Artist Lisa Rasmussen

Art Tip Networking for Artists and Social Phobs

2011-12-19T19:05:00.000-08:00

To be an agent of change, to follow your dreams and your creative endeavors, (I personally always need to remind myself of this one) you must become a pragmatic visionary. What does that mean? Well, as an artist and creative how do you find the support you need--the collector, the art dealer, the gallery, the funder etc? One essential ingredient to your success is to develop a practical business strategy that is symbiotic with your vision (i.e. become a pragmatic visionary). An important aspect of your art business is the networking and self promotion plan. This is a weakness of mine since I am social phob and an artist.

Connecting with the right people to support our art career is essential.

I feel so uncomfortable talking about my work to strangers, I wish it would magically just speak for itself and I could be swept up by an art dealer like Picasso’s -- Ambroise Vollard. There is a good chance that this just ain’t gonna happen.
You must learn to talk with confidence about your work as well as your goals to the world. One simple and effective way is the creation of your own elevator speech. I know this is difficult since you have to put yourself out there and “work the room” as they say. It takes a lot of courage, persistence and resistance; but as an artist you cannot be an island, you must start connecting with the world to find the support you need to aid you in the manifestation of your dream.

What is an elevator speech?
It is 30-60 second speech that talks about your work and why it is important.
How do you craft an elevator speech?

Reflect on "What are your goals with your art and art career?"
My answer: Get Museums, sell your work, change the world or all the above.
Think about, "How is your art different, new, and unique? Why is your art important?"
Create a short 30 second speech that is a description of yourself, your art or your project. Include your goals and a short vignette, the positive benefits others have gained from your work.
Practice with friends
Communicate with pride and enthusiasm

Good Luck All!! Also never forget your business cards and always be prepared to meet your own version of Ambroise Vollard. You really never know who will be in the next elevator with you!!

2011-12-01T15:57:00.001-08:00

Super excited to have my webpage up and running at Terra Firma Gallery in San Rafael. I am looking for some awesome Art Collectors to acquire my work. Please contact Daniel at Terra Firma Gallery for more information and if you are interested in adding to your collection.
Namaste, Lisa

Lisa Rasmussen

Lisa Rasmussen is a painter, art advocate, environmental artist, and educator. She was born in Wisconsin and has her roots in Scandinavia and Ireland. Lisa comes from a working class family, who has always supported her to follow her dreams to become an Artist. Her late Mother, Mickey was Lisa’s Muse, she fostered in her the practice of Art as being a form of expression and personal healing. Early on Lisa developed a thirst for travel and distant cultures. A key conceptual element of her artistic process is the study and travel to ancient cultures and sacred sites around the world. Some of her travel adventures include Nepal, Peru, Ireland, and Brazil. She has also lived and taught English in the mountains of South, China, as well as she had studied antiquities, the Art of the Renaissance, and Ceramics in Florence, Italy.

For her painting is a very visceral, physical, and metaphysical process. Rasmussen’s paintings have been called abstract expressionism, with a spiritual twist. Her paintings reflect her holistic worldview and her deep connection with the natural world. For Rasmussen, art making is a transcendental experience. When she paints, Rasmussen taps into a force greater than herself; a force that creates through her. Each painting is a product of her dance with divinity. Through her process she hopes to invoke in herself and the viewer a deeper connection to the world within and around us through reflection and inspiration.

Rasmussen was named “Graduate Student of the Year” during her MFA commencement exercises in recognition of the strength of her paintings and her use of her artistic gifts to transform the lives of victims of abuse. Rasmussen is the Co-founder and Co-director of the ArtCart and of Art Break Day 2011, the mission of both these projects is to empower individuals and communities through ART and its process.

