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Christina Helferich-Polosky 

-List of Works-

Harvest of the Arts Festival

Carlisle, PA / 24 September 2022

Had an amazing time with the help of my daughter, Hannah Polosky, in the downtown historic district of Carlisle, Pennsylvania at their Harvest of the Arts Festival on Saturday, September 24, 2022. Some may recognize Carlisle as home to the Army's War College, but it is also a lovely little arts and history town as well. Thank you SO much to everyone who has been incredibly supportive of Hannah and I these last few months (and years) as we have been finding our footing and voice here in the Pennsylvania region. We especially thank Uniting US (unitingus.org) for always having our back and showing our pieces in Washington, DC and beyond; our newest friend Natalie Dohman and nDesign Art Haus, LLC for all the amazing art classes (and fellowship) because continuing education is a must for any artist- and your weekly classes are just what we need to refresh our mind, body and spirit! Leslie Rhoades and Boutique On Pomfret for your endless support and appreciation from the VERY beginning-your continued friendship, support and amazing boutique is an inspiration for us and our artistic practices.We were able to get our message out yesterday and pass out every single piece of literature we had about the website and beyond and we even sold a few prints and such as well! I really believe these proceeds will put a sizable dent in the cost of shipping for our WNW artists who need assistance on shipping their pieces out to our upcoming show opening October 13th at the Fine Line Creative Arts Center in St Charles, Illinois! More to follow:)

This summer, FOUR GENERATIONS of my family were invited to join UnitingUS.org and the Library of Congress in Washington, DC for the From Conflict to Creativity Veterans Art Showcase and Festival, where we participated in the Live Public Mural painting of "Celebrating our Nation" (pictured here) at the MLK Jr Library June 25-27 and then I engaged as one of 35 demonstrating veteran artists at the Library of Congress, June 28-30, 2022!

Pictures of my family: daughter Hannah Liberty Polosky, son Anthony Lenio, father Rich Helferich, US Army Nurse mom from 1969-1971 Diane Helferich, and my 96 year old Grandmother, from the WW2 Cadet Nurse Corps, during our trip to Washington, DC for our UnitingUS.org MLK Jr Library Live Public Mural painting of "Celebrating our Nation" and then of my time as one of the 35 demonstrating veteran artists and I also had several original collages and prints on display in the actual halls of the Library of Congress as part of the “From Conflict to Creativity: Veteran Art Showcase” Festival.  It was as humbling as it was epic. Thank you so much AnnMarie Halterman and Tiffany Wheeler of UnitingUs.org once again for all your (literal) tireless efforts you both put forth on our behalf to make this all happen! Who else would think to bring four generations of one family together to do all this? It is so remarkable the logistics that went in to all this, and we are all so thankful to you both. This truly was a once in a lifetime experience as an artist as it was as a family! Thank you isn't enough.

Collaboration with 

Boutique on Pomfret!

101 North Hanover Street

Carlisle, Pennsylvania

WoundedNotWorthless.com is extremely excited to announce an exciting new collaboration with the gorgeous Boutique On Pomfret located at 101 North Hanover Street in the beautiful historic district of downtown Carlisle, Pennsylvania. On consignment will be our Endowed by Her Creator pins and Rosie "Why we wear combat boots" T-shirts; as well as a completely brand new, limited edition run of luster paper prints available ONLY in the following sizes: 

10- 12"x12" of Endowed by Her Creator; 10 - 8"x10" of A National Treasure; 10 - 5"x7" of A National Treasure; 10 - 8"x10" of Warrior Rosie; and 5 - 5"x7" of Warrior Rosie. 

Each of these prints are dated, numbered, and signed by me, the artist, and clearly signify that they are Boutique on Pomfret Limited Edition Prints--a one of a kind collaboration to show WoundedNotWorthless.com's gratitude for their support of the local arts! Once they are sold out--there are no more to be had on this type of paper in these particular sizes. There are several prints that are already matted and framed, some that are just casually framed, and the rest in clear plastic sleeves with a cardboard backing. The only way to purchase your copy is to come down to the shop, in person, to get your limited edition print before they sell out. 

Once again, we would like to thank the Boutique on Pomfret for its incredible support of local female veterans artists with this amazing collaboration! As we say in the Army--HOOAH!

UnitingUs.org and the Metropolitan Washington Airports Authority 

Celebrating Service through the Arts 

2022 Women's History Month 

Honoring Women Military Contributions 

Female Veteran Art Exhibition

at Dulles International Airport Concourse C and Terminal A

March 2022 through the end of 2022!


Archival quality prints are available for purchase NOW of my piece "Endowed by Her Creator" on the UnitingUS.org website and 100% of all sales go to this AMAZING veterans art cooperative that has done so much for me and my art over the past two years!!

 

Uniting US, is a nonprofit with the mission to inspire, empower, and unite military, veterans, their families and the communities in which they live through the arts.


Founded by AnnMarie Halterman and Tiffany Wheeler, two amazing women who have an appreciation for art's healing power, together, they designed a framework to inspire people and make arts accessible, empower creativity and engagement, and unite people for meaningful discussions. Click on the image above to travel to their website to buy your print today!

“The Tradition Begins”

9”x12” Mixed Media Collage

February 2022

Prints for sale that benefit the 501(c) UnitingUs.org, just click on image below:

My Grandmother was recruited out of her rural Ohio high school class in 1944 into the United States Cadet Nurse Corps, because at that time (World War II Era) most of the professional nurses had all been recruited themselves into the various Armed Services—So the way America provided nursing care to the home front was primarily through student nurses they got from the Cadet Nurse Corps. My Grandmother served from 1944 through the end of the war, graduating in 1947 (thus taking care of the many wounded Soldiers and Sailors returning home after the war’s conclusion while she was still in school). This inspired her own 30+ year career in the VA Hospital system when she became a nurse through the Corps, ultimately gaining her BSN later while working in that system, where she retired from in 1986. This collage is created from the pages of a 2017 coffee table book entitled, Women At War in World War II, specifically, Chapter 4, “The Role of Nursing Staff” pages 90-106 and a copy of my Grandmother’s own picture she has from that time of her in her cadet nurse uniform. Grandmother’s service inspired all her children to serve, and my mom, as the oldest of her six children, was no different when another war era began, this time in a country called Vietnam, and nurses were once again needed for our Soldiers abroad and in the home front.

