneapolis by arrangement or if preferred we can ship the work to you. Shipping costs are paid in advance of shipment.
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If you need help or prefer to use another form of payment please contact us :
651-592-5503 or write: sugarman.stephen@gmail.com
I am a self-taught abstract artist, who works primarily with acrylic paint on canvas, paper, and the synthetic Yupo.
My process is intuitive and spontaneous, starting with simple marks in black pen or pencil. I often add water to blend these marks with paint, and allow it to create unexpected effects. I usually start with a color palette in mind, but let the artwork evolve naturally without forcing a specific outcome.
I am a self-taught abstract artist, who works primarily with acrylic paint on canvas, paper, and the synthetic Yupo.
My process is intuitive and spontaneous, starting with simple marks in black pen or pencil. I often add water to blend these marks with paint, and allow it to create unexpected effects. I usually start with a color palette in mind, but let the artwork evolve naturally without forcing a specific outcome.
Transform your space with Nate Flink's exclusively handcrafted canvas masterpiece, utilizing dyed found remnants sewn into a tapestry of bold, saturated color.
Unique, handcrafted canvas painting using dyed, found materials
Rich in saturated colors and textured layers for a captivating visual impact
Original art piece that brings a touch of avant-garde elegance to any space
Owning this canvas painting transforms your space into a gallery of artistic expression, sparking conversation and admiration from anyone who sees it.
Elevate your space with a one-of-a-kind art piece crafted from dyed cloth remnants, exuding vibrancy and creativity.
Unique artwork combining modern and traditional textile techniques.
Handcrafted with meticulously selected dyed cloth remnants for a distinctive design.
Canvas base provides durability for long-lasting decor.
Transform any space with a striking blend of color and texture, making every glance an inspiring experience.
Eco Elegance: Immerse yourself in the unique artistry of a handcrafted painting made from upcycled cloth remnants and vibrantly dyed fabrics. Elevate your decor with an environmentally conscious touch of elegance.
Handcrafted using upcycled cloth remnants for an eco-friendly art work.
Features dyed and silkscreened fabric for a vibrant, textured surface.
Unique and original, perfect for art collectors and home decorators.
Transform your space with a one-of-a-kind artwork that reflects your values of sustainability and creativity. This piece will not only beautify your home but also inspire conversation and admiration.
Eco Elegance: Elevate your living space with a captivating Constructed Sewn and Dyed Painting, where artistry meets craftsmanship.
Handcrafted using premium fabrics and dyes for a unique texture and depth.
Meticulously sewn and dyed to create a one-of-a-kind abstract mixed media painting .
Perfect for modern art enthusiasts looking to add originality to their space.
Transform your space with this intriguing piece that invites contemplation and sparks conversation.
Nate’s use of color and texture consistently evoke a sense of delight. His palettes unfold in beautiful ranges, each color enhancing and responding to the next. Through his thoughtful orchestration of texture and material, Nate positions himself at the intersection of textile art, painting, and assemblage.
Collected and found fabrics are given a second or tenth life —whether worn with age or newly chosen for inclusion—becoming essential elements in a larger visual language. Nate’s process and finished works offer a fresh way of thinking about the painted canvas. While the term mixed media could be applied, it feels insufficient. His approach is far more intentional and rigorous, marked by a fastidious process of selecting and constructing materials through dyeing, silkscreening, mark-making, and sewing.
A new direction has been emerging in my work in the last year that connects my past with the present. In a body of textile works, I stitch together fabrics seeking unexpected visual occurrences. The materials are stained or dyed in multiple bathings of color, then assembled. The fragments are combined together with various other fiber materials that have been treated or painted. Sometimes reminiscent of furniture from one's living room or patio, a drama is played out that suggests the domestic experience, and the emotions that conjures. In this work there is a juxtaposition of color, that operates on a dramatic level. It stems from memory, politics or emotive experiences.
The work shown here is new direction which has been emerging in my work in the last year that connects my past with the present. In a body of textile works, I stitch together fabrics seeking unexpected visual occurrences. The materials are stained or dyed in multiple bathings of color, then assembled. The fragments are combined together with various other fiber materials that have been treated or painted. Sometimes reminiscent of furniture from one's living room or patio, a drama is played out that suggests the domestic experience, and the emotions that conjures. In this work there is a juxtaposition of color, that operates on a dramatic level. It stems from memory, politics or emotive experiences.