Rasmussen’s work has been featured in numerous media outlets.
Currently she lives in Santa Monica with her three cats

Featured Collection (Total Items: 9)


Lucidity
0 Review(s)
Online Gallery Price: $1,300.00


Prana
0 Review(s)
Online Gallery Price: $1,500.00


Wu Wei
0 Review(s)
Online Gallery Price: $1,300.00


Phoenix Rising
0 Review(s)
Online Gallery Price: $1,500.00


Illumination
0 Review(s)
Online Gallery Price: $1,900.00


Pneuma
0 Review(s)
Online Gallery Price: $1,900.00


Raramuri
0 Review(s)
Online Gallery Price: $1,900.00


Caol Ait
0 Review(s)
Online Gallery Price: $4,000.00


Maya
0 Review(s)
Online Gallery Price: $2,000.00

Metamorphosis of Painting-B

2011-11-29T10:58:00.000-08:00

My painting took another shower yesterday. Is it done??

Absolutely!!

Transform your Collection Today!!

"Just start," Rasmussen said gently. "Art can be anything."

2011-11-02T18:44:00.000-07:00

Diverse group embraces open offer to create art

2011-10-05T11:57:00.000-07:00

Art, in itself, is an attempt to bring order out of chaos.
Stephen Sondheim

Inspirer William Blake and the Getty

2011-10-05T11:53:00.000-07:00

If the doors of perception were cleansed everything would appear to man as it is, infinite.

William Blake

The Getty Center is amazing. On Saturday while visiting the center, this image arrested me and then I found it was the brilliant mad man~ William Blake. Need to analyse this image as I have been a watching a lot of Joseph Campbell recently.

Metamorphosis of Painting-A

2011-09-28T16:41:00.000-07:00

Of course it always starts with a blank canvas, then a lot automatic painting-reflection- a shower or two. Then I destroy it, then I create, and then destroy. Reflect-react intuitively-This painting is still in the works. It kind of nags at me to change it all the time.

Portfolio from TheWhole9.com

2011-09-28T15:45:00.000-07:00

Check out my Portfolio from TheWhole9.com

I won a Peace Prize for the Hands of Creation!

2011-09-28T15:44:00.000-07:00

My work was chosen from 1000's of International Artist's, whose amazing ARTworks had the breadth of vision and the empowerment of creativity and of PEACE!! for the Peace Project Exhibition Fundraiser 2011. I am very honored to be chosen to be part of such a new paradigm of creativity and peace. You can acquire a museum quality print of the "Hands of Creation" at The Peace Project and the proceeds will go towards this amazing project. Funds from the sales of all the artworks will give much needed support and aid to the people of the Sierra Leone.

Your piece Hands of Creation won a peace award and was selected as part of the visions of Peace that will travel with The Peace Project Exhibit! Know that your involvement with this art competition helped thousands of people RISE UP in Sierra Leone.

My Vision of Peace
The Hands of Creation series manifested from my teaching transformative art to vulnerable and emotionally troubled children at a mental health agency in the Bay Area. I was looking for a way to honor the creative powers of my amazing students. Because of privacy issues I was not allowed to photograph their faces. So I decided to take pictures of their creative tools —- their hands. Through the Hands of Creation project, I seek to honor that state of the soul where the artist/child experiences the ultimate liberation, which is the act of creation itself. It is my way of honoring the children’s essence and creativity, and counteracting apathy. My portraits are the revelation of the “other” to many viewers who know little about the struggles these children face. They bring to light the horrific plague of abuse that exists in our society. Through my practice and my teaching, I attempt to heal the wounded soul and to empower these magnificent and marginalized children~ lisa

Join me at one of the openings!

Exhibition Schedule:

Los Angeles

October 22nd
Gallery 9

___________

Long Beach
November 4th
EXPO Arts Center

_____________

Bay Area
November 9th
Swarm Gallery
Oakland, CA
___________

New York

Exact date and venue TBA

______________

Orange County, CA

January 7th
Showcase Gallery
Santa Ana, CA

Take 5: ARTbreak Day 2011

2011-09-27T17:50:00.000-07:00

ARTbreak 2011 San Francisco Site
Just the Beginning of the photos!!!

