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The Story behind “Serenity”

Is there always a story behind a painting?  Well, no.  Sometimes paintings come just from my soul eyes.  Sometimes they are a direct commision piece, such as a pet portrait, or even a full on portrait, which I do sparingly.  Dogs don’t complain if they are old in the painting.  Rest assured no person wants to see what they actually look like!  (At least most).

But in this case, there is definitely a story.  I think it is an interesting one, so I’ll share it today.  Several years ago I went a garage sale and found a pack of 3  twelve by 36 canvases.  I bought it.  Once I got it home I began to wonder if I could paint watercolor on the canvas, as I had not yet ventured down that road.  Sitting on my couch, gazing out my window I noticed the color of the lake.  The color of the sky. and the colors in the mountains.  I thought, “I’ll just paint one of those canvases, sort of like an experiment, to see what watercolor would do on the canvas.  I painted what is now the center panel of the finished painting.  Once I finished that canvas I set it on an easel in the living room so I could look at it.  Once there I realized I really needed more. I wanted more of the lake.  So I pulled out the second canvas and working with the first one at the top of my table I was able to merge the colors and textures into a single image.  When I was happy, I screwed those to together and put them on the easel to consider.  Once there, it took only about 10 minutes to decide that I really needed to expand the sky.  The sky I was looking at at that moment was building in a rather stormy sunset.  I went back to the studion immediately and repeated the merge process so colors moved together in the sky.  Once dry, I screwed that one on top of the other two and put it on the easel.  Voila!  I had a finished piece…out of three!  I added more stability to the backs, ensuring they were now ONE, and ordered a frame.

And there you have it. The story behind “Serenity”.  Missing your view of Eagle Nest Lake? Missing the mountains that surround it?  Missing the spectacular New Mexico sky? It will hang like a window on your wall.  Need a payment plan or want to make an offer?  Just reach out and contact me.

Stay up to date with my offers and sign up for my email below.


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Thank you for your feedback and some reply to your comments

Hello!  First of all, thank you to all of you who completed my survey.  Please note that I intentionally left off your information so I don’t really know who said what.  There was a large consensus among many of you who completed the surveys and I’ll go over that in a minute.

First, many of you requested works (mostly florals) less than $500 in price.  I do want to remind you that there are actually some available right now. Second, I have confirmed I have about 6 unpainted panels that will fit that price range so I’ll be working on those first.  I’m very focused on reaching the widest market I can and while some work (already done, and few large panels left) are on the over $1500 range, I will continue to expand with both affordable ($500 and less) while meeting the needs of those of you that expressed that price was not a consideration.

Next in the process of the posts and the related email newsletters sent, there are many new subscribers to this blog.  To you who have subscribed to the blog, please consider signing up for the email.  You can find a link to do that on the home page.

I really very much appreciate the feedback.  I’ll do my best to keep all those comments in mind as I pull out the next few panels to paint!



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I hope you’ll help me know where to go from here

If you follow this site, then you know I’ve been working hard at keeping up, posting, adding new content and more.  I would love to hear from you.  I do have some specific questions to ask.  It is likely clear that I have been acknowledged and won awards for my florals and many florals have I painted.  Honestly, sales are sluggish.  So I’d like to ask a few questions.

I honestly have more questions than that.  If you don’t mind taking a few minutes to answer here I’d be very grateful.  Thank you in advance.

And here is another one:



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To Frame or Not to Frame? That is the question!

So, once you’re completed a painting that your pleased with, or purchased a painting at a gallery or show which is unframed, the next step is to decide to frame it (or not) and get it on your wall!  Here’s some framing tips from my perspective as an artist and former gallery owner!

A Guide to Why it’s Framed…or Not

We’ve all been there.  We find a great little piece and think “I love it, but I don’t love the frame.”  The Gallery owner may say, “No Problem..I’ll take it out”  or…No Can Do.”  Why?  What’s the difference and what can you do about it? (This custom frame job would make me reluctant to unframe!)