The works shown here is a new direction which has been emerging in my work in the last year that connects my past with the present. In a body of textile works, I stitch together fabrics seeking unexpected visual occurrences. The materials are stained or dyed in multiple bathings of color, then assembled. The fragments are combined together with various other fiber materials that have been treated or painted. Sometimes reminiscent of furniture from one's living room or patio, a drama is played out that suggests the domestic experience, and the emotions that conjures. In this work there is a juxtaposition of color, that operates on a dramatic level. It stems from memory, politics or emotive experiences.
My work blurs the barrier between disciplines. Like graffiti on the side of a train, the material of the object contributes to the aesthetic experience as much as the gesture. The material is the idea, existing within a painting framework, but not perceptible solely "as a painting." I endeavor to manufacture surprise, to challenge viscerally – sometimes nostalgically – through pattern and a reminiscence to household objects. The shapes and asymmetrical compositional structures reveal contrary and paradoxical elements – I try to expose unobvious relationships. As Jean-Luc Marion writes ...to let burst into the scene much more than what one desires or wills.
A new direction has been emerging in my work in the last two years that connects my past with the present. In a new body of textile works, I stitch together fabrics seeking unexpected visual occurrences. These assemblages are comprised of cut apart fragments combined with various other fiber materials such as yarn, burlap, canvas, drop-cloths or other substrate. Sometimes reminiscent of furniture from one's living room or patio, a drama is played out that suggests the domestic experience, and the emotions that conjures. In this work there are curious tropes and cartoon figures, that operate on a dramatic level stemming from memories or emotive situations.
Thematically my work is a reaction to throw away culture and overt American commercialism. I utilize found and recycled textiles (often originating from furniture), sewing them together with bright thread, to reformulate compositions into new collaged amalgamations. My work is a study of the superficiality of society and relationships. Utilizing techniques from the world of textiles, my work offers subtle challenges to masculinity. It is an exorcism and an intuitive unearthing of narratives relating to personal history that bring about vulnerability and innocence both in terms of the personal-familial as well as cultural manifestations
Thematically my work is a reaction to throw away culture and overt American commercialism. I utilize found and recycled textiles (often originating from furniture), sewing them together with bright thread, to reformulate compositions into new collaged amalgamations. My work is a study of the superficiality of society and relationships. Utilizing techniques from the world of textiles, my work offers subtle challenges to masculinity. It is an exorcism and an intuitive unearthing of narratives relating to personal history that bring about vulnerability and innocence both in terms of the personal-familial as well as cultural manifestations.
Flink's aesthetic vocabulary involves a searching for emotive and pure gestures that suggest a relationship with other compositional elements. Flink's most recent work utilizes unlikely combinations of mark, color, and pattern that suggest open ended narratives relating to domestic experience, consumerism and an urbanized world.
Thematically my work is a reaction to throw away culture and overt American commercialism. I utilize found and recycled textiles (often originating from furniture), sewing them together with bright thread, to reformulate compositions into new collaged amalgamations. My work is a study of the superficiality of society and relationships. Utilizing techniques from the world of textiles, my work offers subtle challenges to masculinity. It is an exorcism and an intuitive unearthing of narratives relating to personal history that bring about vulnerability and innocence both in terms of the personal-familial as well as cultural manifestations
I look for artistic directions that expand the scope of my work. I started working with collage after a studio visit with Mel Smith, a local artist. Much of the abstraction I developed came about through collage strategies. Later, I became interested in photography and converted the bathroom at the shoe store into a darkroom. I fell in love with how images develop and appear in the darkroom.
My work blurs the barrier between disciplines. Like graffiti on the side of a train, the material of the object contributes to the aesthetic experience as much as the gesture. The material is the idea, existing within a painting framework, but not perceptible solely "as a painting." I endeavor to manufacture surprise, to challenge viscerally – sometimes nostalgically – through pattern and a reminiscence to household objects. The shapes and asymmetrical compositional structures reveal contrary and paradoxical elements – I try to expose unobvious relationships. As Jean-Luc Marion writes ...to let burst into the scene much more than what one desires or wills.
Suyao Tians creative process is to extract the fragments of memory and separate, reorganize and integrate them. This process is my communication with them, and a process of self- release and expression. These peculiar images often appear in my memory, through dreams and subconscious imaginings, so I use abstraction to catch a moment, feeling, and unclear form when it appears in my mind.
Suyao Tians creative process is to extract the fragments of memory and separate, reorganize and integrate them. This process is my communication with them, and a process of self- release and expression. These peculiar images often appear in my memory, through dreams and subconscious imaginings, so I use abstraction to catch a moment, feeling, and unclear form when it appears in my mind.
Suyao Tians creative process is to extract the fragments of memory and separate, reorganize and integrate them. This process is my communication with them, and a process of self- release and expression. These peculiar images often appear in my memory, through dreams and subconscious imaginings, so I use abstraction to catch a moment, feeling, and unclear form when it appears in my mind.