What an amazing day!!
Take 5: ARTbreak Day 2011 was a stellar success!!
Five San Francisco Bay Area communities and 1000's of individuals from all walks of life and continents were on fire with the creative process at our first annual Take 5: ARTbreak Day. We are happy to report that the event received rave reviews! The vast majority of participants who left AIM's free art making sites were filled with joy and pure gratitude for having such an amazing opportunity to create, connect, and be inspired by their own imagination and the fellowship of humanity.
Below are four wonderful articles written about Take 5: ARTbreak Day 2011

Diverse group embraces open offer to create art Jill Tucker, San Francisco Chronicle

Forget your coffee break! Take an art break instead Steven E.F. Brown, San Francisco Business Times

Art Break Day: A chance to take a moment to create Mary Ellen Hunt, San Francisco Chronicle

Take 5' and make some art By Jennifer Modenessi,Oakland Tribune/Contra Costa Times

If you were at ARTbreak Day let us know your story! Thank you for ARTbreaking and a huge Kudos's goes out to all our ARTreach Ambassadors, Volunteers, Sponsors, and Community Partners!!!

Artist, Dreamer=Heartbreak

2011-09-20T17:31:00.000-07:00

Being an artist is really a tough job. It takes lots of idealism, resilience, and persistence. Today I got punched in the stomach by failure. I want an easier life. Why is there always so much struggle? Maybe if money was not involved it would be so much easier.

For me being an artist swings from the pendulum of hope and ecstasy(creating,experiencing and reflecting) to heartbreak and despair (the drudgery of the art world and trying to make a living off my art).
"I pray to be like the ocean, with soft currents, maybe waves at times. More and more, I want the consistency rather than the highs and the lows." thanks Drew Barrymore that sums it up nicely.

The Broken Drum is Transformed with my ART!

2011-08-11T16:40:00.000-07:00

Looking for something to do this Friday in the Bay Area? Fourth Street in San Rafael is becoming an ART Hub, this coming Friday they are hosting their Second Fridays San Rafael ART Walk. Danielle from my representing gallery Terra Firma asked me if I would be open to hanging my work in an alternative space. I said Yes! and this Friday at the Second Fridays San Rafael ART Walk you can go view my Art and have some brew at the Broken Drum on Fourth Street right next to Terra Firma, Danielle installed the work today, she said that "the place got a face lift and it looks fab, the owner loves it so much!"

Please check it out this Friday in San Rafael and if you get some beer goggles and fall in love with one of paintings. Go next store to Terra Firma and Danielle will wrap it up for you!

Support Our Amazing Cause!!

2011-08-05T13:35:00.000-07:00

Painting of the Day! Raramuri @ Terra Firma Gallery

2011-07-05T15:55:00.002-07:00

"Raramuri is very impressive."

Artist, Vikalp Evolving

I began this piece three years ago. I was inspired by a sacred trip I took to canyons of the Sierra Tarahumara in Mexico. The Raramuri are the indigenous peoples that live there. I created a "tree shrine" there and I felt really connected to the land. You could peel the layers on this painting like an onion. The first layer is a green color field. It is really an exploration of time and space.

Raramuri is exhibiting and ready for a good home at the Terra Firma Gallery in San Rafael.

Please stop by and say hi to Danielle, the Galleries Director and my work!

As always!!! Thank you Danielle for your continuous support!!

Caol Ait!! Painting of the Day

2011-07-02T10:30:00.001-07:00

The word Caol Ait (thin places) is a Celtic term that describes space and time.

In certain places like sacred sites or in nature, the veil from this world to the next is thinner.

My paintings are an exploration of Caol Ait or the in between. In the creative process time and space merge and hours can pass with the blink of an eye. Another of my great passions is traveling to sacred sites around the world. In 2008, I went to Ireland (my ancestral homeland) and visited New Grange, Tara and Knowth. True inspiration for my work.

