Actually, in looking back there was never a question about that. There was just the parental discouragement.  I was always drawing and painting since I was old enough to hold a crayon.  It was the only way my folks could keep me quiet.  Upon entering college I was conditioned to believe that one can't expect to make a living as an artist, that art was something to do as a hobby, not to be taken really seriously.  I guess I was given mixed messages because up until then my parents had been pretty supportive of my work, allowing me to take after school art classes.  So I let go of the idea of being an artist for a short time while I took general courses.  A spot in my schedule allowed for a drawing class and when I entered the class I felt home again.  Once again parental influence came in and when I needed to decide on a major I was torn.  I loved fashion and was quite the dresser in my youth so as a "compromise" I decided to major in costume design (so that I could have an excuse to create wild clothing), and hopefully make a living as well.  I transferred a lot in college.  First 2 years at UVA in Charlottesville, VA then to Maryland Institute of Art in Baltimore, then to Virginia Commonwealth U in Richmond VA to enroll finally in their fashion design dept.  That foray was short lived.  I couldn't do the math in the pattern making class and whenever the elevator passed the 3^rd floor (painting dept) the wafting turpentine called my spirit elsewhere.  It's been me and the paints ever since.

Did any particular childhood experiences inspire you to become an artist?

Well, not really.  Like I said, I took to the crayons as soon as I could hold them and just kept at it.  I loved seeing color and line on the page.  And I was fortunate enough that my parents enrolled me in some classes after school for a couple of years in high school to learn to oil paint.  Whenever there was an option to make art in school, I grabbed it.  As a matter of fact, I was often to be found sitting at my desk with the book up appearing to be paying attention, but making a drawing.  And I often called upon my artistic skills when I was having trouble in science class in college.  I remember a biology professor letting me know that I was going to fail the class, so I did an extra repot fully illustrated which of course impressed him and made it out with a C or something.

 

You were awarded a Fulbright Scholarship to go to Paris. Could you please tell us a little bit about your experience and what you learned from it?

Oh gosh, I could write a book on the various aspects of that.  I must say it was one of the most profound experiences of my life.  I grew up in a small town in VA and even though I was encouraged to go out and explore the world, I hadn't quite prepared myself for that experience.  I had been to Paris once in my early 20's squabbling with a boyfriend throughout parts of Europe, so I had been there before at least.  I was supposed to have been affiliated with a school or teacher but I wasn't.  Like I say in my bio on my website, I feel the entire experience was divinely guided. Only 2 painters received Fulbrights in Painting for Paris that year and I was lucky enough to be one of them.  A Fulbright is a very prestigious grant mostly for those in the world of academia.  It was an awesome experience for me to sit at a reception table at the American Embassy in Paris as part of a select group of Fulbright Scholars in all areas of expertise.

Before I left for Paris I had had a profound experience whereby my channel had opened and I was feeling energies from other planes.  (If you like there is more written on my bio on my website regarding this).  When I got to Paris I was anxious to take up where I left off.  I was living in a sort of dorm like situation on a floor with other musicians and artist with grants. I began practicing my channeled readings with the other artists and musicians on the floor. They soon turned into healings where I was being shown/told where to make healing sounds or place my hands on different parts of people's bodies. Much of my time in Paris for those 2 years was spent meditating, practicing yoga and doing readings/healings. I don't know what the Fulbright committee would have thought....

I was fortunate enough to enter the worlds of the musicians and composers I was surrounded by and be a bit better educated in classical music.  On weekends I attended their incredible concerts in huge old cathedrals.  It was a huge luxury to not have to work for those years and to be able to focus solely on my art.

I learned what it is like to live in another culture, and this I believe impressed me most of all.  After a taste of that diversity, (even though I had been living in New York City for 8 or so years by then) I have never been able to "go back" to a life where I am not simultaneously aware of what others may be experiencing.  I learned how sheltered as a society we are here in the US and how limited our media is.  I was surprised when I listened to the news in Europe how much was covered outside of whatever country I was in at the time.  The experience gave me a big appetite for travel, which I still have not satisfied due to many factors, but I go when I am able.  We have so far to go as a people in learning how to relate peacefully together in this world and how many gifts we have to share if we were only able to let go of our fears.

What have been some of your most rewarding experiences as a painter?