Suyao Tians creative process is to extract the fragments of memory and separate, reorganize and integrate them. This process is my communication with them, and a process of self- release and expression. These peculiar images often appear in my memory, through dreams and subconscious imaginings, so I use abstraction to catch a moment, feeling, and unclear form when it appears in my mind.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Underlying color energy illuminates my work. This exploration led to the Perpetual Motion Series: an exploration of the use of line and color to create rhythm and convey the perception of constant movement. These works are all painted on round canvases because the circular shape represents the central theme of the series with its endless, perpetual line. The synthesis of energies that occur between the sonic and the visual reveal the unseen sound experience. I capture music’s fleeting moments and impose its overall impressions into the painting. Each painting takes form through the accretion of layers of paint, counteracted by scraping or the use of resists, and by drawing upon the work with miniature power tools. The language of music is revealed on panel via the dynamic synthesis / interaction of sinuous lines, shape, pattern, and color fields.
Color speaks directly to our feelings and Nancy uses color to tap human emotion. She works with many thin, transparent layers of paint to create a subtle, lush color that you can almost fall into. Color depth is very important in her painting; in some areas, you can see down to the base color. Nancy Stephani creates patterns to build and saturate her shading and texture in each work. Stephani seeks to capture that certain shade of tropical lagoon at noon aqua that ‘makes me want to cry’.
Nancy Stephani’s paintings capture the energy patterns of emotion on canvas using color, pattern and light to evoke mood, a state of mind, an internal event, something fluid and malleable rather than something existing solidly , here and now , in the universe . I’m not trying to paint water or sky, but rather, the way water and sky feel. Painting a tangible artifact that exists only in a fleeting moment so maybe you can go there again.
Color speaks directly to our feelings and Nancy uses color to tap human emotion. She works with many thin, transparent layers of paint to create a subtle, lush color that you can almost fall into. Color depth is very important in her painting; in some areas, you can see down to the base color. Nancy Stephani creates patterns to build and saturate her shading and texture in each work. Stephani seeks to capture that certain shade of tropical lagoon at noon aqua that ‘makes me want to cry’.
Nancy Stephanie’s colors pallet speaks very directly to our feelings and emotional being. She works with many thin, transparent layers of paint in order to create subtle, lush color that you can almost fall into. This depth is very important to her painting and in some areas of each canvas you can see all the way down to the base color. I work with the patterns created in this way to build up the shading and texture of teach work.. I’m always trying to capture that certain shade of tropical lagoon at noon aqua that makes me want to cry.
Nancy Stephani’s paintings capture the energy patterns of emotion on canvas using color, pattern and light to evoke mood, a state of mind, an internal event, something fluid and malleable rather than something existing solidly , here and now , in the universe . I’m not trying to paint water or sky, but rather, the way water and sky feel. Painting a tangible artifact that exists only in a fleeting moment so maybe you can go there again.
Nancy Stephanie’s colors pallet speaks very directly to our feelings and emotional being. She works with many thin, transparent layers of paint in order to create subtle, lush color that you can almost fall into. This depth is very important to her painting and in some areas of each canvas you can see all the way down to the base color. I work with the patterns created in this way to build up the shading and texture of teach work.. I’m always trying to capture that certain shade of tropical lagoon at noon aqua that makes me want to cry.
Nancy Stephani’s paintings capture the energy patterns of emotion on canvas using color, pattern and light to evoke mood, a state of mind, an internal event, something fluid and malleable rather than something existing solidly , here and now , in the universe . I’m not trying to paint water or sky, but rather, the way water and sky feel. Painting a tangible artifact that exists only in a fleeting moment so maybe you can go there again.
Nancy Stephani’s paintings capture the energy patterns of emotion using color, pattern and light to evoking a mood, a state of mind, an internal event...something fluid and malleable rather than something existing solidly in the heere and now of the universe. I’m not trying to paint water or sky, but rather, the way water and sky feel. A tangible artifact of a fleeting moment so maybe you can go there again.
Nancy Stephani uses color to speak very directly to our feelings and I like to use it emotionally. I work with many thin, transparent layers of paint to create a subtle, lush color that you can almost fall into. This depth is very important in my painting; in some areas, you can see down to the base color. I work with the patterns created in this way to build up the shading and texture of the piece. I’m always trying to capture that certain shade of tropical lagoon at noon aqua that makes me want to cry.