Caol Ait is showing and is looking for a good home in San Rafael at the Terra Firma Gallery.

This amazing painting have perfect companions, the very meaningful,Shona Sculptures and the phenomenal Ethiopian painter, Wosene Kosrof.

Please stop by and say hi to Danielle, the Galleries Director and my work!

As always!!! Thank you Danielle for your continuous support!!

Re visit from 2008 "What are my Goals as an Artist"

2011-07-01T17:07:00.000-07:00

This is such a serendipitous question as I graduated on Saturday with my M.F.A. (yes!) and I need to focus on what is the next step and what does that look like.

On my pragmatic page it looks like my need to create a list of goals of what I need to accomplish to “make it” in the art world. I need to put on my business hat and create a website, a marketing strategy, apply to shows and galleries with proper documentation. I have to update my business cards. I have to search for opportunities and it goes on and on. My goals need to be carefully mapped out for me to make it all happen. It is a high-risk business and my product is my art and my grand vision.

My ultimate goal is to be self-sustaining artist creating, selling my work and teaching art. I also want to open a healing arts studio, which I call the Green House Studios. This would be a community space for new paradigm artists and thinkers to build alternative systems in various communities. Ideally it would create an all-inclusive dialogue about art and its ability to empower. This would include art workshops, gallery space, and community outreach art programs. Lauren and I speak about this Blog as the virtual beginnings of such a studio.

For me equally mystifying is my passion for what I am doing.
Pragmatism seems to fly out the window as I create the work that I need to do. I became very comfortable just being a conduit and having creativity flow through me. I have come to believe that I am merely a channel for something greater than me that manifests through my art. As the artist Paul Klee wrote, “the artist does nothing other than gather and pass on what comes to him from the depths. He neither serves nor rules ---- He transmits…. he is merely a channel.”
My personal quest is to reunite art and the spirit. Akin to the alchemist’s work, which is the transformation of gross material into spiritual substance, I see my art as artifacts of my ever-transforming consciousness. My art and its process represent a humble quest to resurrect divination in my personal journey and into the community at large. As an artist my work gives the viewer a personal glimpse of my internal revelations.I speak of divination in its broadest sense, meaning that through my art and process I find myself in a continuum of discovering the unknown within myself and in the world that I live in. The motives and impulses behind my creative process are my shamanistic belief that through the process of creation, I align with dynamism and the divinity that is animated in all life.
Another goal of my work is revelation. I believe the core social issue that I am exploring in my painting, photography, site-specific works, and my teaching is abuse, which plagues society and the planet Earth. My approach to this work is not criticism, but a gentle revelation of what was and what can be. In all my work I explore and reveal the shadow of humanity by facing it, bringing it to surface, and on a personal level, finding a way to transform it.

To surmise, essentially my goal as an artist is the marriage of the paradox between pragmatism and pure creativity. As well as my service to the world at large. On an interpersonal level one could say that my art is my Yoga, the discipline that promotes the unity within myself. Carl Jung called this individuation.
I apologize for this got a little wordy.
Namaste, Lisa
I am interested in hearing what are your goals as an artist? And how do you keep one foot in each world to make Art your life and profession?

ART=EMPOWERMENT! I was Quoted in the SF Chronicle!

2011-06-29T17:39:00.001-07:00

Summer Learning Gives Kids Lessons in Fun!

Jill Tucker, Chronicle Staff Writer

Wednesday, June 22, 2011

Third-grader Elaine Ma sat at a shady table in San Francisco's Civic Center Plaza dipping a paintbrush in pink, gold and green paint.

All around her some 800 children spent the first official day of summer hula hooping, playing board games, experimenting with bubbles and baking soda, hanging out in a bookmobile, drawing pictures, making bedazzled princess crowns and riding ponies.

"I'm painting a house," she said as she brushed a gold swoosh on the paper. "This is magical grass."

