Beadwork
Primordial Goddesses as Snakes 2021-ongoing | Beads, velvet, wood frame | all 18” x 24” framed
Many mythologies worldwide refer to a primordial goddess as the sole creator of the universe, but most of these stories have been lost to time or usurped by male deities. This series attempts to put women back in the generative, creative forefront where they belong. Each goddess is depicted as a snake from the region of the world from which the myth originates.
Coatlicue (2021)
In Aztec stories, Coatlicue’s sacrifice (decapitation) began present creation. She is often depicted wearing a skirt of snakes and a necklace of hearts and hands. In this version, she is depicted as a rattlesnake, native to the area where her story originates. The hand and heart refer to her vestments in classic depictions. The hummingbird refers to her son, the god of sun and war, Huitzliopochtli, who is often shown as a hummingbird.
Huitzliopochtli close-up
Neith (2022)
Neith, an Egyptian primordial goddess, is shown here as an Egyptian cobra. She wove creation into being on a loom, referred to in this piece by the weaving shuttle. She governs the functioning of creation and is sometimes depicted as a fierce warrior goddess wielding spears or bow and arrow. One of her granddaughters, Selket, is the goddess of scorpions, referenced in the beadwork imagery as well.
Selket close-up
Kali Ma (2023)
Kali Ma is the Hindu primordial goddess, shown here as a blue coral snake. Kali began creation by uttering the first word, “ohm.” She is not only the creator goddess, but a destroyer as well. Once, in that capacity, she was called on to rid the world of warring demons, and she got so out of control her consort, Shiva, had to calm her. He is depicted here as a half-moon shape, his personal symbol.
Beaded Birds 2005-2007 | Beads, fabric, wood | all approximately 14” square
Because of the iridescent shine of bird feathers having a similar look to beads, I decided to do a series of realistic bead embroidery portraits of birds. When visiting Italy in 2006, I saw many mosaic masterpieces that managed to create realistic shading using discrete pieces of glass. This technique easily correlates to the use of beads (just on a much smaller scale). All of the pictured pieces are in private collections.
Red Wing Blackbird (2005)
Painted Bunting (2005)
Red-Throated Bee-Eater (2006)
Masked Weaver (2006)
Shining Honeycreeper (2007)
Purple Grenadier (2007)
Lilac Breasted Roller (2007)
Icarus
2006 | beads, velvet, metal, wood, paint | 18” x 18”
The artist, sculptor, architect and engineer Daedalus and his son, Icarus, had been prisoners of King Minos of Crete. To escape, they had to get over the sea to mainland Greece. Daedalus fashioned wings of feathers and wax for the two of them to wear so they could fly across the expanse. He told Icarus to fly neither too high, nor too low, for the Sun would melt the wax or the humidity of the ocean would weigh down the feathers. Icarus delighted too much in the flight, and flew too near the Sun, melting his wings and causing him to fall to his death in the sea (which is now called the Icarion Sea). This story is the basis of the phrase, “take the middle path.”
Private collection
Thinking of Frida
2006 | beads, fabric, metal, wood, clay, paint | 30” x 36”
Frida Kahlo is a big influence on my artwork. Here I’m thinking of Frida using a design of her invention—the “window” in my forehead. I’ve also employed lace used in some of her self-portraiture and other symbols for her. The “sugar skulls” suspended from the cross beams memorialize Frida, Diego Rivera, and some of my relatives who have died. The cross shape is my homage to roadside memorials and the Catholicism of the Mexico, which are also art influences.
The Phoenix
2005 | beads, sequins, velvet, wood, cord, feathers | 22” x 19”
The phoenix is a mythical bird born again from the fiery ashes of the phoenix who lived before it. This type of bird has been described in many different mythologies, including Greece, the Middle East and Asia. In Christian mythology, the phoenix was created when fire from the flaming sword of the Cherubim dropped on a bird's nest in the Garden of Eden. It is a symbol of renewal and rebirth and as such is sometimes associated with Christianity and Jesus.
Yggdrasil, the World Tree
2004 | Beads, sequins, velvet, felt, wood, cord | 16” x 24”
In Norse mythology, Yggdrasil held up the universe. It grew out of the body of the frost giant, Ymir. Its branches hold up the heavens, while its roots extend to the three main parts of the world: Jotunheim, the land of the frost giants; Asgard, the home of the gods; and Niflheim, the underworld. Three wells nourish the roots of the tree. The well in Asgard is guarded by the Norns (the fates). The second well is guarded by Mimir. The third root of the tree is constantly gnawed by Nidhogg, a giant serpent, who will eventually chew all the way through at Ragnarok, the twilight of the gods.
Christ as the Gryphon
2003 | beads, velvet, metal, wood, paint | 32” x 20”
The gryphon represents the duality of Christ through its own duality. Christ is both God and man; the Gryphon both eagle and lion, holding dominion of both the sky and the ground. The eagle represents the spiritual, heavenly aspects of Christ, while the lion shows His kingly strength and divinity. The gryphon was often used in gargoyles to represent Christ. In this piece, He treads on the basilisk, a symbol of Satan.
The Planets 1999-2000 | beads, leather, fabric, wood, metal, cord | 18” x 10”
This series depicts each of the planets as they appear through a telescope next to the Roman deity each is named for. These are some of the earliest beadwork pieces I created.
Most in private collections.