“Our Tradition Continues”

36” x 48" Mixed Media Collage

February 2022

Not for Sale

My mother served in the Army Nurse Corps from 1969-1971—a time when people weren’t volunteering; specifically, men were being drafted. But like her mother before her, my mother lifted her right arm and volunteered during a wartime era and became a nurse by way of the United States Army. As this collage depicts, she also met my father, who was an engineering student at The Ohio State University in Columbus, Ohio—where my mom was going to her nursing school, the same nursing school that my Grandmother had gone to while she was in the Cadet Nurse Corps—also in the city of Columbus, called the Mount Carmel School of Nursing. The Army paid for my mom’s last couple years of nursing school in return for my mom’s service in the Army Nurse Corps—where she served at Fort Campbell, Kentucky and Fort Meade, Maryland. At a time when Soldiers were getting ready to go to and returning from Vietnam. This collage was created from the pages of two books—my dad’s side from the pages of a 2020 paperback entitled Ohio State University: Student Life in the 1960s and my mom’s side, a 2017 Smithsonian coffee table book, The Vietnam War: the Definitive Illustrated History. It is the juxtaposition of these two sides, these two worlds, that my mom was juggling while she was dating and then after she was married to my father that I find most compelling. It was a different time for women in the military—so much so that many women who served not only didn’t feel like veterans when they were discharged, they were actually told they were not. I’m extremely proud of my Mother and my Grandmother’s service—they are who inspired me to become a third generation female service member in my family when I got my commission in the United States Army in 1998.

"Still Our Fight"

11" x 14" Collage on Canvas

January 2022

Contact artist at [email protected] if interested in purchasing original or prints

"Engraved Disruption"

9" x 12" Burned Wood Canvas

February 2022

Contact artist at [email protected] if interested in purchasing original or prints

In response to Lois Saperstein's https://theartshouse.net/ January 2022 #ourbodiesourrightsourvoices Open Call, I submitted the above two pieces with the following written piece for her blog: https://theartshouse.net/blog/our-bodies-our-rights-our-voices 


"A pregnancy to a woman is perhaps one of the most determinative aspects of her life. It disrupts her body. It disrupts her education. It disrupts her employment. And it often disrupts her entire family life. And we feel that, because of the impact on the woman, this certainly in as far as there are any rights which are fundamental is a matter which is of such fundamental and basic concern to the woman involved that she should be allowed to make the choice as to whether to continue or terminate her pregnancy." 


The words of Sara Weddington, attorney for the plaintiff, Roe v. Wade, 1972.

I burned these words spoken to an all male Supreme Court in 1972 by the indomitable Ms. Weddington into a wood panel canvas recently--in preparation to explain to my 15 year daughter the idea of fundamental and equal rights--because it's time to have 'that talk' with her. And I personally needed the hours it took me to burn these words into this panel to come to grips with the idea that we live in a nation where before Roe v Wade became law in 1973, that it was fundamentally believed that women did not have the power over their own bodies that men did. That women could be forced, against their will, to disrupt all aspects of their life (body, education, employment, family) that would never be forced upon a man in this society, if men had been endowed with the XX gene. Fundamentally, we are all supposed to be created equal, endowed by the same creator--with certain unalienable rights; and while these rights were not specifically written into the Constitution (Yes, they were supposed to be inspired from the Declaration of Independence and then put immediately into the Bill of Rights and in some form inspired into many of our amendments afterwards) these are the ideas we all learn that our nation are founded upon right? It's certainly what the best of us marched about in the history books and what we want to pass on to our daughters and sons of tomorrow, correct? So why does it all seem to be slipping away today? Are our daughter's bodies today becoming less than to our son's? I am surely not raising my one daughter any differently than my four sons today to think any differently for themselves and I trust them each to make choices for their own bodies--but my son does not have the right to decide what is best for my daughter simply because he was born with a penis. This does not distinguish him differently under the Constitution, or does it? It did before 1973. Think about that. It goes beyond the idea of pregnancy here--we are talking about fundamental rights and who is entitled to them based on your sex. When we are talking about choice, we are talking about fundamental rights and if you take away our choice, you take away our rights to our bodies and our voices will follow. Is that what you want for your daughter? 

Not me. #ourbodiesourrightsourvoices

pain in my broken

body won’t ever match the

pain from my regret


September 2021

12"x12"x2"

Mixed Media Collage on Stretched Canvas in Floating Frame


By: Christina Helferich-Polosky

US Army Veteran (1998 -2009)

OIF – 2003 / OEF – 2008

$5000


I was initially inspired to create this piece for UnitingUS.org after I was given the poem In Arlington, written by Bob Martin, President of The American Rose Society from 2018-2021, For the Centennial of the Unknown Soldier 2021:


In Arlington white roses grow

And headstones mark them, row on row,

The honored dead; and in the sky

The Mourning Doves, in silence fly

To grieve the known who lie below.

We are the Dead, the ones you know

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie,

In Arlington.

While in the Tomb in marble glow:

Rests the Unknown, French soil below

In Honored Glory there he lie.

To not break faith with those that die

Our roses bloom as falling snow

In Arlington.


I meditated upon this piece for a while; because it touched a part of me that was beginning to awaken lately, especially with all the current events happening in Afghanistan—and I know veterans like me, who served during this time, all grieve a little differently—for things we lost—be it friends or family or our health or livelihoods. Our service may look different—be it WWI when the Unknown Soldier was entombed, to the wars of the Cold War Era that ran very hot many times, or the 43 days of Desert Storm whose airborne toxins still rage in the bodies of hundreds of thousands of our comrades—to today’s veterans, who, like me, have multiple combat deployments under their belt for a War on Terror that we may never quite come to terms with or understand. So, we paint, or sculpt, or draw or collage. Here, I’ve taken pieces of my actual uniform I wore during my 2008 deployment to Afghanistan with CJTF-101, as well as pieces of a unit T-shirt I wore there as well. My deployment was cut short because I got sick—really sick, exposed to an “unknown contaminant” that is still affecting my immune system to this day. I was medically retired a year later with permanent injuries and illnesses later attributed to burn pits I was exposed to during both my combat deployments. And I got mad—really mad. At the world, at my situation, and at my family at times for, what I thought, was not understanding what I was going through. And I regret that. I regret a lot. I regret my anger. I regret getting sick and cutting my career as a successful army officer short. I regret not seeing that I had a caregiver who did not really care for me. So, this piece of art—collaged together with the beautiful In Arlington poem, continues to speak to veterans of all generations—I just added my voice and my story to the pile. We are all worth hearing if you take the time. And we all end up blooming “as falling snow” somewhere, if not Arlington, then somewhere, hopefully not forgotten, and with honors. Because our stories are worth hearing, if you take the time. 

broken I stand now

like the poppy honored here

another war done?


October 2021

12"x12"2"

Mixed Media Collage on Stretched Canvas in Floating Frame


By: Christina Helferich-Polosky

US Army Veteran (1998 -2009)

OIF – 2003 / OEF – 2008

$5000


This is the second flower and spoken word piece I’ve created for UnitingUS.org in response to poems written about past wars—specifically, In Flanders Fields, written by Major John McCrae, MD a Canadian Army surgeon attached to the 1st Field Artillery Brigade, in response, some say, to the death of his friend on May 2, 1915. 