First, “why can’t I buy that without the frame?”.  I’ve heard the question enough, I know a good percentage of you ask.  Most of the time, the answer is simple.  In many cases, shipping or packing a piece of work without framing may significantly increase the likelihood of damage to the piece.  Take a pastel, oil pastel, or traditional watercolor, and taking the piece out of the frame, and in this case, the glass, put’s the piece at risk.  Pastel is loosely affixed to it’s media, usually an archival “sanded” paper.  It is framed substantially away from the glass and the mat.  This is done to prevent static electricity from pulling pastel from the paper and sticking it to the mat and glass.  Taking it out of its frame requires great care in packing and shipping (read: $$).  Not that it can’t be done….just that it takes much more care in packing.  Similarly, oil pastel works on paper require framing behind glass, because they never really dry. Shipping without adequate protection increases the likelihood of smudging. Traditional watercolor (on paper) is susceptible to damage from moisture and scratching.

That said, there are still ways to avoid the dangers and get the frame job you love.  The first possibility is to take the whole piece to your favorite framer and have it unframed, and re-framed by a professional. Why go to that expense?  If your piece is not a “stock” size, then cutting mats, mounting, spacing and framing can make the most prolific artist shudder.  If, on the other hand, your piece is a “standard” or “stock” size, it may be as simple as picking up a pre-cut mat and frame from Hobby Lobby or Michael’s. So, what is a stock size?  4 x 6, 5 x 7, 8 x 10, 9 x 12, 11 x 14, 12 x 16, 16 x 20, 18 x 24 (all in inches) are standard stock sizes for most pre-made frames, many pre-made mats and many pre-packaged paks of glass and foam core.

If your original is 15 1/2 x 22 (a standard 1/2 sheet of watercolor paper) or other non-stock size, you may find it difficult to do it yourself.  The warehouse stores (like Hobby Lobby and Michael’s) are often a less expensive option, though they won’t offer as wide a range of high quality framing options as most professional frame shops.  In the early days I seldom framed my own work. I said, “I’m the professional at painting.  Let the framing professional do the framing.”  I tended to wind up with bloody fingers and great stress. Now, though if I need a frame, which I mostly don’t,  I use where I can upload an image of my piece and test it with different mat colors/styles and frames.  They cut everything to my specifications and ship it to me. They use good quality acrylic in lieu of glass which is helpful in keeping the overall weight down. Just don’t clean it with Windex…it will scratch the surface.  You can pick up a good “plastic cleaner” from Walmart or just about any grocery store. It is actually quite affordable, and as long as you got your measurements right, it is even easy to put together!

What about those new watercolors on canvas or panel? Those oils and acrylics on canvas…all with painted edges, unframed?  They are actually suitable as they are..and often hang that way in galleries and homes, and museums.  Unframed canvases don’t work in your decor?  Ask your frame shop about “floating Canvas frames”.  These frames, are as high quality as any other wood moulding, will “float” the canvas in the frame, allowing those painted edges to be seen while giving a more traditional look to the piece.  More and more artists are moving to the canvas or panels with new canvas being “watercolor ready”.  I love it.  I love that the canvas or panels can take layers and layers of watercolor, that I can finish it with protective, invisible, non yellowing varnish, and that there is no glass or frame necessarily required, saving me and my customer LOTS OF MONEY!  If I can save $200-$400 in framing, just think what you save when you buy it!  Plus, remember those standard sizes above?  Most stock canvases are in those sizes as well.  It’s not until you get into large, custom stretched canvas or custom ordered panels that you get outside those sizes. And most of those are sold unframed, with painted edges.

So…next time you feel prompted to ask about that frame, consider this article..What is the medium?  Are you shipping it?  Can you get it safely home? But by all means, ask.  I’ll answer your questions and help you choose the best course.

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Looking Back, and Looking Forward

As the year came to a close I took some time to look back.  2017 was not a stellar year, unless you count pain, disappointment, heartbreak and loss as stellar and in that sense it was.  As I pondered where we are, and how we got here I was reminded of an essay written about me by my friend Mark St. J. Couhig.  I’ve never really  shared all the personal notes that he pulled out of me, and in the openness that transparency calls for, I decided to share that essay with you here.  It was written in 2014 and few things have changed.  I’ll comment on that at the end.  In the meantime, here it is.  Thank you, #MarkCouhig.  It’s rather amazing for me to read it again.

“Katherine McDermott is an accomplished artist, with her paintings hanging on the walls of art collectors around the world.

But that hardly begins to describe her.

She’s also an accomplished businesswoman, a teacher, a successful promoter of the arts and an adventurer.

But that, too, hardly begins to describe her.

