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Christina Helferich-Polosky 

-List of Works-

pain in my broken

body won’t ever match the

pain from my regret

September 2021


Mixed Media Collage on Stretched Canvas in Floating Frame

By: Christina Helferich-Polosky

US Army Veteran (1998 -2009)

OIF – 2003 / OEF – 2008


I was initially inspired to create this piece for 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


Mixed Media Collage on Stretched Canvas in Floating Frame

By: Christina Helferich-Polosky

US Army Veteran (1998 -2009)

OIF – 2003 / OEF – 2008


This is the second flower and spoken word piece I’ve created for 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. 

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


*Currently on display at the Women's Military Memorial at Arlington National Cemetery until 2022 courtesy of*

*Has been invited to be 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 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.

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 


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

“Currently on display at the 18th Annual Healing Arts Exhibition at the Walter Reed National Military Medical Center until 2022 courtesy of

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.

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


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

2020 was both a physically and mentally challenging year that had me questioning everything about who I am and what I wanted out of life. The year 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, 2020 was 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 - through art - slowly, purposefully, filled with military bearing (hence the reference to my firearms training) and, yes, one day at a time.

A Limited Edition Run of 10 - 8x10 prints are available now of the  original May 2020 (pre-updated version) below and the updated version will be available in prints soon.

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 is not out in prints yet. 

May 2020 Version of "It is What It Is" Self Portrait 8x10 Limited Edition prints on archival paper signed and numbered by the artist

**The original of Warrior Rosie is to be 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**

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


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

**The Original is currently on display at the Takoma Park Community Center in Takoma Park, Maryland until 2022 courtesy of**

“A Limited Edition Print is currently on display and for sale at the 18th Annual Healing Arts Exhibition at the Walter Reed National Military Medical Center until 2022 courtesy of

**Endowed by Her Creator  will also be available in puzzle form starting November 11, 2021 through!**

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"


12" x 12"

Original Collage on Stretched Canvas in a Floating Frame


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!

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 $5 flat fee anywhere in US and APO. No International shipping at this time. Please allow for extended shipping/delivery times during the COVID-19 quarantine situation. 

"Endowed by Her Creator" Limited Edition Print Approx. 10 3/4" x 11" on archival paper, each signed and numbered by the artist

**The original is currently on display at the Women's Military Memorial at Arlington National Cemetery until 2022 courtesy of**

**A Limited Edition Print is currently on display, and for sale, at the Hill Center Gallery at the Old Naval Hospital in Washington, DC  until 2022 courtesy of**

**A Limited Edition Print is currently on display, and for sale, at the Takoma Park Community Center in Takoma Park, Maryland until 2022 courtesy of**

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"



18" x 24"

Burned and Stained Wood Panel


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

FRESH WORK an Exhibition by ARTUP Memphis, TN

Presented by Students from Austin Peay State University 

August 26, 2019 


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"


"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 is to be 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 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


16" x 20"

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

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

"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

**Currently on display and up for auction 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**

 My entry for’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


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.   


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


11" x 14"

Mixed Media Collage on Photo Canvas

April 2021

not for sale

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

A Priceless Memory for Jill

11" x 14"

Mixed Media Collage on Photo Canvas

March 2021

not for sale

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

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,



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"


10" x 12"

Cast Resin and Stainless Steel Powder on Handmade Pine Stand

This piece not for sale

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"


3’ x 2’ x 3’

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

Not For Sale

"Salvageable - Beautiful Disappointments


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"


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

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"


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. 



2‘ x 1.5’ x 10”

Double Raku Fired Clay

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

"Double Baked"


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


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


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

Dimensions: 30” x40”


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

ROY G BIV Gallery, in Columbus, Ohio, presents Shift, a pop-up group show exhibited at Wild Goose Creative about changes and transitions, juried by local artist and educator Laurie VanBalen.