Having a design background + being a huge fan of Takashi Murakami’s Superflat Movement, I have created what I refer to as "superflat sparkle", where I add subtle finishing touches through a variety of mixed media, giving each art piece an added moment of serendipity for those who gaze upon it. In 2022, I began to explore NFT's + how to incorporate augmented reality activation onto many of my pieces via ArtiviveApp. It is a free app for any of my collectors to download onto any smartphone. Sustainability is also an important factor to who I am as an artist + small business owner, I donate 10% of net sales towards planting trees.
My artwork grants me the freedom of imperfection through organic free forms, where my design work allows me the continuous search for perfection.
All my art pieces are heavily influenced by my synesthesia, a neurological condition where I see numbers + letters in color by creating unexpected color compositions. I am obsessed with creating colorful, playful art pieces that are inquisitive to the human spirit.
This is how "my emojions" series was born. The perfect blend between "emojis" + "emotions".
My current goal is to create 222 pieces associated with "my emojions". I want to capture the essence of society in a light spirited way through our connection + play with the ubiquitous emoji. The number "222" comes from my fascination with numerology. It is commonly associated with creativity + good fortune + life balance.
My artwork grants me the freedom of imperfection through organic free forms, where my design work allows me the continuous search for perfection.
All my art pieces are heavily influenced by my synesthesia, a neurological condition where I see numbers + letters in color by creating unexpected color compositions. I am obsessed with creating colorful, playful art pieces that are inquisitive to the human spirit.
This is how "my emojions" series was born. The perfect blend between "emojis" + "emotions".
My current goal is to create 222 pieces associated with "my emojions". I want to capture the essence of society in a light spirited way through our connection + play with the ubiquitous emoji. The number "222" comes from my fascination with numerology. It is commonly associated with creativity + good fortune + life balance.
I am Japanese + Italian, born in São Paulo, Brazil, currently residing Miami, FL, USA. Portuguese for, “romi’s world“, the name is inspired by where I come from, and how I interpret my world as a visual artist and interior designer. I do my best to be and live in the moment, always striving to become a better person everyday.: my art pieces and designs. Minhas obras de arte + meus desenhos. My artwork grants me the freedom of imperfection through organic free forms, where my design work allows me the continuous search for perfection.
I try to eembodie two polar extremes where i blend into a harmony, vibration, or an orchestra. I am the director or Divine creator, while my subjects or viewers are the audience to the play. A great composer playing a flute of antiquity, a historical story to be retold. The spark to a word that has many names. But only one word came first? To be the speaker is to utter AOM. The first word, the only three sounds without the use of the tongue. Like Red, Yellow, and Blue, AOM is primary. When mixed with the paintbrush like the tongue, the words and colors form into primary, secondary, and tertiary. All fractals originating from AOM. From the word comes the speaker made from the word. And so the word speaks from the messiah or messenger.
I try to eembodie two polar extremes where i blend into a harmony, vibration, or an orchestra. I am the director or Divine creator, while my subjects or viewers are the audience to the play. A great composer playing a flute of antiquity, a historical story to be retold. The spark to a word that has many names. But only one word came first? To be the speaker is to utter AOM. The first word, the only three sounds without the use of the tongue. Like Red, Yellow, and Blue, AOM is primary. When mixed with the paintbrush like the tongue, the words and colors form into primary, secondary, and tertiary. All fractals originating from AOM. From the word comes the speaker made from the word. And so the word speaks from the messiah or messenger.
I try to eembodie two polar extremes where i blend into a harmony, vibration, or an orchestra. I am the director or Divine creator, while my subjects or viewers are the audience to the play. A great composer playing a flute of antiquity, a historical story to be retold. The spark to a word that has many names. But only one word came first? To be the speaker is to utter AOM. The first word, the only three sounds without the use of the tongue. Like Red, Yellow, and Blue, AOM is primary. When mixed with the paintbrush like the tongue, the words and colors form into primary, secondary, and tertiary. All fractals originating from AOM. From the word comes the speaker made from the word. And so the word speaks from the messiah or messenger.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles, and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
I’ve always been fascinated by the forces of nature which surround our journey. Nature communicates daily. We hear rustling breezes, and howling winds, and see the changing of the seasons. Standing on the shores of the Mississippi or of Lake Superior, you may be struck by the soothing glistening ripples or you may feel the raw force of the waves. I contemplate them endlessly. The mysteries of nature awe and inspire.
I’ve always been fascinated by the forces of nature which surround our journey. Nature communicates daily. We hear rustling breezes, and howling winds, and see the changing of the seasons. Standing on the shores of the Mississippi or of Lake Superior, you may be struck by the soothing glistening ripples or you may feel the raw force of the waves. I contemplate them endlessly. The mysteries of nature awe and inspire.
