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Gunpowder pyrography on wood with caulk and oil pastel.
51.25in.x38.5in.
2017
Inspired by a grove of aspen near my home, this is the first piece that uses my ‘caul-caustic’ technique. It is a process I’ve developed using clear caulk to trap layers of semi-transparent color on top of the pyrograph base. The areas of golden tone are where the gunpowder burn has leeched through the caulk while it was wet.
Gunpowder pyrography and gold ink on 3 wood panels.
7.5ft x 5ft (90in x 60in)
2019
This triptych is based on a Rocky Mountain Maple and a Douglas Fir on our property in Columbia Falls.
I’ve noticed that the maples carve out their own layer of the forest — somewhere between the towering trees and the scrubby underbrush. Often the jumbled maples hug up to the base of rigid firs.
The maple is movement; nerves and energy — carrying the viewer around the space. The fir is stillness; a spine or monolith — a place to rest.
For this pyrograph, I’ve adhered and burned layer upon layer of gunpowder; creating a highly textured surface. The textural depth pushes and pulls; inviting you to walk into the forest.
This triptych can be displayed with the panels touching or separated.
Gunpowder pyrography gold ink, crayon on wood panels.
32in.x 48in.
2019
A continuation of the Bramble Series
Mera and Spera brambles are the same image but have the positive and negative spaces reversed.
Mera has a carved out background with foreground lines of burned gunpowder.
I was interested in the way these images change in tone and weight — and how those changes create different moods.
These work well together as a set or as stand-alone pieces.
Gunpowder pyrography gold ink, crayon on wood panels.
32in.x 48in.
2019
A continuation of the Bramble Series
Mera and Spera brambles are the same image but have the positive and negative spaces reversed.
Spera has a dark gunpowder background with the foreground shapes carved away.
These work well together as a set or as stand-alone pieces.
Gunpowder pyrography on cradled wood panel with watercolor.
36in.x39in.
2018
Richly textured with several varieties of gunpowder in the foreground and carved areas in the background, Aestus represents a mixed forest backlit with a deep orange glow.
Gunpowder pyrography on cradled wood panel with mica wash
39in.x44in.
2018
Quaver captures the movement of aspen trees. Fine-grained pistol powder creates a soft, velvet-like texture. A light mica wash makes the pyrograph shimmer - enhancing the quaking motion of the piece.
Gunpowder Pyrography, Caulk, Oil/Hard Pastel
36inx48in
2017
This piece took over 2lbs of gunpowder to create. Meaning ‘wisdom’, I love how it evokes words related to trees and people.
The centered trunk invites you inward. The outstretched branches, with their yin-yang duality of black and white, lift you upward.
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Gunpowder Pyrography on wood with caulk, gold ink and oil pastel
39.5"x26"
In this piece, I imagine walking into the night forest and encountering a field of glowing beargrass.
2017
Gunpowder Pyrography on wood with acrylic and resin
13inx11in
2017
Golden Larch I emphasizes the texture of the branches; converted into an abstracted, shiny surface.
Gunpowder Pyrography, Gold Ink & Carving on Wood
40inx26.5in
2017
The unusual composition of Golden Larch I & Golden Larch II is based on how many of us experience trees: looking up and standing amongst them rather than viewing them from a distance.
These were made to work together on one wall or to turn a corner. Together they create a dynamic radiating shape.
Golden Larch II emphasizes the detailed textures of the needles; heavily carved and gilded
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Gunpowder Pyrography, Caulk, Resin & Ink
20.5inx42.5in
2017
If you were anywhere near Glacier Park early summer 2017, you know what this is. Beargrass is a rare gem of the northern Rockies.
While gilding a lily might not be wise, these gems just asked to be set in gold.
Pyrography on wood with caulk and resin
18.75inx28.25in
2017
In the Bramble series, I am exploring why certain things ask for a second look. This wild tangle of bushes is at the edge of a slough by my home. So often when I walk or drive by I slow down and feel compelled to look at it; it draws me in. There is something attractive and beautiful about it; however, it’s elusive. When I’ve taken pictures and looked at them on a screen, its attractiveness is lost and the images are flat and chaotic; there’s nothing there. Influenced by my photographs, I used geometric principles to help create a strong composition. I created layers of textures and color to invite the viewer in and to keep the eye moving around the pieces.
Gunpowder Pyrography, Acrylic & Carving on Wood
19inx29in
2017
In the Bramble series, I am exploring why certain things ask for a second look. This wild tangle of bushes is at the edge of a slough by my home. So often when I walk or drive by I slow down and feel compelled to look at it; it draws me in. There is something attractive and beautiful about it; however, it’s elusive. When I’ve taken pictures and looked at them on a screen, its attractiveness is lost and the images are flat and chaotic; there’s nothing there. Influenced by my photographs, I used geometric principles to help create a strong composition. I created layers of textures and color to invite the viewer in and to keep the eye moving around the pieces.
SOLD