For example: In 1994 she built – by hand! – the spectacular mountain home she now shares with her husband John. More on that in a bit, but for the moment, let’s just say that McDermott is what folks call a go-getter. It may seem a little odd to the outsider that someone as energetic as she is – lightning in a bottle, as they say – has so thoroughly succeeded in a field that requires considerable contemplation and painstaking care.

But McDermott sees it differently, saying all of these facets of her personality were necessary to her current success.
McDermott’s earliest story – too early for a memory – concerns an event that took place when she was three months old.  It’s a sad story, but she tells it matter-of-factly. “I was found on a kitchen table with a note pinned to my chest. “My mother had gone away – and she just left me on the table.  I was crying and the neighbors heard me.”

The neighbors called McDermott’s grandfather.  Some called the police.  But, Grandpa got there first.  He and Grandma took McDermott in until she was four, by which point they knew they had a budding artist on their hands. “My grandmother used to tell everyone that I was born with crayons in my hand.  And that was pretty much the truth.  By the time I was 18 months old I was coloring everything: paper, walls, pillowcases. I was fairly quiet,” she said, “and I would entertain myself that way.  As I grew up, I kept doing just that. My solace was a pencil and paper, charcoal and paper – anything to help me put my passions on paper.”

She said it’s still her “solace” – and more.  “It’s everything.  It’s calming, it’s exciting.  It’s my retreat and my inspiration at the same time.”

By the time she turned four, her grandparents’ health was in decline.  They told her father, a career Army man whose job took him around the world, that it was his turn.  As it happened, little Katherine introduced her father to the woman who would become his wife and her step-mom.  “Miss Joyce was my babysitter.  Because my dad was traveling the world, I knew her before I ever really knew my father.”  McDermott delicately notes that her father was only 20 years old “when all this happened.”

“He skipped the country and was in Europe within days of my rescue.” Miss Joyce stepped into the breach.  “I’m not sure when I first met her, but I must have been pretty young, but for sure, at four years old, Miss Joyce was my babysitter.” When her father returned from Europe and was formally introduced to Miss Joyce.  His parents had a few succinct words for him: “This girl needs a mom.”

“My father was obedient,” McDermott says with a laugh.  Dad lavished Miss Joyce with gifts, and they dated for two weeks. Yes, two weeks. Then he popped the question. “this may sound weird, but because she already loved me, she married him,” McDermott said. Miss Joyce joined dad in New Jersey where he was then stationed, and the two prepared a home for themselves and Katherine.  Then “they came and got me,” McDermott said.

The three were then off to see the world, including a long stay on Okinawa while her father served in Vietnam.  They moved 19 times in 21 years, and two sisters were born along the way.

Through it all, McDermott kept right on drawing, eventually turning pro while attending high school in Alaska.  She sold her wildlife drawings – pencils, charcoal and pen-and-inks – in the local stores in downtown Delta Junction.  As the end of high school approached, McDermott planned to take the standard path for a young lady on the rise.  She would go to college.

Then life threw another curve.  “The day after I was accepted to college, my dad was transferred to Germany.”

“My Dad was in Germany when I was living with my Grandparents. I always wanted to go there, to see what kept him there.”  Plus, by this point the travel bug was too well burrowed in her psyche.  She laughed.  “I said, ‘screw the scholarship.’ I went to Germany.”

Once established in Germany, McDermott auditioned for a local traveling theater company, earning a two-year contract.  The 17-year-old went on the road, performing in England, Scotland, Wales, France, Scandinavia and more.  “All over,” she says.  Then dad retired, the family moved back to Albuquerque, and the fun and games came to an end.  At least for a while.  “I got a regular job because nobody told me I could be an artist and make a living.  In fact they said I couldn’t.”

“My dad said, ‘I know you want to be an artist, but you really need to get a job.’”

McDermott was lucky.  She was hired as a secretary by a local very successful insurance executive, one who was more than happy to teach her new Girl Friday the tricks of the trade.  “She took me under her wing and taught me everything she knew.” When her mentor retired, McDermott was just 23, but the company offered her the position.  “I had to learn how to manage a department, but it was perfect for me – I was in such a learning phase in my life.  I was able to learn to make that work.”  For the next ten years, she threw herself into the business.  Through those years, she says, “I let go of art.”  But then she offers a caveat: “Until the end.  By that point I was getting antsy to see if I could make it as an artist … if I was good enough, could be productive enough.”