 Others say it is simply one of the most iconic poems to come out of the First World War and was penned as a memorial to all who died in the war. 

It goes:


In Flanders fields the poppies grow

Between the crosses, row on row,

That mark our place; and in the sky

The larks still bravely singing, fly

Scarce heard, amid the guns below.

We are the dead. Short days ago

We lived, felt dawn, saw sunsets glow;

Loved and were loved, and now we lie

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch, be yours to hold it high!

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.


I was definitely inspired to combine the words of this poem with my own military experiences in this current collage—quite literally. 

 Maybe it’s the fact that I feel a connection recently to a war where people are forgetting about its people and its history because of all the time that has passed—like I feel my own voice and story and the voices and stories of other female Soldiers who served with me and deployed with me in 2003 (OIF) and 2008 (OEF) are now being counted by ‘decades ago’ instead of by just ‘years ago’ now. 

 I’m not sure—so I wanted to not only create something beautiful, but to also place myself into the piece itself by placing pieces of my own uniform that I deployed in, into this collage, so at least some part of me will last and be connected with the fields of poppies and the glow of sunsets past. 

I also collaged delicate fabric, typically reserved for a lingerie wardrobe, to signify my cis feminine side—to contrast the war torn environment in which I was serving—with how I am still trying to reconcile my own identity and how it fit with and into the uniform in which I served. It not only lends a beauty to the poppy petals, but it also adds a delicateness that I think all female Soldiers can relate to having to learn to bury and/or cover up about themselves when they don the very uniform they ultimately become so connected to. 

Because all veterans of all wars are connected—connected in service and connected by our voices that we must refuse to be silenced—so speak up and tell your story so we aren’t forgotten in the fields where the poppies grow. 

Pain in my broken, body won’t ever match the, pain from my regret


and


Broken I stand now, like the poppy honored here, another war done?

"Spectrum of the Arts" a Veterans Day Program with art exhibition and events hosted by the Honfleur Gallery in Washington, DC—November 11, 2021


September 2021 Collage Triptych

Each 5" x 7" Mixed Media Collage was created on 140lb Cold Pressed Archival Quality Acid Free Water Color Paper

Buried At The Intersection

April 2021

11" x 14" (19" x 22" framed)

Mixed Media Collage on 140lb cold pressed archival quality paper, professionally matted and framed

$4800

*Displayed at the Women's Military Memorial at Arlington National Cemetery Spring 2021 until Spring 2022 courtesy of UnitingUS.org*


*Displayed in the virtual gallery of AVAFEST2021 

October 16 - November 13, 2021*

 

Actual words collaged from the 2020 Report of the Fort Hood Independent Review Committee intersected with a 2021 article from Task and Purpose entitled “The Truth About False Sexual Assault Reports in the Military” and how interviews with hundreds of Soldiers at Fort Hood focus groups divided up both by rank and gender, proved what we as female Soldiers of different generations than those serving now can absolutely attest to happened daily during our time as well--nothing has seemed to have changed as to the toxic sexual assault/harassment environment in the military in general: Fort Hood is broken, yes, but that could have been any duty station on any given day in America and it’s the female Soldiers who are buried at this intersection.  We're just doing our jobs, everyday, fighting for the chance simply to be seen as equal Soldiers, Sailors, Marines, and Airmen who have to relentlessly, tirelessly “learn to take a joke” and “ease up” and “not take everything so seriously.” It is the female Soldier buried by this report’s very words in this piece, over and over again, who has been let down by her very comrades in arms, over and over again, when she was told her assault she reported would be kept confidential (and it wasn’t), and by her superiors, who punished the reporter over the violator (reported here over and over again). Probably the most telling words of the report for me, that I used over and over,  and buried in this image, was this direct quote that happened during every mixed session of Soldiers being interviewed: “when female soldiers spoke up about their concerns, they were frequently shut down and essentially drowned out by the male soldiers.” Every single word used to bury this Soldier's image here, represents all those serving now and all those who have served before her, are either direct quotes from the Fort Hood report or the article from Task and Purpose that highlights the mythos surrounding false reports of sexual assault in the military. This article speaks to how it doesn’t happen (less than 1% of the time statistically speaking) yet it consistently gets brought up by our leadership, peers, and subordinates, especially during SHARP training. The mythos I'm referring to, of course, is 'the horrible situation' of all 'the innocent men' being falsely accused across the military. You know, everyone's "poor buddy” that was falsely accused of sexual assault or harassment that had his life/career ruined by that chick (who we all know was probably asking for it/just woke up the next day regretting having sex with him) when all it really does is keep the true victims from reporting actual violations. It intersects in this piece because this scapegoat idea does get brought up in the Fort Hood report, a lot, in the focus groups. It also intersects in the senior NCO/Officer focus groups that got caught up in the “semantics” of trying to define what "really" was/was not “harassing/toxic” culture. As a field grade officer myself, it truly sickened me that my male peers portrayed themselves in this way here...however, it didn’t surprise me, sadly, that they would get caught up in the victim blaming/shaming semantics and totally miss the point of the focus group in general and end up shifting the blame of why the culture was so bad in the environments they were responsible for in the first place, because I remember that culture. I spoke up in that culture, got shot down in that culture, and I've been retired since 2009. I remember. I'm not sure how many people actually took the time to read through the full Fort Hood report. It's truly enlightening if you want to see what our female Soldiers are still up against. It is a cross section of what any duty station on any given day is like in today's military. I assure you, our women are simply asking for a fair shake to do their jobs like any other Soldier. And yet, we were, and are still seen as "other." We still are buried deep by things outside of our control, when we just want to do our jobs. It's ok to be a female Soldier, we don't have to be "one of the boys" and yet we are often damned if we do, damned if we don't. It's a tight rope we walk on the daily, one we can't talk about, complain about or commiserate about, show weakness about, or show too much strength--whereas to then threaten 'others' about. It isn't about equity most days to be honest, it's about survival, and anyone who is saying anything other than that is lying to you or to themselves. There are many, many layers to being a woman in the military. And when you are addressing the issue of sexual violence and sexual assault and harassment, our female military members are buried at the intersection. 

Every. Single. Day. 

If you or someone you love is in crisis...please get help or support their journey. I believe you. Your voice matters. You matter.

If you click on the Framed Image, it will take you off my website and directly to rainn.org a National Sexual Assault Hotline with confidential 24/7 support providing crisis support service for sexual assault and harassment in the form of online chat, phone support, helplines for female as well as male survivors, domestic and dating violence, victims of other crimes as well as additional resources. 

If you click on the other images, they will also take you off my website and directly to the Fort Hood report, and the Task and Purpose article that I referenced for this art piece.