Exhibiting artists include: William Cares, Katy Dai, Lou Eberhard, Emily Greenberg, Sasinun Kladpetch, Haley Manchon, Christina Polosky, Whitney Sage and Dan Jian

The assignment was to make a soft sculpture in one of my favorite Sculpture classes led by Professor Chris Taylor. Playing with dimensions and diametrically opposed textures, this piece is my rendition of the 'flak vest' I wore while deployed to several combat zones. I used delicate laces and lingerie fabrics to quilt together the vest and outfitted the seams with wire so it would hold its shape while displayed. I also placed photographs of my family taken during events (like birthdays and mother's days) I missed during these deployments, delicately placed in the front pockets where my 'real' flak vest carried ammunition. These family photos symbolize the protection to my heart that the flak vest and ammunition were to my body.

Some Wounds Don't Bleed


Fabric, wire, Velcro, plastic thread, paper photographs

Dimensions: Multiple pieces that would fit within a 4’ square

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




Selected to show my piece entitled Some Wounds Don’t Bleed

This piece was inspired by an old article I read entitled, ‘‘Dykes’’ or ‘‘whores’’: Sexuality and the Women’s Army Corps in the United States during World War II by: M. Michaela Hampf, published in Women’s Studies International Forum 27 (2004) 13 – 30. I was struck by how my experience walking the fine line of being labeled 'whore vs. dyke' during my army years (between 1998 - 2009) is actually something I have in common with these sisters that came before me.

For this piece I wrapped my torso in masking tape and then cut it off and stuffed it. The form, that I then placed a Halloween heart halfway into, was what I used to make the mold. However, instead of making something with the mold, I made the mold itself the focal point of the piece with a 'bleeding' wax heart falling out of it. The broken pieces of plaster placed around it is to show the 'breaking apart' of my being. Etched into the mold are words used in the above article as well. The picture to the left shows how it was displayed during a 2o16 student art exhibition. I deliberately organized the piece to look like it was literally falling down and breaking apart in the gallery.


Lewter Sculpture Award from the Department of Art,

Art History, and Design, University of Alabama in Huntsville for this piece.

The Fine Line We Walk


Plaster, wax, burlap

Dimensions: Multiple pieces that would fit within a 4’ square

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

Missing You


Acrylic paint, wood stain, yarn, spackling paste

Dimensions: 48” x 36”


contact artist for purchase/shipping details at [email protected]

Inspired by my mom, a breast cancer survivor. When I asked her if she was going to get reconstructive surgery after her mastectomy, she said something to the effect of, "Why? I'm 60 years old, I don't have to worry about silly things like boobs anymore, I'm too busy dealing with this cancer thing." I don't think she realized what a strong statement that was to me. Why do any of us have to worry about our boobs anymore, cancer or not?! With this piece I am exploring my own relationship with the ladies, and wondering why I spend so much time worrying about them.

It Cuts Deep 


I was working with a heavy hand in the plaster and paint with various palette knives when this presence of a woman appeared. I felt led to 'sew' into the canvas with messy red yarn stitches covered in matte acrylic medium. To me, it can symbolize blood cascading either from the wrists (with arms held out in front of the figure) or the ovaries. Either way, literally 'cutting' yourself or feeling figuratively 'stabbed' in your woman parts (like men are wont to say) are ways I have expressed my hurt and despair.

Acrylic paint, yarn, spackling paste

Dimensions: 36” x 48”

gifted to parents

Roll Tide, Jacob


Acrylic paint, acrylic medium, fabric, paint swatches, paper, embroidery floss, jewels, shelf lining paper


48" x 36"

gifted to son

My son, a student at The University of Alabama, 'commissioned' me to make a piece with an elephant (the school's mascot) for his apartment. I agreed to make it, under the condition I could take artistic liberties with the form. What makes this piece memorable to me is that this is my first piece I started to use embroidery floss to 'sew' into my canvases artistically. My experimentation with this technique is still a major part of my aesthetic today.

