Have you ever wanted to erase the difficulty of pain in the body? Some people share the experience of leaving their body as a way of coping with pain. My cancer pains lead me to learn Remote viewing, or leaving the body, and this lead to the Landscape on Mars series. Taking the subway each day to pick up my daughter and go to treatments was exhausting. I began to visualize myself out of my body, floating up to the ceiling after deep breathing. This lightness of my body brought relief from the chronic pain that had developed from cancer. I found the more I left my body during meditation the more energy I had to go through the day
What’s something that would be impossible to do, but if you could do it, would dramatically increase your success? For me, it would be a show at the Guggenheim with those beautiful Frank Lloyd Wright walls holding my paintings!
When I painted this painting of blueberries inspirited by Robert Frost’s work, I felt the sky and ground had dropped away from the berries, leaving a lot of atmospheric information. Title of piece is The Blue’s but a mist from the breath of the wind -a phrase from Frost.
As part of the history of woman, the GUERRILLA GIRLS a group of female artist protested in front the Soho
Guerrilla Girls were formed by 7 women artists in the spring of 1985 in response to the Museum of Modern Art’s exhibition “An International Survey of Recent Painting and Sculpture”, which opened in 1984. The exhibition was the inaugural show in the MoMA’s newly renovated and expanded building, and was planned to be a survey of the most important contemporary artists. 
In total, the show featured works by 169 artists, of whom only 13 were female. A comment by the show’s curator, Kynaston McShine, further highlighted the gendered bias of the exhibition and of MoMA as an institution: “Kynaston McShine, gave interviews saying that any artist who wasn’t in the show should rethink ‘his’ career.” In reaction to the exhibition, the Guerrilla Girls staged protests outside of the museum.
The protests yielded little success, however, and so the Guerrilla Girls embarked upon a postering campaign throughout New York City, particularly in the SoHo and East Village neighborhoods
After this awakening of the lack of female representation in the art world, A.I.R. gallery was formed.
It was founded in 1972 with the objective of providing a professional and permanent exhibition space for women artists during a time in which the works shown at commercial galleries in New York City were almost exclusively by male artists. A.I.R. is an alternative means to exhibit women’s art. The gallery was originally located in SoHo at 97 Wooster Street, and is now located on 111 Front Street in the DUMBO neighborhood of Brooklyn.
A.I.R. is a non-profit organization that aims to show the diversity and artistic talent of women, to teach, to challenge stereotypes of female artists, and to subvert the historically male-dominated commercial gallery scene, with the overall hope to serve as an example for other artists who wish to realize their own art cooperative endeavors.
In the last few centurues female abstract painters are relatively new into the art scene. Leaving us more freedom
due to less organizations confining her, no community, no society, no nation. The icons of painters are beginning to change and open to a beginning of a new adventure.
Finally this generation is redefining what painters wear to paint. Why not paint in silk, I am
The sketch in Salamba Sirsana (head stand) is the body balancing symmetrically on the crown of the head and arms very unlike the 1950′s pinup girl De Kooning likes to depict. The sketches also show how daily influences such as the Bhava yoga deeply inspires new understanding of the body mechanics. This new understanding has brought a new sensitivity into how I draw and paint females. It is amazing to find how our daily life affects painting or the arts in general.
The sketches are influenced by De Kooning in that they depict the pushing of the energy in the postures that these woman are in.De Kooning made numerous preliminary studies then repainted the canvas repeatedly, eventually arriving at this hulking, wild-eyed figure of a woman. An amalgam of female archetypes, from a Paleolithic fertility goddess to a 1950s pinup girl, her threatening gaze and ferocious grin are heightened by de Kooning’s aggressive brushwork and intensely colored palette.