This, said organizers of the city's Summer Learning Day at the plaza, is what summer is supposed to be about: playing, thinking, creating, and ultimately learning outside the classroom in active, fun ways.

Researchers call it the summer brain drain. It affects all children, but especially those who don't actively fight it.

That's not the experience for too many children, particularly low-income kids, who spend their 10 or so weeks of summer vacation doing nothing, said Sheryl Davis, director of Mo' Magic, which helped organize Tuesday's event.

Without structured activities that stretch their minds, they "tend to gain weight and fall behind," she said. "They lose the summer. They come back to school two months behind."

Overall, most students forget two months worth of math over the summer. But low-income students also lose two to three months worth of reading skills. As a result, the achievement gap between white, Asian and wealthy students and their Hispanic, black and low-income peers, each summer increasingly widens.

On Tuesday, most of the students at Civic Center Plaza were participants in nonprofit and city-sponsored summer camps and programs although some families stumbled upon the event and joined the fun, too.

There didn't appear to be a single child at the event who, given a choice, would have picked a couch over the petting zoo, art project or bouncy houses.

Students who take part in summer enrichment activities, ranging from science camp, sports, family trips to museums or other programs, can boost their achievement levels, according to the National Summer Learning Association, which supported Tuesday's Summer Learning Day activities across the nation.

And the students tend to avoid packing on the pounds as well, more likely avoiding the obesity epidemic plaguing the country's youth.

In San Francisco, hundreds of primarily low-income children participate in nonprofit and city-sponsored summer programs, many featuring academic components. Those types of community programs can be critical to preventing summer learning loss, according to a study released this month by the nonprofit Rand Corp.

"They are often less expensive than school district staff, and they offer enrichment opportunities that are often similar to those experienced by middle-income youth during the summer - such as kayaking or chess, for example - that encourage students to enroll and attend, both of which are critical to program effectiveness," said Catherine Augustine, a senior policy researcher at Rand, in a statement.

At Civic Center Plaza, with her paper filled with a pink and gold house with magical grass, Elaine appeared to plugging that drain in her brain. Her paintbrush and imagination were running wild. A green stick-figure man appeared on the paper. He had just arrived home, she explained.

Lisa Rasmussen, who had set up her Art Cart for the event, listened to Elaine's story line and smiled.

"When children have art, they just swim in it," Rasmussen said. "They just thrive."

E-mail Jill Tucker at jtucker@sfchronicle.com.

http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/22/BAUI1K0RD1.DTL

This article appeared on page C - 1 of the San Francisco Chronicle

Photographer: Me from an amazing day at the Civic Center Plaza!

ART-EMPOWERMENT!

Terra Firma: My New Gallery

2011-06-29T08:53:00.000-07:00

Last week I signed a new contract with the San Francisco Bay Area Gallery, Terra Firma. They have three locations in Northern California (Sonoma, the Claremont Hotel in Berkeley, and San Rafael).

Currently, my paintings are showing in San Rafael, Terra Firma location. I am really jazzed about this opportunity!!! My works have perfect companions, the amazing and very meaningful, Shona Sculptures and the phenomenal Ethiopian painter, Wosene Kosrof.

I have a feeling my work will be flying out of there into collectors homes!

This amazing gallery just opened in the last month and has a great vibe. The seemly small space is expansive with a loft and it has floor to ceiling windows, which emits some extraordinary light!!

Please stop by and say hi to Danielle, the Galleries Director and my work!

As always!!! Thank you Danielle for your continuous support!!

Love this image from my Solo Exhibition

2011-06-18T16:31:00.001-07:00

Caol Ait with lotus leaves, a magic carpet, a stone from Ireland, turmeric powder!

Save The Arts Benefit

2011-06-05T18:19:00.000-07:00

Save The Arts Benefit

Caol' Ait (thin places)

Acrylic on Canvas

Starting Bid $400

Value $1300

I have donated one of my paintings to this amazing and important fundraiser!