"It Aches" 2016

This piece came about while I was experimenting with 'dud' paint samples I bought for .50 at the local hardware store. The result is what happened by playing with the mixture of green tinted varnish, outdoor latex paint, spackling paste, and then sewing into the canvas. The 'front' of the canvas is actually the 'back' of a cross-stitched heart; because the messiness of the backside of the heart was more compelling to me than the nice and 'tidy' image of the 'front' of what is considered the traditional symbol of romance.

Acrylic paint, varnish, yarn, spackling paste

Dimensions: 36” x 48”

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

"Untitled Abstract" 2017

These three large pieces are a set that is the result of my trying to mess around with abstract figures in a heavy acrylic medium and textures of embroidery floss sewn into the canvasses. 

Acrylic paint, embroidery floss, impasto medium

Dimensions: 36" x 36", 36” x 48”, 36" x 36"

gifted to parents

"Untitled Repose" 2016

I started with a blank canvas and poured different 'dud' outdoor latex paints I bought from the local hardware store for .50 a piece. Once it dried, I began sewing into the white spaces. What resulted, to me, is the image of a woman salaciously posed. I really love how different the softness of the yarn versus the smoothness of the dried paint is represented here.

Acrylic paint, yarn

Dimensions: 36” x 48”


Contact artist at [email protected] for purchase/shipping information

"My Rock" 2015

The original rock is actually an insignificant broken piece of brick that could fit in the palm of your hand. The result are marks on paper that are substantial and somehow speak to me in a really intimate way. 

Charcoal on Paper

Dimensions: 18" x 24"

not for sale

Buried Deep


Acrylic paint, glitter, spackling paste, impasto medium, various dry media


36" x 36"


Contact artist at [email protected] for purchase/shipping information

Spackling paste and palette knives create beautiful white scores on this extra large canvas. The lighthearted emoji is simply a representation of an outside mask I tend to put on in public, while buried deep in the plaster are various dry media (like plastic pearls and stones) spelling out my insecurities and doubts that only I know are there. I see now this painting is really a cry for help that I should have seen a lot earlier. Maybe it can serve as a symbol for others that are going through a rough time right now and not seeing clearly or covering up or tamping down their feelings and enabling others while they are not taking care of themselves. I am here to tell you that four+ years later, the things you bury deep do eventually come to the surface, so you need to address them. Easy to say, I know, with hindsight, but I'm still working on it.

"Tony's Request" 2016

My 16 year old (now 19 year old) son is a big New England fan. He had been asking for some of my 'art' to decorate his room. This piece, 1 of 2, is the result. Surprising to me, he loves them and the use of embroidery floss sewn into them. He thinks it gives movement to this static piece. He has a good eye, that one.

Acrylic paint, embroidery floss

Dimensions: 24” x 36”

gifted to son

"Tony's Request Too" 2016

Piece 2 of 2.

Acrylic paint, embroidery floss

Dimensions: 24” x 36”

gifted to son



Ink on Paper arranged on Gallery Wall

Dimensions: 30 - 5" x 5" pieces

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

This expressive piece was motivated by one of my favorite drawing studio professors, Roxie Veasey, who challenged the class to make multiple original drawings as an assignment. I decided to do a self portrait in 30 small pieces. To me, each individual 5" x 5" card of intricately drawn zen doodles, make up a larger, desperately miserable image of how I saw myself. There is beauty though, because to me, this image is how I felt before completing the piece--but after hours of delicate scrawling--I felt infinitely more beautiful. The result? Therapy, well spent time indeed.

"Retired" 2015

This piece is the result of my very first assignment during Intro to Sculpture: exploring a 3D form with wire. I recreated my old army boot. I then mounted it for the spring student art show, with a delicate silk flower to symbolize the form's current place in my life: a boot no more.