Around that time McDermott founded a performing arts group of her own, Actco, and appeared in theaters all around New Mexico and as far away as El Paso. A few years passed, and, “That’s when John came into my life. We were married in 1989.”  Theater, which “takes all of your attention,” had to go.  But the opportunity to once again take pencil to paper opened up.  “I actually enrolled in an art school in Albuquerque.  A drawing school,” McDermott said.

“Then my life got upheaved again.” In 1994 the two moved to Eagle Nest, a tiny village on the shores of Eagle Nest Lake in northern New Mexico’s Moreno Valley.  The breathtaking beauty of the place, including the land they were able to purchase, was too good to pass up.  McDermott envisioned long days spent in tranquil contemplation of the beauty of her new surroundings.  “I didn’t plan to do anything,” she said.  “I certainly didn’t expect to build my house.  But then the contractor reneged at the last minute because we were building an outrageous house made out of dirt.”

Reluctantly at first, McDermott took on the project.  Soon the two-foot-thick walls were going up.

McDermott was hands-on at every step.  “I did a lot. I laid all the brick, put in all the tile work, hung beams and did earth work (I did have help along the way…it’s a long story, and this is supposed to be about me and my art!)”

In the end, it took two years to build the house.  “When it was done, I slept,” she laughed.

“But then I went to the post office one day and there was this flyer on the wall.  I could have missed it, but it reached out and grabbed me.  It was for a watercolor thing in Eagle Nest – a workshop.  I yanked it off the wall and I signed up.” Because she had never worked in watercolors, she didn’t know what to expect.  When her teacher left her a note following the first class, McDermott anticipated the worst.  “I thought, she’s going to tell me not to give up my day job.”

In fact her teacher remarked on McDermott’s obvious talent.  “You could sell your work if you want,” she said.

That was all McDermott needed to hear.

“I talked to John, and we agreed we would set aside space in the house.  And he would give me three years to prove myself. And then I started painting.” Six months later she sold her first painting.  “One year later I got my first award.” Within three years, she said, “I was not only paying for my supplies, I was making a profit.”

These days McDermott is busy in her Eagle Nest, New Mexico, studio where she produces her award-winning art.

These prized pieces, with their splashy palette and distinctive style, are selling in the local galleries and on the Internet.

In years past, McDermott’s busy schedule often cut into the time she could spend in her studio, including the ten years she spent running a successful gallery in nearby Angel Fire. Since 2012 she’s been able to devote much more of her time to her own work.  “It’s a blessing,” she said.  “Now I spend my time focusing on how I can make my work better and better.”

She continues to find new surprises in working with watercolors.  “I particularly enjoy watching how different pigments work together … or don’t.  The delicate balancing act of water and pigment – and how to manipulate it – is a forever learning experience. It’s a dance.”

McDermott has also extended her craft, with new ventures into pastels, scratchboard and drawing.

“They’re all very tactile, which I like. It’s drawing.  That’s where I started”

McDermott says she doesn’t have a specific style, beyond a kind of contemporary realism.  “You know what it is, but there’s more to it.  It’s “interpreted.”

“I am particularly drawn to flowers because they speak to me.”  McDermott is well known for painting “poppies that pop.” She said she has an almost spiritual affinity for the flowers, which are ubiquitous in New Mexico.  “It strikes me that poppies are one of the most delicate flowers that grow.  But wars have been fought over them.  Through the years they’ve tried to destroy poppies.”

“Every rose has its thorn – the poppy has its thorn.  It’s a beautiful, delicate flower that is abused.  I think that’s a very powerful idea.  I do enjoy working in different styles, but I have a common palette.  I love vibrant colors.  It’s a cliché, but the light in New Mexico … there’s something special about it.  There’s clarity in the light you don’t find anywhere else.  That’s why my colors are so vibrant. And that is what I’s what I see.”

When she’s not making art, McDermott is promoting art, including a decade and a half at the helm of the Moreno Valley Arts Council.

She’s a natural fit: the Council promotes the arts within the community, bringing in musicians, dancers, and the Missoula Children’s Theater.  The Council also operates the ArtsFest, an annual art show now in its 33rd year.  With assistance from New Mexico Arts, a division of the state’s Department of Cultural Affairs, the council promotes an annual Artistic Vistas Art Trail, bringing visitors from near and far to visit galleries and studios along the more than 100-mile route through the mountains of Northern New Mexico.