Buy the Original 

Buried At The Intersection 

HERE

BURIED AT THE INTERSECTION April 2021 11" x 14" (19" x 22" framed) Mixed Media Collage on 140lb cold pressed archival quality paper, professionally matted and framed ORIGINAL; $100 add'l towards insurance, packing and shipping flat fee, anywhere in US domestic. PA 6% sales tax will be added as well. Thank you.
$4,800.00

A National Treasure

July 2020 - Mixed Media Collage

 9"x12" original collage created with vintage Tiffany & Co. catalogs on 140lb cold pressed archival quality paper, professionally matted and framed 


$5000


Contact artist directly for purchase and shipping details at [email protected] or order through website here below

On display in the gorgeous 

"Boutique 

on 

Pomfret" 

located in beautiful historic Carlisle, Pennsylvania at

101 North Hanover Street

Summer 2022

No one can argue that Rosie the Riveter is one of our most cherished and shared national symbols of patriotism during WWII, but to me, she is much more than that. She is a feminist symbol of power in a time when women were not looked at or treated as truly independent people, but as mere objects, and the laws in our country treated them as such. But when our country went to war against fascist powers across the globe, it was women like Rosie who answered the call, not only from home and in the workforce, but also in uniform as well. So, I seek to represent them all in this piece, created specifically out of all shades of precious metals, diamonds, and gems that the esteemed Tiffany & Co. jewelry department store catalogs could muster across decades of their vintage catalogs I have collected over the years. To me, creating the ultimate image of Rosie here is showing her as she has always truly been: "A National Treasure” one that stands the test of time—an immaculate testament to women across the decades representing their strength, honor, resilience, and eloquence.

“Displayed at the 18th Annual Healing Arts Exhibition at the Walter Reed National Military Medical Center Summer 2021 until Spring 2022 courtesy of UnitingUS.org”

Order the ORIGINAL 

A National Treasure 

HERE​

"A National Treasure" July 2020 - Mixed Media Collage, 9"x12" original collage created with vintage Tiffany & Co. catalogs on 140lb cold pressed archival quality paper, professionally matted and framed ORIGINAL.$100 add'l towards insurance, packing and shipping flat fee, anywhere in US domestic. PA 6% sales tax. Thank you.
$5,000.00

It Is What It Is - Isolation, Introspection, and Divorce


Quarantine Art May 2020, then fully realized and updated July 25, 2020

Original 9”x12” mixed media collage on bristol board, professionally matted and framed

$6000


Contact artist directly through [email protected] for purchase and shipping details or order through website here below


(Limited Edition prints for sale on this site)

2020-2021 were both physically and mentally challenging years that had me questioning everything about who I am and what I wanted out of life. 2020 began with me questioning my VA healthcare and medications and then ended with exposing revelations about my caregiver and marriage. So, throughout quarantine and beyond, those years were a time of extremely tough realizations, turmoil and upheaval, but also a time of personal revaluation, healing, and growth. I found out, the hard way, that I am perfect the way I am and who I am, through the love and support of my immediate and extended family and friends who stood by me during the awful times and showed me that selfless love does truly exist and that I am worthy of it. 


Created from the pages of the vintage coffee table book, “The World of Beretta - An International Legend” by R. L. Wilson, Random House New York, 2000, this intimate self portrait belies how I survived quarantine and the initial months of my separation leading up to my divorce in early days of 2021- through art - slowly, purposefully, filled with military bearing (hence the reference to my firearms training) and, yes, one day at a time. Post Traumatic Growth exists and I am an example of it. 

Prints of “It is What It Is” May 2020 Version

This is a Limited Edition run of only 10 prints from the May 2020 version of my "It is What It Is" self portrait. These are the only prints of its kind in existence.  What is pictured here is the actual pic of the original 9x12 collage from that time period. Differences are slight but unmistakable in the eye, hand and throat areas from the final, July 2020 version. 

May 2020 Version of "It is What It Is" Self Portrait 8x10 Limited Edition prints on archival paper signed and numbered by the artist. Will ship flat in protected envelop. Asking $15 flat rate help towards shipping costs.
$50.00

On display in the gorgeous 

"Boutique

on

Pomfret"

located in beautiful historic Carlisle, Pennsylvania at

101 North Hanover Street 

 - Summer 2022 -


Experimenting with the contemporary idea of collage making by literally stretching the boundaries of how far and how large you could construct a piece and still keep it intimate in idea and structure—I used my computer to digitally manipulate my earlier piece, “A National Treasure,” by enlarging and inverting her. I then collaged a new original piece (the tattoo) directly onto the enlarged image and placed her onto another collaged background of original WWII Stars and Stripes newspaper front pages and articles; thus, producing an active image of Rosie revealing her newly acquired 101st Airborne Division 'combat patch' tattoo (the above referenced original collage taken from additional vintage Tiffany & Co. catalog pieces). These small parts lovingly pieced together form a larger whole: all to pay homage to these great female fighters of the past, all the way back to WWII, where so many 'Rosies' paved the way for their women and men to serve, to my service in the same Division in Afghanistan in 2008, where I bear the same combat patch tattoo as Rosie here. I value their and her service just as much, if not more, than all the jewels and precious metals her image is created from here. Whether you served on the front lines or supported our troops from wherever you could, your service and sacrifice is deserving of an image just as large and just as precious as this one.

Warrior Rosie:
Our National Treasure


July 2020


48” x 36”


Mixed Media Collage on Stretched Canvas


$6500


Contact artist directly for purchase and shipping details at [email protected] or through website below

**Warrior Rosie was displayed at a biennial Veteran's art exhibition from November 6 to November 28, 2021 at The Delaplaine Arts Center in Frederick, Maryland showcasing artwork made by former service members of the United States military invited alongside my other piece Presents of Bronze**


**The Original was displayed at the Takoma Park Community Center in Takoma Park, Maryland from Spring 2021 until Spring 2022 courtesy of UnitingUS.org**


“A Limited Edition Print was displayed at the 18th Annual Healing Arts Exhibition at the Walter Reed National Military Medical Center from the summer of 2021 until the spring of 2022 courtesy of UnitingUS.org (pictured top right)"


**Endowed by Her Creator  IS NOW available in puzzle form starting November 11, 2021 through jiggypuzzles.com until further notice!!**


Made from vintage US Army logistician and transportation magazines from the late 1990s and 2000s, this Rosie the Riveter inspired collage is shattering her way through her chosen field of combat service support honoring her sisters that went before her and inspiring the ones still in the fight as well as those yet to come. This collage also specifically represents my own service in combat service support as a proud 88A / US Army Transportation Officer from 1998 to 2009 (with a smattering of FA30 - Info Ops thrown in there at the end for good measure:) My service as a combat service supporter, and a female Soldier, has shown me that everyone has a story and everyone has a voice. It is time to make ours heard. And guess what? While all our stories are inspiring, not every story is nice or warm or touchy feely-but they all deserve to be heard. So, as we stand on the shoulders of those who came before us, proudly tell your story, not only because it makes it easier for those women who come after us; but also because your voice is worth hearing, and your service is worth honoring! 

