This is no landscape you could ever stand in.
No observational drawing, no safe horizon line.
This chalk experiment is a dream unfolding in color: a golden field lit from within, a scarlet seam of fire at its edge, and a storm-heavy sky pressing down with ancient weight.
It feels like a place between worlds—where the conscious and unconscious meet, where memory and imagination blur. Some might see a battlefield, others a meadow after rain, and still others a veil between life and death. That is the beauty: the painting does not tell you what it is; it invites you to confess what you see.
Psychologists say we project ourselves onto images like these. So—what do you notice first? The light? The darkness? The burning red?
Perhaps that is not about the drawing at all, but about you.
Sometimes, a good goodbye is also a fresh hello.
As we wrapped up our "Sacred Spaces" paintings, I asked our student teacher to design a one-day project—something playful, earthy, and engaging to ease the class into her care. She brought mud. Literally.
Using mud and simple stencils, students pressed images—flowers, insects, wings—onto the sidewalk behind our school. There's something timeless about making marks with the ground itself. It felt ancient and immediate at the same time.
These prints won’t last long, but maybe that’s the point. A fleeting image, a shared laugh, a new hand guiding the next phase of learning.
Art is about making marks. Not all of them need to be permanent.
I call this work Lost Koi because I painted it in the 1990s. Gave the original to a friend who was terminally ill and thought I would never see it again. Then I found it on a old computer. I had to work a lot with the image. I hope it loads.