But ask McDermott, and she’ll tell you the work is the thing.  That means time spent in solitude in her studio.

She recently posted on her blog her thoughts during a momentary pause in her work.   “The comfortable chair in which I sit is in our amazing home in the beautiful Moreno Valley of Northern New Mexico.  My mortgage is current, the heat is on and the lights, too.  The well gives water and the coffee I just brewed is ready.  I’ll pour a cup before I go on … .

“I’ve been in painting bliss, letting the strokes wash away the stress, the fears and the frustrations.

I painted and painted and painted.  Sunflowers, poppies, hibiscus and landscapes.  Spring, fall and summer.  There are so many new pieces my little studio is bursting at the seams with color and life.”

It’s that sense of gratitude and, moreover, of the possibilities of art, that daily enliven McDermott’s life, and infuse each artwork she produces.”

Mark St.J. Couhig has been a writer, editor and publisher for more than 30 years. He now lives in Sequim, Washington, where he is a freelance journalist specializing in art, travel and the environment.


So, The Moreno Valley Arts Council has morphed in to Art UP Northern New Mexico. and I have moved on.  I now spend more time here, at home. I do still work with creatives…notably the New Mexico non profit Creative New Mexico where I help them with their digital presence and messaging.  My passion is unchanged though my energy is not quite as Lightning in a Jar as I was.  The 4 years since Mark wrote this have taken a toll on that.  His perceptions of me prompt a teary response. Thanks for reading.  I guess you now know me a little better.  I hope that is a good thing.

So now, looking forward.  May 2018 be a far happier, healthier more prosperous year for all of us.





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So, what the heck is Scratchbord(TM)????

Some of my quickest selling works were done on Scratchbord(TM).  Say Whaaaat?  Scratchbord (TM)  Scratchbord(TM) is manufactured by Ampersand.  Ampersand manufactures multiple art surfaces, most common are claybord, aquabord, pastelbord and more.  The panels I paint on most often are Ampersand products.  Scratchbord is a clay coated hardboard panel for scratchboard that is coated with India ink. It is infinitely more durable and easier to use than traditional “Scratch” papers and similar surfaces that some of you may have used in school. The clay coated hardboard makes a rigid surface to work on, and when you use the custom tools like a tiny knife, steel wool and wire brushes you can take your time scratching through the ink down to the white clay methodically, allowing for highly realist images with depths of shadow.  The most well known of my scratchbord works is the pet portrait “Little Bear” which I posted in the December 4th issue on Pet Portraits.  I have, however done many others.  I love working with it.  It takes me back to my “drawing” roots which I began as a child, using pencils and charcoal sticks.  I can sit for hours scratching detail into the board. It is “zen” for me. Here are some images of the process:

First, a drawing on paper
Then, transfer drawing to board (outside lines only at first) then begin directional scratching
Adding in some color (inks)
The finished piece

I don’t always add in full color.  Sometimes just a touch is the right approach:

Daisies Daisies (sold)

Tools used in this piece were simple.  Everything but the centers was done with the knife (rightmost tool in the kit).  The centers, used the stiff brush (left most red handled tool) which creates multiple lines at once.  I hope this has given you a basic understanding of exactly what scratchbord(TM) is and what beautiful works can be created with this wonderful product!



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Custom Pet Portraits Preserve Precious Memories

I have been doing pet portraits for about 30 years.  Like most things, it started with my pets.  Then when family members saw what I had done, they wanted portraits of their pets.  My Dad’s cats.  My sister’s dog.  And it spread from there.  I’ve lost count of how many I have done, but I can say they are hanging in homes across the country.  As time went on I expanded the media I employed.  First it was all watercolor.  Here are some the earliest ones:

This was my first one.  My two cats, Jessica (the grey

Jessica and Gizmo stole my chair

one) and Gizmo (the Tabby).  I really loved those two.  Jessica was with me for 24 years.  Two weeks after Jessica crossed the Rainbow Bridge, Gizmo passed.  He died of a broken heart.  I realized just now I did a second painting of them.  It is the second one below.

Playing Hide and Seek

They were always chasing each other around. When they weren’t napping, that is.  When my parents saw these, they wanted one of their cats.  They were the funniest pair I’ve ever encountered and capturing photos became the biggest challenge.  They were litter-mates and always together.  Cutie Pies.  I called this “Better Water Here”.