I’ve always been fascinated by the forces of nature which surround our journey. Nature communicates daily. We hear rustling breezes, howling winds, and see the changing of the seasons. Standing on the shores of the Mississippi or of Lake Superior, you may be struck by the soothing glistening ripples or you may feel the raw force of the waves. I contemplate them endlessly. The mysteries of nature awe and inspire.
I’ve always been fascinated by the forces of nature which surround our journey. Nature communicates daily. We hear rustling breezes, and howling winds, and see the changing of the seasons. Standing on the shores of the Mississippi or of Lake Superior, you may be struck by the soothing glistening ripples or you may feel the raw force of the waves. I contemplate them endlessly. The mysteries of nature awe and inspire.
I feel the gestural stroke and the handwritten word are natural means of human expression. In my work I celebrate the tapestry of nature and life, her lush garden, her waters, her secrets and her ever-changing seasons. My works express that rich tapestry in gestural, sometimes intertwining, strokes which, to me, represent the rhythms and forces of the natural world of which we are an integral part.
I feel the gestural stroke and the handwritten word are natural means of human expression. In my work I celebrate the tapestry of nature and life, her lush garden, her waters, her secrets and her ever-changing seasons. My works express that rich tapestry in gestural, sometimes intertwining, strokes which, to me, represent the rhythms and forces of the natural world of which we are an integral part.
I feel the gestural stroke and the handwritten word are natural means of human expression. In my work I celebrate the tapestry of nature and life, her lush garden, her waters, her secrets and her ever-changing seasons. My works express that rich tapestry in gestural, sometimes intertwining, strokes which, to me, represent the rhythms and forces of the natural world of which we are an integral part.
We, like all living things, are interconnected, part of the rich tapestry of nature, her seasonal cycles and her interdependent plan. We are like blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of the rich tapestry of nature, her seasonal cycles and her interdependent plan. We are like blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of the rich tapestry of nature, her seasonal cycles and her interdependent plan. We are like blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
I’ve always been fascinated by the forces of nature which surround our journey. Nature communicates daily. We hear rustling breezes, howling winds, and see the changing of the seasons. Standing on the shores of the Mississippi or of Lake Superior, you may be struck by the soothing glistening ripples or you may feel the raw force of the waves. I contemplate them endlessly. The mysteries of nature awe and inspire.
We, like all living things, are interconnected, part of nature’s rich tapestry, her seasonal cycles and her interdependent plan. We are blossoms wending our way through the brambles of her garden as we journey through life. All who live in our nation inhabit that garden forming a rich mosaic of entwined blossoms; the ethnicities, the races, the people who built our country. My paintings are abstract metaphors for aspects of nature and for the life we carve within her reaches.
As a visual artist, my wish is quite simple. That my work will bring beauty and a sense of tranquility to its viewer. I choose mostly waterfalls and landscapes as my subjects and try to look at them in a simplistic, new way. By using specific, carefully mixed paint colors, I create a calming, earth inspired palette. In my paintings I work hard to simplify the complex scenes of nature.
As a visual artist, my wish is quite simple. That my work will bring beauty and a sense of tranquility to its viewer. I choose mostly waterfalls and landscapes as my subjects and try to look at them in a simplistic, new way. By using specific, carefully mixed paint colors, I create a calming, earth-inspired palette. In my paintings, I work hard to simplify the complex scenes of nature.
As a visual artist, my wish is quite simple. That my work will bring beauty and a sense of tranquility to its viewer. I choose mostly waterfalls and landscapes as my subjects and try to look at them in a simplistic, new way. By using specific, carefully mixed paint colors, I create a calming, earth inspired palette. In my paintings I work hard to simplify the complex scenes of nature.
As a visual artist, my wish is quite simple. That my work will bring beauty and a sense of tranquility to its viewer. I choose mostly waterfalls and landscapes as my subjects and try to look at them in a simplistic, new way. By using specific, carefully mixed paint colors, I create a calming, earth inspired palette. In my paintings I work hard to simplify the complex scenes of nature.
As a visual artist, my wish is quite simple. That my work will bring beauty and a sense of tranquility to its viewer. I choose mostly waterfalls and landscapes as my subjects and try to look at them in a simplistic, new way. By using specific, carefully mixed paint colors, I create a calming, earth inspired palette. In my paintings I work hard to simplify the complex scenes of nature.
I am a self-taught abstract artist, who works primarily with acrylic paint on canvas, paper, and the synthetic Yupo.
My process is intuitive and spontaneous, starting with simple marks in black pen or pencil. I often add water to blend these marks with paint, and allow it to create unexpected effects. I usually start with a color palette in mind, but let the artwork evolve naturally without forcing a specific outcome.