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  • Layin' In The Grass Is A Gas, Baby, Can You Dig It

    The world was overwhelming, and the night air was beautiful. I lay in the grass to sooth my soul. This self-portrait is double exposed with a large grid of images, a screen shot of my camera roll, though those images fade into the figure here. There is, and quite apparently so, an otherworldly glow to my glasses, and I wear the apron I  cook in every night.

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  • Beckmann/Ballerina/Self

    These self portraits are blends of the artist with elements of the world that fill my days. I have always made self portraits, in each medium within which I have worked. This image harkens back to my time as a painter and resonates with Max Beckmann’s “Self-Portrait with Horn". The very shallow space of this image, the deep shadows and sculptural quality of the figure, bring that painting to mind.

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  • Multitudes

    In this piece, a double exposure of the artist with a screen shot of my camera roll, we see Zelensky, prominent in the multitude of images. But there are also photos of me as a 5 year old, and again, in the center, walking in front of the video projections I created for a Hildegard von Bingen Opera this past Spring. And there are photos of my parents, kissing on the grass, long before I was born.

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  • Blue (For JM)
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  • After Leonardo
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  • Self With Tsherin Sherpa at the VMFA

    This image superimposes the gridded self portrait, taken at home, with a screen shot from my camera roll of 169 photos all taken during a visit to the Virginia Museum of Fine Arts. This piece crosses time and space in a meshed picture plane. The artist again looks out, engaging the viewer who looks back, connecting, manifesting, as it were, the act of seeing itself.

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  • El Defensor

    The title of this piece, El Defensor, comes from the title of the mural by Sirron Norris that I photographed and serves as the superimposed image on the self-portrait. The mural appears on what is essentially “Mural Alley” in the Mission District of San Francisco. 

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  • Masked, With Mark Rothko, Miriam Shapiro and the GG Bridge
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  • Mop Top With Jane Fonda
    This piece uses a screen shot from my camera roll, with thirteen images across, including small, varied iterations of the large self-portrait as well as images of Jane Fonda in 'Klute', shot while watching Turner Classic Movie channel, a habit I formed while shooting for my monograph, "SILVER SCREEN'.
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  • Lantern/Gaze

    In this self-portrait I gaze out from my bed. The superimposed images in this particular multiple exposure are of the ceiling fixture (Lantern) in my kitchen and a vase of Coreopsis seen from below. This time, the artist truly wants to connect with the viewer.  My gaze is inviting, draws you in; "Come take a look;" I seem to be saying; "see what you can find, how much you can decipher”.

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  • After DuBuffet at 9 X 16

    This image uses two grids, one in 9 parts, one in 16. The second grid is one of branches in snow taken with a macro lens. One can see the circles of the lens that have remained, and the branches within them, like the ghost images in a monotype. The composition and palette brought to mind Dubuffet's self-portrait paintings, hence, the title.

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  • Hand on Heart

    This image truly seems to blur the line between painting and photography (although there are no lines here, only areas of color). The second, superimposed image has faded from sight in this piece; only its impact on the self-portrait remains. The high- key/synthetic details of my signifiers, glasses and mouth, are here, along with large, seemingly painted areas of color, very close in value.

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  • The Morning After (Pill)

    I created this image the day after the Supreme Court overturned Roe v. Wade. This image conveys some of the shock, despair and moving between hopelessness and fierce determination I experienced that morning.

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  • Painted Self/Dog Face

    Painted Self/Dog Face

     

    This image again blurs the line between the media of painting and photography. Here I have superimposed an old painting of mine, another self-portrait, done 35 years ago, though somewhat obscured in this multiple exposure, with a current self-portrait. The old brushstrokes become part of the new photograph. We travel from one medium to another, and back again

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  • After Van Der Weyden

    This image brings to mind Van Der Weyden's 'Portrait of a Lady', with the seeming structure around my head  (actually a window and headboard in the multiple exposures) resonating with that sitter's headpiece.  I am always, and even now, influenced by my time in the studio and the paintings I have looked at over the years.

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  • Canal Dreams
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  • In Richmond, Twice Over
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  • MYCO Me

    I have photographed the young chamber players of MYCO for the last many years. Here I have used a screen shot of an afternoon of documenting these incredibly talented young musicians as the double-exposed image. 

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  • Layin' In The Grass Is A Gas, Baby, Can You Dig It II
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  • Two Mastectomies/With My Pink Chest and Left Arm
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  • Self as Florida Woman in Leopard Scarf

    In this piece, the double exposed image of a wedding tent is barely visible, but for the trees in the upper corners. The exaggerated details of my skin and bright colored lipstick made me think of the women I would see, while growing up in NY, women who stayed in the sun too long. In this piece, I have become those women. Life in full circle.

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  • Flower Head I
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  • In Himalayan Clouds
    The second exposure is of a cabinet in an Historic home in Chapel Hill, The Horace Williams House, where I co-chair the Art Program. The figure recedes in this multiple exposure, mixing with objects and furniture, residing in a synthetic, high-key palette, the result of being processed over and over again.
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  • Looking at Kehinde Wiley at the VMFA

    There are three layers to this image; there is the ubiquitous self-portrait, there is the painted wall of my hotel room in Richmond, and there is the Kehinde Wiley portrait in the collection of the VMFA. One is required to go on a scavenger hunt to decipher the layers of this photo. It takes us through time and deep space, the whole engendering a kind of revelation.

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  • Silver Glasses
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  • Comic Heroine
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  • Construction Site
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  • Flower Wallpaper
    The second image in this double exposure is one of the floral wallpaper in The Horace Williams House. This is one of the only pieces in the series that uses a single, non-gridded, exposure for the second image.
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  • Warhol in Orange Glasses
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  • With My House On My Head
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  • Samurai
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  • In My Space Capsule
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