Education is the civil rights issue of our time. Come join us in our efforts to save

the arts in education and give our children the well-rounded educational experience that they need and deserve if they're to compete in the 21st century.

Please join us this Saturday June 11th!

and

acquire my painting, the money goes to a very important, empowering, and beneficial cause.

ART=FREEDOM

and all children must have the right to experience ART.

For more information and to buy a ticket for this event go to Save The heArts Benefit

Interview @ Room Gallery!!

2011-06-02T15:28:00.000-07:00

Here is an interview, that I did at the amazing ROOM Gallery in San Rafael,CA were I exhibit and sell my paintings. Below the video is the body of work that you can see and acquire at ROOM Gallery. Ask for Agne or Chelsea. Thank you Agne!! ROOM's visionary owner.

Raramuri

Pneuma (Means Spirit)

Size :24” x 36”
Dept 2 ¾ “
Medium: A crylic on Canvas
Price: 1900

Maya

This is a very rich canvas with a brilliant red and gold layers. Maya is the principal deity that manifests, perpetuates and governs the illusion and dream of duality in the phenomenal Universe. For some mystics, this manifestation is real.[1] Each person, each physical object, from the perspective of eternity, is like a brief, disturbed drop of water from an unbounded ocean. The goal of enlightenment is to understand this — more precisely, to experience this: to see intuitively that the distinction between the self and the Universe is a false dichotomy. The distinction between consciousness and physical matter, between mind and body (refer bodymind), is the result of an unenlightened perspective
Size 36” x 40” x 23/8
11/2010
$2000

Caol Ait

Caol Ait is a Celtic idea meaning "thin places" and refers to when the physical world and spiritual world come together and the boundary between them is indefinable.
Acrylic on Canvas
Size: 48” x 36’ x 2 3/8
$4000

Illumanation (Wall)

Acrylic on Canvas
30” x 40”
$1900

Phoenix Rising

A journey painting that is layers of compositions. The process was a creation and destruction. Finally this one came to life i.e. Phoenix Rising.
Medium: Acrylic on Canvas
Size : 24” x 36” x 2 ¾ “
Price: 1500

Wu Wei

One of Taoism’s most important concepts is wu wei, which is sometimes translated as “non-doing” or “non-action.”
Medium: Acrylic on Canvas
Size : 24” x 36” x 2 ¾ “
Price: $1300

Prana (Breath in Yoga)

Acrylic on Canvas
Size 24” x 36’ x 2/38
$1500

Lucidity

a presumed capacity to perceive the truth directly and instantaneously
Acrylic on Canvas
Size: 24” 36”
$1300

Empathy!!

2011-05-01T11:01:00.000-07:00

We are all connected!

MOCA: Art in the Streets

2011-04-29T16:33:00.000-07:00

On April 23, 2011 I went to go see the exhibition at MOCA: Art in the Streets in Little Tokyo in Los Angeles. I was really excited to see the exhibition. It had been getting a lot of press from The New York Times and the Huffington Post. It seemed it brewed up the age old controversy and debate of folks perceptions on what is ART and what is not ART.

As we approached MOCA the lines of people waiting to get in was off the hook. We decided to go to lunch and check out the other ART that was being created on the streets. Here is what we saw outside the doors of the museum.

The coolest thing was Little Tokyo was a mad house of people. The Sushi houses and stores were filled to the brim with folks either waiting to see the exhibition or who had just finished. Studies have shown that at art events individual people spend around $27 each. And who said Arts bring nothing to our economy? I think that was the Republicans.

JR'S eyes. I thought graphiti artists did not tag over others art? Maybe it was collaboration.

JR's great talk on Ted, I was happy to see an artist win this award.

I felt this key was placed there on purpose. What does it mean? Art?

Space Invader...

A man checking out the art.

