The location is in Kennebunkport, Maine, across the street from the Bush compound.

I started painting at this location as part of my “look the other way” series. For that series, I chose subjects that are a 180-degree turn from popular tourist vistas.

When I started painting at this location in the early 1990s, George Bush (Sr.) was President, and tourists would drive past his family’s compound… and totally miss this lovely salt marsh across the street.

As the seasons changed, I became even more appreciative of this salt marsh. As an artist, I was (and still am) enthralled by the myriad colors in this setting. But, I also like painting in this relatively isolated location because–as a woman, alone–I always feel safe, knowing that there are cameras and security guards keeping an eye on me.

This salt marsh has changed over the years. The trees are larger and more mature. A new house on the other side of the marsh–barely visible–means fewer deer on that side of the landscape.

Today, even more people want to see the Bush compound. The street can be busy at the peak of tourist season.

But, the salt marsh is still one of the loveliest along the Maine coast, and this location continues to be among my favorites.

This oil painting is 8″ x 16″ on canvas board.  It was completed in May 2007.

Collection, J. Watt, California

I painted this over a series of afternoons, en plein air (meaning: outdoors, on location).

It’s one of my favorite paintings, and it was displayed in my living room when I lived in Texas, as a connection to New England’s magnificent landscapes.

As of late 2008 (shortly after our move to NH), this painting is still in storage.  However, I recall that it’s dimensions are about 16″ x 20″ on canvas.

I thought that the challenge fabric was insipid. I struggled to find a way to use it.

Weeks passed and the deadline loomed, and nothing about this fabric inspired me.

Then, I realized that I could work in contrasts: meek with wild, and traditional with jazzy.

The finished wall hanging is 32″x52″, and at the time I called it, “Threads of the Past, Visions of the Future.” It is pieced and appliqued, with some stenciling (the small yellow dots) as a
surface treatment.

This quilt took top marks, winning an award for originality and design.

Today I call it, “Baby’s Blocks, Gone Wild” and I’m eager to do more with contemporary twists
and traditional designs.

In this painting, I wanted to capture the exhilarating freshness of Glastonbury in the spring.

The scene is the Tor late in May when the flowers are in bloom and the grass is a vivid, new green.

This oil painting was painted in an Impressionist style.

Close to the painting, the colors are broad and almost abstract. From 30 feet away, the painting looks photographic.

Like most of my work, this photo doesn’t accurately represent the range of colors and depth in the painting.

Collection, Vernon and Barbara Pope, Kansas

(I know that it looks the same, but you’ve probably noticed that it loads faster than the older version.)

I’m in the process of restoring the art to individual pages at this site.  This involves a lot of cut-and-paste work, and I’ll continue restoring the articles and images as time permits.

I’m very pleased with the new hosting, and look forward to building this into a great art website and a resource for friends, fans and collectors.