Combat Service Support has been the bastion for how women have been able to climb through the ranks and make a difference when the other services and military occupation specialties were closed to us. 

So be proud of your service, like Rosie is depicted here: 

Endowed by Her Creator-strong-proud-patriotic-and above it all: A Transporter!

"Endowed by Her Creator"

2019


12" x 12"


Original Collage on Stretched Canvas in a Floating Frame


original NFS

valued at $8500


Contact artist directly through [email protected] for purchase and shipping details

This is why we wear combat boots ladies - to march on all that glass we keep shattering!


May 7, 2022 Endowed by Her Creator  on display at the Boutique on Pomfret in Carlisle, PA for Keep it Small Saturday, pictured here with shop owner Leslie Rhoades and WoundedNotWorthless.com founder Christina Helferich-Polosky

Limited Edition Prints of 

"Endowed by Her Creator"

Only 50 available! Printed on archival paper, signed and numbered by the artist.  Shipped flat (not rolled) with cardboard backing and double wrapped (plastic sleeve and padded envelope) for $10 flat fee anywhere in US and APO. No International shipping at this time. Please allow for extended shipping/delivery times during the COVID-19/USPS delayed deliveries situation. 

"Endowed by Her Creator" Limited Edition Print Approx. 10 3/4" x 11" from our first run, archival paper, each signed and numbered by the artist; $10 packed and shipped flat fee. 6% PA tax. Thank you.
$30.00

Find out how to buy my "Endowed By Her Creator" Puzzle now!!

My piece "Endowed By Her Creator" was chosen by Operation Arts/Fest, Women Who Serve: an initiative of the ARTSHOUSE and its’ program Creative Voices: Women Empowered to celebrate and highlight the essential role that creativity and the arts in all its forms plays in the process of healing, self-expression, telling of their stories, and the resilience of female veterans--and JiggyPuzzles.com to be turned into a puzzle!! You can click the button below and it will take you directly to the website below where you can order my Rosie puzzle and find out more about ARTSHOUSE, the other phenomenal female veterans and their puzzles, as well as the other fantastic non profits that Jiggy Puzzles routinely teams up with on their amazing website!

 Size: 500 piece puzzle

Puzzle dimensions: 20 x 16 inches

Box dimensions: 9 x 6 x 3 inches

Each JIGGY x Arthouse puzzle comes in a reusable drawstring bag, box and includes puzzle glue to preserve your masterpiece!

Click to BUY Rosie Puzzle HERE!!

**The original was displayed at the Women's Military Memorial at Arlington National Cemetery from the spring of 2021 until early fall 2021 courtesy of UnitingUS.org**



**A Limited Edition Print was on display at the Hill Center Gallery at the Old Naval Hospital in Washington, DC  during the summer of 2021 until early 2022 courtesy of UnitingUS.org**



**A Limited Edition Print was on display at the Takoma Park Community Center in Takoma Park, Maryland during the spring of 2021 until early 2022 courtesy of UnitingUS.org**


This piece was created out of a solitary wooden panel, then burned and stained, so as to ultimately contain the last names and dates of death for each of the 149 female Soldiers killed in action as part of the US War on Terror which includes OIF, OEF, and most recently Syria, that America has fought 2002-2019. I didn’t make this to say their deaths are or are not any more or less important than their male counterparts; however, Her Voices does want to confront and recognize that over 98% of the names burned into this patriotic surface are Soldiers killed in combat before our country "officially allowed" women to serve on the "front lines” in 2016. To be fair, we know women have been in, around, and fought on the front lines since war began, we just haven't allowed history to recognize this fact. Her Voices cries out into this void.

"Her Voices"

 

2019


18" x 24"


Burned and Stained Wood Panel



$8000







Contact artist directly through [email protected] for purchase and shipping details or order through the site below

"Spectrum of the Arts" a Veterans Day Program with art exhibition and events hosted by the Honfleur Gallery in Washington, DC—November 11, 2021

FRESH WORK an Exhibition by ARTUP Memphis, TN

Presented by Students from Austin Peay State University 

August 26, 2019 

6-8:30PM

I presented two pieces at the ARTUP Gallery in Memphis, TN as part of the city's RiverArtsFest, a street celebration of fine arts and fine local music with live artist demonstrations and hands-on art activities. The two pieces I showed were:

"Salvageable - Beautiful Disappointments"

and

"Her Voices"

pictured above. Our Professor, Desmond Lewis, a local Memphis artist himself, arranged the exhibition with this local gallery for the students.

**The original of Presents of Bronze was displayed at the biennial Veteran's art exhibition from November 6 to November 28, 2021 at The Delaplaine Arts Center in Frederick, Maryland showcasing artwork made by former service members of the United States military invited alongside my other piece Warrior Rosie**


The canvas base of this piece is a blown up version of my actual Bronze Star certificate where I drew with black permanent marker a self portrait from my time in Iraq during my 2003 deployment. I took red embroidery floss and punctured and dissected this portrait and award, where I created a "found" poem from the words of the award itself. Like most vets/wounded warriors, it is hard to accept an award when you have members of your unit not recognized or come back injured or not at all. I find female vets especially downplay any form of achievement. The poem reads: 

These presents of bronze; 

Displayed and enhanced; 

Despite any accomplishment; 

Reflects upon herself; 

A force now obsolete.

Presents of Bronze


2019


16" x 20"


Collage of Embroidery Floss, Permanent Black Marker, Black Ink on Stretched Canvas


not for sale


"Spring Sprang and then Sprung: My little literal GEM of a take on gardening this year..."

(AKA: Garden of Vintage Delights)

April 2021

5"x7" Mixed Media Collage created from vintage Tiffany & Co. catalogs on 140lb cold pressed archival paper, brushed with clear acrylic medium, matted and placed in 8" x 10" frame

gifted to dear friend

**Was displayed at the Art with Heart & Hope Fundraising Gala October 28, 2021--An Evening to Celebrate the Healing Power of Art for the Patients and Caregivers of Beyondmybattle.org**

 My entry for Recycle2art.com’s Spring 2021 recycle art competition...puns were ENCOURAGED and I LOVE a good pun so I came up with this Tiffany & Co. inspired collage created entirely from the pages of the following specific vintage Tiffany & Co. catalog editions dated: 1976-77, 1984-85, 1986 Fall Selections, 1990 Holiday Selections, 1990 Winter Selections, 1990 Fall Selections, 1990 Spring Selections, 1991 Holiday Selections, 1991 Fall Selections, and 1991 Summer Selections. The parameters of the competition required at least 60% must be recycled/upcycled content. For this piece, the only technically ‘non-recycled’ parts of this piece are: the 5”x7” sheet of 140lb cold pressed water color paper I used as the base of my collage (however, I did already have this paper on hand as part of an old pad) and an 8”x10” frame I got last year in a clearance bin for under $5.