Wire, wood, fabric flower

Dimensions: Multiple pieces fit in 1.5' square area

Contact artist at [email protected] for purchase/shipping information



Acrylic Paint, Impasto Medium, Wood


11" x 14" 


Canvas Paper in handmade frame

gifted to son

Another professor who has deeply inspired me, Kathryn Jill Johnson, had us create 30 second paintings during one of our studio classes. I started with mounds of different fawn tinted paint mixed into thick impasto medium. The result is an extremely true to life caricature of one of our family's most beloved pets: Gus the dog. I was awarded the Emerging Woman Artist Award from the Women’s and Gender Studies Program, at the University of Alabama in Huntsville Student Art Show for this piece for 2015!

"Reflections" 2015

I was worried I was going too literal with the patriotism here, then I considered who I was painting this for, my mom.  As an Army nurse during the Vietnam Era, there is no one, or nothing more, patriotically sacred to me than her. Hence the shadow of the cross cast upon a rugged flag and Bronze Star.

Acrylic paint, Impasto Medium

Dimensions: 36” x 48”

gifted to mother

"The Banana" 2015

Our daughter, Hannah Liberty, is my muse on a daily basis. Now 14, this rendition of her 12 year old self, is one of my active caregivers, so any chance I get to recreate her likeness (here in a Picasso/Degas inspired form) is a true delight.

Charcoal on Paper in floating frame

Dimensions: 36" x 48"

gifted to daughter

"Big Gus" 2016

Big Gus may be an understatement of a moniker on this enormous canvas. I tried to recreate his charming caricature, so successful in the smaller "Gus" from 2105, in a larger form. I couldn't quite capture it, but a worthy mate nonetheless. Now passed on, his likeness here is a reminder of how big of a presence he actually made on our lives when he was here. We miss you big guy.

Acrylic paint, Acrylic Medium

Dimensions: 48” x 36”

gifted to son

"Self Portrait" 2016

My first attempt at a self portrait in my thickly applied painting aesthetic. As an added twist, the assignment had us constructing our own brushes. I decided to make them out of my own hair taped to the end of chopsticks.

Acrylic paint, and Acrylic Medium (Gloss)

Dimensions: 48” x 36”

Contact artist at [email protected] for purchase/shipping information

"The Wind Up" 2015

Baseball, especially San Francisco Giant baseball, is a HUGE part of the culture of our family. Thanks to my stunning husband--who grew up in the amazing Bay Area Polosky family--this Ohio girl actually is a true blue (or in this case true orange) fan. There is nothing better in my life than falling asleep, listening to Kruk & Kuip doing play-by-play on the radio. This was created in a set of three, but can be divided up.

Acrylic paint, Acrylic Medium

Dimensions: 24” x 36”

Contact artist at [email protected] for purchase/shipping information

"And the Pitch" 2015

Acrylic paint, Acrylic Medium

Dimensions: 24” x 36”

Contact artist at [email protected] for purchase/shipping information

"Follow-Through" 2015

Acrylic paint, Acrylic Medium

Dimensions: 24” x 36”

Contact artist at [email protected] for purchase/shipping information

"Check the Scoreboard" 2015

My rendition of the spectacular outfield scoreboard of AT&T Park in San Francisco, CA.

Acrylic paint, Acrylic Medium

Dimensions: 36” x 24”

Contact artist at [email protected] for purchase/shipping information

"The World Series Ball" 2014

A testament to my husband at the time, this painting is a rendition of the famous family story and picture of our son Anthony (then 13 years old) holding a ball, pitcher Jeremy Affeldt, tossed to him during Game Three of the 2014 World Series.  Kevin checked off a major bucket list item when he drove himself and Anthony 10 hours (each way) to watch this game in Detroit against the Tigers. We won the game and the Series! We will always have this wonderful family memory from a time we were all together.

Acrylic Paint

Dimensions: 18" x 24"

not for sale

"At the Beach" 2015

A sketch based on a wonderful family memory of our family at the Beach in San Diego, circa 2014.

Charcoal Pencil on paper

Dimensions: 11" x 14"

not for sale

"Golden State" 2015

My attempt at trying to capture the majesty of the Golden Gate Bridge in my aesthetic.