Better Water Here



As I mentioned, they it was my sister.  She was crazy about her rottweiler, Rip, and when she lost him, it was time to paint my first dog.  Fortunately she had quite few good photos, and she mailed them to me.  This is the result:

Krissy’s Rip


From this one, word spread.  I began to take orders from her friends, and my friends, then friends of our friends!  Since then, I’ve done portraits in Acrylic, Soft pastel and Scratchbord (TM).  Scratchbord portraits are some of my favorites, but are best with the pet is white, or mostly white.  Here are a couple of samples:

Ceasar: Ink and Sratchbord Black Pet Portrait
Little Bear: Ink and Scratcbord Black Pet Portrait

So, what is Scratchbord? It is actually white clay, baked on to Masonite, then coated 32 times with black India Ink. The manufacturer is Ampersand.

So that is how I buy it.  I then use a tiny knife, steel wool and various other specialized tools, to scratch through the ink, down to the white clay, leaving as much ink as is needed to create depth and texture.  Then I use ink to paint in features such as the eyes, and the pinks and blues visible in Ceasar (the cat).  I’ve done hundreds.  I have never had one rejected.  I know the owners love their paintings as much as I love to recall the antics of my cats when I look at those paintings.

Most pet portraits take a few weeks to complete.  Pricing is based primarily on size, but if you want a scratchbord piece remember it is really only good for white or mostly white animals.  I can use paper, canvas, panel/wood for watercolor, oil pastel, soft pastel or acrylic.  You can view how various media look on the pet portraits page here.

I need 5 or 6 photos of the pet.  You can choose to have me paint a particular photo that you love, or ask me to paint a composite with fully realistic impression of the pet.  I require a 50% deposit, with balance due upon final acceptance of the piece.  You can contact me with the form below to get a quote.  Standard sizes are 8 x 8, 8 x 10, 10 x 12, 10 x 10, 12 x 16, 12 x 12, 16 x 16 or 16 x 20.  I can go bigger but it starts getting expensive and takes up alot of wall space.

Save those precious memories!  Order a Pet Portrait!

[contact-form][contact-field label=”Name” type=”name” required=”true” /][contact-field label=”Email” type=”email” required=”true” /][contact-field label=”Website” type=”url” /][contact-field label=”Message” type=”textarea” /][/contact-form]

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New Ideas for Gift Giving

Yes, I know.  I’m not the most prolific poster.  While I’ve said it before, I am trying to be more diligent on that score.  For this holiday coming, I’ve set up a page of smaller, less expensive works that fit well in the gift giving genre.  In addition, I’m working on more!  One of my new products are small boxes that are perfect for dried flowers or even wooden utensil storage.  I make them out of wood, then paint them with acrylic paint with some of the images I’m best known for…flowers of course.  There is only one left at this juncture, so I am making more as fast as I can.  They are very

Sunflowers Squared Box

affordable at only $30, so they have been selling quite quickly..almost as fast as I can make them.  So, check out the gifts page. You may just find the perfect gift for your loved ones.  Let me know if you have questions.  Just leave a comment here or fill out my contact page.



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Believe it or not, I’m still here!

This is Katherine (yes, really!) with some updates. I know it has been a looooong time since I’ve written, and I hope you are still interested in me and my art!

I’ve been busy with new pieces, work on the house and yard, and getting ready for winter. It’s been a lot of work, but I’ve made good progress.

I’m writing today to let you know two things: first, I will be one of the stops on the Angel Fire Art UP! studio tour. The Tour is Sept. 30- Oct. 1 from 10 to 5 each day, with an artist reception on Fri night, Sept 29 at Chianti’s in the Angel Fire Resort Lodge from 6 to 7:30 pm.

The official website of the tour is, but they are still working on it. I would love it if you would come by: I have some new work, and some prices just for the tour.

Second, In case you haven’t guessed, I really prefer doing my art to marketing it. I’ve asked John (my husband) to send the list a few emails and see how it goes. He truly appreciates my work and can probably write more honestly about it than I can! So the next few messages will be from him. I hope you enjoy them!

That’s it for now, and I look forward to seeing you on the tour! If you have questions or a comment feel free to email me at Thank you! I’m sorry it has been so long!

Keep up with my new progress and sign up for my email.


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