I won 2nd place!


Storm on the Mountain

May 2019

16” x 13” framed

Mixed Media Collage on 140lb Cold Pressed Archival Paper

$800

Inspired and taken from the pages of the collage magazine Cut Me Up, this particular piece was central to my becoming a collage artist. In fact, it was after creating this particular artwork from this issue that I submitted for publication (that was rejected I might add—which is all a part of the process of learning and becoming) that truly cemented in my mind that yes, I felt that collage was my calling—the way I could fully articulate myself and my passion as well as my pain through art. I have weathered many a storm on many a mountain top in my life—and they have all, thus far—found a way to see its way through to the other side—a wondrous, beautiful side that was so worth the journey and the pain to get there.   

CUSTOM 8"x10" COLLAGE

created from vintage 

Tiffany & Co catalogs

Interested in commissioning your very own collage made from vintage Tiffany & Co catalogs? Now  you can! Price includes vintage materials created into one original collage on a 8"x10" 140lb cold pressed piece of archival paper. Price includes FREE flat rate shipping for all continental US locations. International shipping available, but cost is paid by buyer on a case by case basis. At least thirty day turn around, will correspond with buyer if longer. Once you have paid, you can choose the subject of the collage from a person, place, or thing! Right now animals are what people are commissioning the most, as you can see from the sampling of my latest commissions to the left. You can send a picture of what you want 'represented' in the collage, or give me a general guideline, like: cat, dog, turtle, or giraffe:)  Other sizes, as well as other collage mediums available upon request and through separate price negotiation with the artist directly at [email protected] (see some examples on photo canvases pictured left, but let's talk your ideas!).

Custom 8"x10" Collage created from vintage Tiffany & Co catalogs. Contact artist at [email protected] with your piece choice after purchase.
$400.00

Milestones

11" x 14"

Mixed Media Collage on Photo Canvas

April 2021

not for sale - gifted

This piece is created from vintage Tiffany & Co. catalog pieces collaged onto a photo canvas taken from an enlarged snapshot garnered from one of my sister-in-law's Facebook milestone events from when my nephew graduated college. I wanted to commemorate this time in both their lives as a Christmas gift to them this year, as they are both a fan of art and creative expressionism in their lives. Congratulations!

For Christmas 2020, I took the Facebook/Instagram profile picture of my youngest son and his girlfriend and had it blown up onto a 16 x 20 picture canvas. Their favorite TV Show/graphic novel is Avatar: The Last Airbender, so I ordered several Avatar graphic novels and used them to create this mixed media collage. To get the final "painterly" effect, I added a top layer of clear gloss acrylic medium with a large headed brush so you can see thick paint brush strokes across the entire canvas, which also seals the collaged images in as well. This was my son's favorite gift under the tree this year.

Avatar Kisses​


16" x 20"


Mixed Media Collage on Photo Canvas


December 2020

Not for sale - gifted

A Priceless Memory for Jill

11" x 14"

Mixed Media Collage on Photo Canvas

March 2021

not for sale - gifted


Created from vintage Tiffany & Co. catalogs onto a canvas where I enlarged a snapshot I took from a family trip where my sister-in-law and I saw the original truck from the movie Bridges of Madison County parked outside the restaurant our family was eating at in Carmel, California one night. I took this pic with my phone and promised her I'd make something for her someday to remember it because she said it was one of her favorite movies.  It's a cherished memory from a happier time with my still and always beloved family. Combining my trademark Tiffany jeweled collagework with this wonderful memory will be a marvelous gift for her this year. 

Anthony & Alvin the Great

June 2020

5"x7" Mixed Media Collage created from vintage Tiffany & Co. catalogs on 140lb cold pressed archival paper and brushed with clear acrylic medium

Not for Sale - gifted 

To celebrate my son's 19th birthday this year, I created an original piece for him based on a snapshot of him and his cat, Alvin the Great from vintage Tiffany & Co. catalogs to express how precious (and precocious I might add) they both are to me. The technique of brushing a thick layer of clear acrylic medium directly on top of the collage gives the piece a painterly look that I adore and looks wonderful under the glass of a floating framed piece as well. Happy birthday Anthony and may God grant you many many years!

"Tiffany's Sea Turtle Series 1 and 2 of 3"

Early Spring 2020

5" x 7" in matted 8" x 10" frame

Original Collage set from vintage Tiffany's & Co Catalogs

not for sale, created for classmates of my former husband at the Army War College, Spring 2020 and given as gifts

As a white mother of a bi-racial child, these are perilous times. I worry about Jacob in different ways than I worry about my other children, who happen to be white and not of color, especially when it comes to the police. That is a simple a fact in the year 2020 as it was for the decades beforehand. This statement collage, built from the often problematic US Constitution, vintage Civil War maps (a shared interest of ours), and other multi-colored and vintage papers symbolic of his 23andMe DNA profile (that we underwent together), speaks to a child once considered illegal and immoral (in the state of Alabama where we lived and he went to college for his Political Science degree in Tuscaloosa) as what he truly is, not only in my eyes, but by society in general: 

simple perfection,

Perfection


2019


16" x 20"


Collage of Vintage Papers, Spackling, Embroidery Floss, and Acrylic Medium on Framed Stretched Canvas


This piece not for sale


"Where Knowledge Lives"

2019

10" x 12"

Cast Resin and Stainless Steel Powder on Handmade Pine Stand

This piece not for sale - gifted

Some say knowledge lies solely in the brain. Some say it resides in family tradition and experience. Others call it wisdom of the ages. I say that knowledge lives in the heart—a compilation of tradition, wisdom, and experience. This piece represents how it feels to be connected to my father’s knowledge as he continues to teach me how to make molds, cast interesting mixtures, and the act of creation itself. This collaboration piece resulted from my father, who at a moments notice, drove over 6 hours (each way) to come show his daughter how to create something from just an idea and a prayer. He is a retired ceramics/materials engineer, artist, expert mold maker, and caster; and he drove down one Saturday afternoon to help me realize a vision of casting ‘metal’ without a heat source. He left the next morning, mission accomplished, and probably thinking it was just another day in the shop. But he couldn’t be more wrong. He not only shared his knowledge, but he also instilled in his daughter a never before realized camaraderie in art as well as the paradigm of what it means to be a parent. This piece represents where knowledge lives—not just in the resin mixed with stainless-steel powder that resembles a deceptively light piece of cast metal—but in our shared love of creating, investigating, and devotion.