Next I will go into the exhibition inside closed doors of museum.

Take 5: Art Break Day 2011

2011-04-26T09:58:00.000-07:00

Here is our Take 5 ARTbreak Day video debut!

This is an amazing community ARTreach event for all. Please support this ART happening by donating, reposting our video, volunteering, and of course attending the event!

I read today in the Huffington Post, the article 6 Techniques to Ignite Your Inner Creativity and Passion. The author says "Dabbling In The Arts: Our culture's overemphasis on fame and great success often turn"s people away from their creative inclinations, because they feel that if they can't reach a professional goal with their writing, singing or painting endeavors, they shouldn't bother. What they don't realize is that simply dabbling in the fine arts, with no specific goals or intentions, awakens our ability to approach life with greater openness and curiosity. In the same way that mindfulness practice jogs the areas of the brain associated with well-being, optimism and compassion for yourself and others, so, too, does immersing yourself in any artistic exploration or enjoyment jog your creativity."

As I have said in the past at the ARTcart, taking an ARTbreak for free in public space is a form of art therapy on the streets!! Take 5 ARTbreak Day is community ARTreach and healing! Love to see everyone support this awesome happening!!

Aside: My inner dwarf is cringing and having blast at knit picking at how I look in this video. I kind of look like a muppet. But, I know this project is so much larger than myself and my fragile little ego needs to be put aside. I need to promote and promote this until this event is a grand success for all of our communities. It is not about me, but is about the people and the community.

Lauren and I at Art is Moving have a grand vision of making this a global holiday.

It will be done and it already is!!

philosophical discussion about napkins

2011-04-22T18:12:00.000-07:00

philosophical discussion about napkins.

What does the way a person handles a napkin tell about that person? I am so curious, I feel it could this be another form of self-analysis. Check out these two napkins. Which is the lawyer's and which it the artist's? Ha! I would say mine is a sculpture. I want to start collecting people taking pictures of their used napkins. Send me your images! artistlisarasmussen@gmail.com

Happy Earth Day

2011-04-22T11:51:00.000-07:00

Ground into the Earth and reach for the Sky, becoming the Axis Mundi you already are. Reverence for all life today. And send healing prayers to Mama Earth!!

Practice Random Acts of ART!

2011-04-11T17:09:00.000-07:00

"Practice Random Acts of Art"

Lauren Odell Usher and I met at JFK graduate school in Berkeley, while obtaining our Master in Fine Arts from their Arts and Consciousness Program. After several beers and several crazy conversations about ART. We soon found out that we shared the same belief that Art has an intrinsic ability to empower individuals and at its essence it can transform the larger world we live in. From our energetic discourse, we both agreed that a collaboration was in order. And so,Art is Moving was born in January 2008. Over the past three years we have created some amazing things together.

We have had a gallery with twelve other artists in Oakland, we curated exhibitions, worked with an artist on Death Row, facilitated free art making with thousands of individuals at the ARTcart on the streets of San Francisco, we have facilitated global virtual interviews with hundreds of artists from around the world, we have been written about in the media and have been interviewed on the radio. Our latest ARTreach campaign is Take 5: ARTbreak Day 2011, which is Bay Area art intervention.

On Art Break Day, folks will literally be taking an art break; taking a breather from the ordinary course of their day to MAKE ART FOR FREE! The first official Take 5: ARTbreak Day will be on September 2nd, 2011. This community ARTreach event will take course during the work day, in the cities of San Francisco, San Rafael, Richmond, Berkeley, and Oakland. In the “heart” of each city a canopy with the words “Take an Art Break” will house tables, filled to the brim with an array of art supplies! Passersby will be greeted and invited to have a seat and to take an art break. Are larger vision is to eventually make ARTbreak
Day a global holiday.