There are so many.....   Most of all knowing that at anytime someone may be enjoying something that I have created.   In other words feeling like I have contributed to someone's life in a positive way.  Being awarded the Fulbright grant, painting on location in other locations than where I am currently living, especially other cultures, the feeling of exhilaration that I get when I feel I have successfully captured the essence of what I started to create.  The sensation of mixing oil paint on my palette, mixing a color I don't usually use that I like.  Painting on location with another friend, (the Libra in me loves to share ;-) 

You began your company, Creatrix, in the early 90's. How did you come up the name Creatrix? Does it have any special meaning?

No, It doesn't have any special meaning really, except that for me it signifies a woman who is master of her creative self.  I think I heard the name somewhere and then chose it.

I see your paintings as symbols of empowerment for women. Could you speak a little about your creative process and how you come to paint what you do?

Oh, another long answer!  I'm glad you see my paintings that way.  Many of the ones that I would refer to in that context live in flat files in my studio or are huge oils on canvas (6 - 7 ft) stored that no one ever sees.  My process has gone through so many changes over the years.  My work is pretty autobiographical as it sometimes goes with artists.  When I look at a particular painting I remember what was going on in my life at that time.  For many years I was very interested in painting "the other". The other meaning portraits of other people and at that time I also did quite a few paintings of men.  Most folks haven't seen these.  I really would paint anyone that would model for me and the paintings were 6 & 7 ft. canvases.  I didn't realize it at the time but I was going into trance and picking up so much from the other that got transferred onto canvas.  I loved this process.   However, at a certain point I felt called to do something different and I didn't know what.  I resisted for such a long time because I was so good at what I was doing, even though I didn't know how to market it, and I didn't want to have to face the difficulty of coming up with a new subject matter.  It just seemed too scary to perhaps do some bad paintings while I worked through this.  I remember the very day that I just could not continue doing this and it was right in the beginning of painting someone that was so excited to sit for me and had come to the studio with a wonderful exotic costume and I just couldn't do it.  It was awkward for sure, but it was the truth for me.  Since then I have returned to portraits from life in a rare couple of instances.  I have spent years in therapy, different spiritual studies, etc and once I finally felt called to be with myself as opposed to the other for awhile, I focused on more fantasy types of imagery.  I've never been an abstract painter so for me this meant doing some paintings combining situations in life, perhaps with some imagery from photos (preferably that I have taken).  I used a relationship that had ended as a starting point for my sacred erotic/intimacy series.  I had a dream where I was being shown very specifically how to paint butterflies and that was the beginning of that series.  I love to travel and paint on location so much of what I am fascinated by on my travels finds it's way into my painting either there on site or later through photos I have taken.  The arches and doorways in some of my paintings come from photos I took in Morocco.   I love spending time in nature and often photograph places I love.  My recent canoe paintings are inspired by a lake I canoe and swim in the summer.

What occurs to me in terms of your considering my work being empowering for women, is that I, myself had a lot of personal work to focus on in that area and maybe it was reflected in my work.  I would really love it if other women can look at as encouragement on their own paths of growth. 

How do you see spirituality as it connects with your artwork?

I have made a conscious choice in my life to try to stay connected to spirit in every moment.  This of course, is easier said than done at times.  This being said, I feel that for any artist, there is a direct transference by way of electromagnetic field from their physical being to the canvas/paper, whatever medium is their creative outlet.  Simply put, what's there is automatically translated in ways that we may not "see", but we somehow get it.  I'm not trying to sound abstract, but it's only my opinion and not an easy one to express.  Also, for me to be connected spiritually I have needed to go deep into myself and I like for my images to reflect depth as well, either emotionally or spacially.

Beyond that, there are the obvious literal choices in subject matter, such as energy fields appearing in some paintings, fairies, angels, the beauty of nature and relationship, etc.

You also trained as a healer. How has that affected your art?

That training helped me to learn to visit different layers of both my own and other's'  energetic fields and to understand what I find there.  It also gave me practice in bringing back down to "reality" what I find there.  Basically it refined my sensitivities.

What have you yet to accomplish as an artist? What are your long-range goals?

I feel I still have so much still to accomplish.  I've always wanted to do a divination deck and haven't found the time.  I feel that there are a couple of new bodies of work waiting to emerge and for me, there is always the time element.  I don't get to paint nearly enough as most would imagine.  Though I've been fortunate enough to find a partner to help run CREATRIX, it still takes a lot of time and energy.  My long-term goal is to be able to get into my studio daily for most of the day.  Another goal is to continue to travel and paint on a much broader scale.

What do you see as your greatest gift to the world?

That I have touched the lives of others in a positive way through my imagery.  I receive feedback quite often to this effect and it is incredibly fulfilling for me.  It never fails to touch my heart and make me feel so grateful for having given in this way.