"A Heartfelt Tribute"

2019

3’ x 2’ x 3’

Forged 10’ Steel Rod and Bisque Fired, Glazed, and then Raku Fired Clay

Not For Sale - broken during move

"Salvageable - Beautiful Disappointments

2019

3' x 2' x 1'

Clay, cast iron, cast aluminum, resin and assorted wood scraps 

Contact artist directly through [email protected] for purchase and shipping details. This is an extremely heavy and delicate piece that would require a great deal of communication during the shipping/handling process and would factor into the shipping price based on buyer location. This piece, especially the clay component has, as the title suggests, what some might consider 'flaws' such as cracks and chips that add to the beautiful disappointment aspect of the entire piece. 


There are a lot of ways to look at failure in practice, in art, and in life itself. There are even a myriad of ways to downplay one’s own abilities and art. That is probably why depression and dejection are so many of our ‘go-to’ moves when something doesn’t happen 100% according to plan. If anything at all, this piece, for me, was one of my largest clay and steel ones planned to date, so I really wanted it to come out as perfectly as I saw it in my mind. I created this piece as a student at APSU in the Spring of 2019 in my Clay and Steel class, but things started to go wrong right from the start, as things are apt to do when you are working with pieces of clay in excess of 50lbs and multiple metals like aluminum, iron, and steel. What I ended up realizing though is just having the knowledge to conquer fears of fire and extreme heat with safety and confidence is an encouraging SUCCESS. Then, on top of that, to also have the realization that manipulating clay, steel, and iron is something a student like myself can actually put into my individual art practice right now, will last a lifetime. SUCCESS. I’m even inspired to one day take more classes at a local community college or adult career technical learning center in welding certification or blacksmithing so I can do even more metalwork in the future once the pandemic allows classes to open up again. SUCCESS. So I guess what I’m saying is this: the next time you think or are told that you failed at something—take another look—because I bet it really is a true success. EVERYTHING can be a success—it’s just the way you need to look at it. Take this piece specifically. The clay piece started out in the kiln as one huge 50+ pound sculpture that exploded into several large amorphic blocks after it was fired and glazed. But it was still beautiful to me when it came out of the oven. Two pieces were even SALVAGEABLE. The aluminum and iron and steel pieces were all cast pieces that were considered mistakes when I made them with the other students in our class in an oven we made from scratch. But they are still beautiful because of all the hard work  and comradery that went into making that oven. The wooden parts that make up the base were all leftovers I had in my woodshop from an old project. But when I put everything together, by sinking  the metal pieces in clear resin and stacking the salvaged clay pieces onto the wooden base--it all came together into something better than anything I could have ever imagined in my mind to begin with: one big, salvageable, beautiful, and anything but--a disappointment.

"SLOSS 2019"

April 2019

12” x 10” x 12”

Scrap Iron and Cast Iron from NCCCIAP 2019

Not for sale

I attended the 2019 National Conference on Contemporary Cast Iron Art & Practices in Birmingham, AL from 4-6 April at the historically registered Sloss Furnaces site. I came down with five of my APSU classmates from our Clay & Steel course that Professor Desmond Lewis was teaching during the Spring 2019 semester. And to put it bluntly: WE FAILED. Let me explain. The furnace that was designed (primarily by our professor and Andrew, an experienced ironworker classmate) and built (primarily by the above individuals as well) from January through the end of March 2019 with help from three or four other Clay and Steel classmates—FAILED. We only got one tapped iron pour before the iron inside the furnace ‘froze’ and completely demolished the integrity of the furnace itself. FAILURE. Did I mention Professor Lewis personally financed our trip by scraping together a hodgepodge of benefactors and the use of his own funds (to include purchasing all the raw materials to make the furnace itself)? FAILURE. We were a guest furnace, and only got to pour roughly 1/3 of the molds we were assigned to pour. FAILURE. Artists who were counting on our furnace working so their art could be made from the molds they spent so much time designing and constructing—FAILURE. Out of the over 200 pounds of iron we put (or charged) into the furnace, only 50-60 of those pounds was actually poured into molds. FAILURE. It took our team over three painstakingly hot hours to light the furnace, charge the furnace with first coke (we used over 63 pounds of this extremely light material that acts like fuel for the furnace) and then iron (did I mention we charged the furnace with over 200 pounds of iron, one 25 pound bucket at a time?), only for maybe 60 pounds of molten iron to get poured by one team (we had two teams waiting to pour—trained to pour) into barely 1/3 of the molds already staged in our sector waiting to be filled. FAILURE.

Sounds pretty horrible, right? I can’t tell you how exhaustingly dejected our whole team (not to mention the artists who needed their molds poured) felt that night. Completely and utterly inconsolable. So now you have the backstory. But now I’m going to explain to you the REAL story—the story of how this whole thing truly was a SUCCESS. I said the furnace failed. True—kinda. Why do I say this? Well, besides the fact that our instructor believed in this team enough to personally fund and seek donations from all over the state of Tennessee to get this furnace made (which is empowering by itself) APSU is now one of only two universities in the state of Tennessee that has the ability to pour and cast iron inside its Art BA/BFA program. SUCCESS. I mentioned the iron froze in our furnace—but what I didn’t tell you about is how our crew of six was a well-oiled machine, extremely well trained from months of test firings and walk throughs, resulting in zero serious injuries during this pour (and a lot could have gone seriously wrong!). SUCCESS. Did you read how our class now knows how to build a furnace from scratch, use that furnace to melt actual iron, and how to construct and pour melted iron into molds? SUCCESS. What about how a group of classmates, with little or NO experience at all with casting iron or metal working in general, was able to produce a team willing to travel to Birmingham, Alabama and held their own against universities around the country that have incredible cast iron facilities, majors, and experience? SUCCESS. So the next time anyone ever tells me what failure looks like, I will be sure to tell them exactly how to turn that into success, because I had a professor that believed in me and my team and I will never, ever forget how that felt when staring failure in the face, one person believing in your team could lift you up into the realm of success.

