I am a painter. I create illusions, moods and atmospheres. I use traditional materials of canvas, oils, fiber, but do not work in traditional methods. I also use the current technology in much the same manner that other technologies before it have been used by the artist. The artist has always worked within the capabilities of the medium and adapted to the way the medium works. Many of my paintings are scanned into the computer and are born anew as cyber art of the Third Millennium.

My work centers on the forms, the structures, the essence of Earth itself, and the culture upon its surface. It is about perception of environment and place, and how opinion alters with understanding perceptions of others. I address the impact of one upon another, and the place where One becomes the Other. I address the surfacing of substructure as it breaks away and erodes the very elements it is intended to support, while culture itself breaks into smaller and smaller components.

The Sierras have been a part of my life forever. I grew up in Selma, with the magnificent Sierra view most of the year beckoning me. A year after Ralph and I married we moved to Tivy Valley, then later to Squaw Valley. I love those mountains. They are My Mountains.

For over 10,000 mornings I saw the sun rise over Jesse Morrow – one of My Mountains. I lived in the presence of it for twenty-eight years, the seasonal stream that ran through our farm originated from its slopes, we climbed all over it for years. Then I read in the paper that mining interests had purchased part of it and were planning operations. These things happen up and down the Sierra, but this had become personal. There are several issues, including tourism (the mine would be an eyesore on the Blossom Trail, on the only road into Kings Canyon National Park, and the general scenic view of the county’s main tourist attractions). Water is a huge issue as there is an extremely limited water supply. Additionally, the mountain is a sacred site for the Choinumni tribe of the area. It is said the mountain will not tolerate this abuse.

For many this is called progress.

There are always those who come after – the people who feel they are improving upon what was, before them, perceived as a good way of life.

Tillers of the soil spoke of improvements they made to the land that was held in respect in its natural state by the natives of that land. But the farms were productive, and life was good.

Villages grew into small towns that always took adjoining fertile, productive farm land. But the towns were pleasant to dwell in.

Homes that were nurtured and prized in the towns were demolished to make room for high-rise buildings and freeways. But the architecture was of excellent workmanship, of the best materials; travel was quick and life exciting.

All these changes were not bad, except to whom it had been taken. It was with these thoughts that SPIRIT was born.

I have been using the computer as a fine art medium for nearly twenty years. I was so fascinated with this new technology that I did not work with ‘real’ materials for the first eight years. I found that somehow my mind and that of the computer programmers were working in a symbiosis that was truly magical.

The computer has been used from the beginning for its visual capability. Along with programmers and engineers, artists have had a tremendous impact in the way it developed, often creating their own software in order to achieve the images desired. It always has been that the artist must work within the capabilities of the medium and adapt to the way the medium works. The hand and eye of the artist controls the results; the machine can do no more on its own than a paintbrush can. Yet there are times when this wonderful image happens. You can’t explain what you did, you can’t explain how, but there it is. A gift from the computer. So you accept the gift, say thank you, and you try to replicate the results. But it doesn’t happen again. It was a special gift.
When I began to use the computer I was fascinated with the technology and thought it must be akin to the Impressionists discovering the world of painting outdoors with paint in tubes. For several years I used DOS-based programs, Crystal 3D and Lumena paint, running on Targa 32+, mastering their functions for most of my work. In the fall of 1998, I switched to Windows programs of Photoshop 5.0 and Painter 5.0 on a Pentium computer. I also utilized the program, 3D Studio Max for some of the wireframe modeling. Four of the images in this exhibition were done on Lumena and the rest in Windows.

There is a space between what exists in the mind and what exists in reality. This is my world - the world of computer art.

Altered landscape is the foundation of most of my images. My work for the last several years has focused on a portrait of the earth at this Millennial time.