Acrylic paint, acrylic medium

Dimensions: 18" x 36"

gifted to son

"At the Cross" 2015

Commissioned by my husband at the time, for an inspiring co-worker of his. He requested a rendition of the Centurion at the Cross, in my aesthetic. The writing is taken from the pages of a small travel bible that military chaplains hand out and the string is taken from a second hand store bin because everything has meaning when Christ gives you a second chance at life.

Acrylic paint, paper, twine, yarn, acrylic medium

Dimensions: 36" x 48"

gifted as a commissioned piece for husband at the time

How Much is that Puppy in the Window?


Acrylic medium, Tiffany's and CO vintage catalog

Dimensions: 9" x 12" on artist board

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

One of my all-time favorite studio classes was Mixed Media at the University of Alabama - Huntsville with Professor Roxie Veasey! It was where I was first introduced to the art of collage and it really spoke to me. Maybe it had something to do with the ability to create something completely new and whole from bits and pieces of the old and discarded. For this piece I had some old Tiffany & Co. catalogs I couldn't seem to ever throw away because and who doesn't love Tiffany blue boxes with their delicate white bows? This collage is the result of giving new life to old paper. I guess you could even say this collage is the one that "started it all" with regards to creating with vintage papers, because I started to get commissions from friends and families almost immediately to create cute little animal collages. First, just with Tiffany & Co. paper products, then eventually to what I exclusively work with now, larger collages from a larger variety of vintage papers. I would definitely call myself a true collage artist now. Thank you mixed media class and thank you cute little puppy in the window!

"Jewels for Jill" 


My fabulous sister-in-law mentioned how much she liked "How much is that puppy in the window?" So I created an original piece on a wood canvas for her. This is the result.

Acrylic paint, acrylic medium, vintage Tiffany & Co catalog pieces

Dimensions: 12" x 12"

gifted to sister-in-law

"Angel Face" 


This piece is the result of playing around with the process of making acrylic skins from old paper product. This image was transferred from a vintage sewing pattern envelope. I also incorporated torn pattern tissue paper pieces in the background. The frame and sewing patterns were a wonderful find in my local second hand shop. I got an ethereal feeling from the process; hence the name. 

Acrylic paint, acrylic medium, vintage pattern pieces, paper

Dimensions: 5" x 7"

Contact artist at [email protected] for purchase/shipping information

Tied Up in Rhetoric


Acrylic paint, acrylic medium, vintage pattern pieces, twine, charcoal, magazine, paper

Dimensions: 36" x 48"


Contact artist at [email protected] for purchase/shipping information

I wanted to somehow artistically express my opinion on the same sex marriage 'issue' that was going on in 2016. I wanted to show what, I feel, should be the true Christian response. Using the process of collage with various magazines, bible pages, and vintage pattern pieces; I created a piece that shows how I think 'the church' (not the true Christian Philosophy of Jesus = Love) is tying up the dove of peace. I was just so enraged with all the hate speech that I felt was distorting my religion.

"Alcatraz Island" 2015

Trying my hand at photography while on a boat tour of 'the Bay.'

Black and White Digital Photograph

"Golden Gate Bridge" 2015

Trying my hand at photography while on a boat tour of 'the Bay.'

Black and White Digital Photograph

Graphic Design Projects

I recently began working in graphic design; specifically for the Nashville Recruiting Battalion when my soon to be ex-husband was the Battalion Commander there. I designed their 2016-2018 logo, rings, hatch show prints, poker chips, challenge coins and various other requested projects. Click the picture to see my graphic design gallery and/or to order a custom design of your own.

I'd love to get your feedback on my work!

If you are interested in buying one of the above pieces, commissioning an original work of art, or enlisting me for a speaking engagement, please fill out this form.

I am also ALWAYS actively recruiting current female military, veteran, and wounded warrior artists to promote on this website so spread the word in your local communities and have them contact me anytime as well!

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