"Self Portrait, 2018"

2018

2 x 6" x 5" x 3" brains from press mold and multiple clay 'pills'


Top Row: Unglazed fired clay and found objects


Bottom Row: Same brains that are now glazed and raku-fired clay with found objects


not for sale/lost


I was inspired to make this self portrait sculpture as a way to describe my frustration and tiring confusion with how the VA was managing my "invisible wounds" (aka psychological service-connected injuries). At the time of this piece, I was on several prescriptions and talk therapy regimens, yet still felt depressed, anxious, and increasingly self-loathing as I continued to think of myself as a burden on my family of caregivers. Especially to my primary caregiver, who would tell me that, when he was ever actually there in person to tell me anything at all.  To my real caregivers, my children and extended family, who were really there in the trenches with me on a daily basis, no, they would never say that I was or am a burden, and I know this most of the time; however, that doesn't stop me from wondering how I'm over ten years from when the Army officially medically retired me at 100% disabled, yet my struggles continue. I know being in a mentally and emotionally abusive relationship that I am just now strong enough to get out of is helping, but I still spend most days wondering what is wrong with me? And why can't or why couldn't I see this for what it was and have gotten out sooner? In hindsight, I now see that I was successfully able to infuse all these complex feelings into this incredibly emotional and intimate self portrait created here. By pressing clay into an old Halloween brain mold and hand rolling over a hundred 'pills' from clay as well. I made two halves of my brain, and left them unglazed but fired to bisque for its first installation (first row of pictures above). I ultimately chose to raku-glaze and fire the brain halves (second row of pictures above) for the end result of a strikingly beautiful representation of my innermost fears that also just happen to be my internal motivation to form a new narrative for myself; not only as just a Soldier or Wounded Warrior; but also, as an artist, mother, sister, daughter, and ultimately: A Survivor.

"Iraq Cornucopia, 2003"

2018 Ceramic Boot Series - 1

not for sale - contact artist to set up exhibition / installation information at [email protected]

These were the first two ceramic pieces I made after learning the coil and slab method of building with clay. I was inspired to make this installation based off finding a box of my old patches and 'souvenirs' from my first deployment (to Iraq both before and during Operation Iraqi Freedom) in 2003 with the 7th Transportation Group out of Fort Eustis, VA. The boot on the right, the 'cornucopia' of the piece, was made by the coil method, from the boot treads up. It is, and will remain, un-fired clay, until it disintegrates itself, like the clay pieces and dust it settles in. My memorabilia (unit patches, dog tags, Iraqi paper money, rocks from different areas I picked up during our march towards BIAP (Baghdad International Airport), as well as military awards-like my bronze star-earned during this deployment, ID cards, unit and branch insignia) are positioned inside and spilling from it, as it is splayed out on the ground, still laced up with a pair of laces I wore during the deployment.  My intention is to chronicle its breaking-down process with all its artifacts crumbling with it. The boot on the left, made via the slab method, was fired, then raku-glazed and raku-fired again...where it began to disintegrate in the kiln as it was heated to 1600 degrees Fahrenheit. These greenish burnt remnants are the pieces that made it out of the fire, rough and hardened beyond measure, yet just fragments of its former shape and self.  These boots--arranged like this at the ground level--in all of its dust and debris, represent my memories of that time and how I feel the farther and farther we, as a country, travel from 9/11/01 and the two-front war that terrorist event birthed, is drifting further and further away from the present time--off into the past of history books and museum exhibits. But the real question I ask myself is this: "Am I the artist of this piece or the exhibit itself?"

"Hampered in Protest"

2018

8.5" x 4.5" x 8"

Raku Fired Clay

I gifted this piece to my son

"This is the glory of America, with all of its faults. This is the glory of our democracy. If we were incarcerated behind the iron curtains of a Communistic nation we couldn't do this. If we were dropped in the dungeon of a totalitarian regime we couldn't do this...And we are not wrong in what we are doing. If we are wrong, the Supreme Court of this nation is wrong. If we are wrong, the Constitution of the United States is wrong."

- Dr. Martin Luther King, Jr. 


The quote that inspired this piece was spoken by Dr. Martin Luther King, Jr. when he addressed nearly 5,000 people at the Holt Street Baptist Church in Montgomery, Alabama on December 5, 1955, just four days after Mrs. Rosa Parks was arrested for refusing to relinquish her seat on a Montgomery city bus. As a Soldier and Wounded Warrior, I feel I have the right to speak up and support football players like Colin Kaepernick because I am tired of all the 'others' who use me and my military service (most of whom have never served a day in their lives) to condemn peaceful protesters like him. The country I fought and was injured for has a long history of social protest and I support it all. I served so others could keep their freedom of speech and not be silenced or shamed. I represented Mr. Kaepernick in this piece wearing his former #7 jersey and without arms to make an unmistakably visual statement that I feel he has been hampered in his protest by a huge majority of America-the majority that has been calling him unpatriotic and disrespectful to those in uniform. Well, I'm one of "those in uniform" and I applaud Mr. Kaepernick because he is exercising one of our most basic rights as Americans-rights I fought to protect. Stop using me as your excuse to shame this man. Read up on your constitution and unbiased American history. We are a nation founded in protest and by the blood of those of us seeking to protect his right of free speech.  I am respectfully asking those who are quick to nay-say or judge him to simply appreciate how he is peacefully protesting what he sees wrong in America today.  Whether you personally agree with him or not, every one of us has a voice and every one of our voices matter. 

"Petrified"

2019

2‘ x 1.5’ x 10”

Double Raku Fired Clay

Sold as an art in kind sale (trade) with fellow artist


"Double Baked"

2019

10”x 8” x 9” 

Double Raku Fired Clay and Scrap Cast Iron

Sold as an art in kind sale (trade) with fellow artist


Ceramic Boot Series - 2

2018

Clay of various sizes with Artist's Found Objects traditionally kiln fired


Contact artist at [email protected] for purchase/shipping details of each piece 

These three handmade clay pieces are modeled after each type of boot I wore during my 11+ years on active duty. I was inspired to make them after completing my ceramic boot series - 1 "Iraq Cornucopia, 2003" sculpture installation pictured above. The black boot (glazed and fired twice) is reminiscent of the boots worn during my college-ROTC through 2005 time in garrison when we wore the woodland camo uniform; the middle yellow boot (under-glazed and fired twice) reminds me of the tennis-shoe-like-boots worn during my 2003 deployment to Iraq with the 7th Transportation Group worn with the desert camo uniform; and the final tan boot (which is fired but not glazed) is like the boots I wore at the end of my career with the digital camo uniform and during my 2008 deployment to Afghanistan with the 101st Airborne Division (Air Assault).

I began this piece as a self portrait to explore my transition from Soldier to Artist. I wanted to find a way to honestly express the doubts and fears about myself I needed to put to rest so I could emerge a fuller, more whole, person who lives in the present while letting go of the past. So, I hand stamped blank dog tags with questions that plague me, like “am I a burden?” and “did I let them down?” Embedded in the resin are hand stamped tokens with ‘labels’ I felt targeted with during my active duty time, like “whore” and “dyke” along side “absent mother” and “friend.” My severed breasts, nakedness, and bindings of dog tag chain symbolize how I felt my femininity to be, at times, fractured by the uniform I wore.

Self Portrait Intestinus


2017

Fabric, acrylic medium (matte), spackling, acrylic paint, resin, and various hand-stamped metals


Dimensions: 30” x40”


$1800


contact artist to set up exhibition / installation / artist talk information at [email protected]