Please support Take Five: ARTbreak: Donate, time. money, art @ www.artbreakday.com

Back to the nitty gritty of AIM's collaboration. Every Monday Lauren and I meet for Art is Moving.(since my relocation to SoCAL, we now meet on Scipe) During these meetings we talk about projects, we rant about the zeitgeist, and of course we talk about ART. In one of our meetings, we came up with the slogan, "Practice Random Acts of ART." At that moment. I declared that would be my t-shirt or my bumper sticker. Hence the Lisa was born.

In Lauren's personal ART form, she ventures in many directions. One is the cool concept that everything can be reused. The name of this project is Up Cycled Unlimited, were you acquire your own, "Practice Random Acts of ART!" for only 25 bucks. Lauren also has created several other t-shirt mantras for many of her friends and family.
The manifesto of Up Cycled Unlimited, is"I believe all materials have more than one life and I am determined to prove it with my products. At upcycledunlimited.com you will find playing cards that have been turned into earrings, old thrift store t-shirts with new original screenprints, old silk ties reused as a handle for a purse, and much more." Also, you can check out Lauren's whole repertoire as an Artist @ Lauren Usher.com.

I will end with Practice Random Acts of ART! you all!!! Everyone is an Artist, what is your form? I really believe that the world will become a better place, if we all start creating, expressing, and not destroying.
-Namaste, lisa

What would your t-shirt logo be?

New ART @ ROOM Fine Art Gallery

2011-03-29T16:35:00.001-07:00

Three of my latest paintings, that are an interpersonal exploration of the in between or the betwixt. You can view and acquire them at ROOM Fine Art Gallery gallery in San Rafael, CA. I feel all three are very mysterious and very powerful canvas's.

This was has gotten some amazing international comments on my Saatchi online gallery.

Raramuri
Acrylic on Canvas
40" x 36"
I began this piece three years ago. I was inspired by a sacred trip I took to canyons of the Sierra Tarahumara in Mexico. The Raramuri are the indigenous peoples that live there. I created a "tree shrine" there and I felt really connected to the land. You could peel the layers on this painting like an onion. The first layer is a green color field.

Pneuma
Acrylic on Canvas
24" x 36"
Depth 3"
Pneuma is a dark canvas with a lot of layers and light. The meaning pf Pneuma is "breath" and in a religious context for "spirit" or "soul"

Illumination
Acrylic on Canvas
40: x 36"
This is very layered piece. There is probably five completed paintings under each layer. It is a process of going from the dark into the light.

Support Our Newest Project - Take 5: Art Break Day!

2011-03-27T11:52:00.000-07:00

Please support my collaboration with Lauren Usher Odell- Art is Moving!

Support Our Newest Project - Take 5: Art Break Day!

"The time has come to give everyone in our community an opportunity to know and experience creativity as our most powerful human capacity."
~William Cleveland

Take 5: ARTbreak Day 2011

www.artbreakday.com

Visualize walking into the center of a city and seeing a group of random strangers sitting around a table chatting, laughing, sharing, and getting to know one another through the act of making art together.

On Take 5: Art Break Day folks will literally be taking an art break; taking a breather from the ordinary course of their day to MAKE ART FOR FREE!

The first official Take 5: ARTbreak Day will be on September 2nd, 2011. This community ARTreach event will take course during the work day, in the cities of San Francisco, San Rafael, Richmond, Berkeley, and Oakland. In the “heart” of each city a canopy with the words “Take an Art Break” will house tables, filled to the brim with an array of art supplies! Passersby will be greeted and invited to have a seat and to take an art break.

Over the next four months we need to raise $50,000.

That is $12,500 per month.

and $417.00 per day.

That is equal to 117 Venti lattes at Starbucks per day or one iPhone per day.

How can you Help?

Donate, donate, donate Click HERE to donate now! Your tax-deductible donation provides crucial support for this projec. Every single donation no matter how small or large is indispensable and intrinsic in helping us create a successful Take Five: Take an ARTbreak Day!

Spread the Word! E-mail this post to your friends, post it on your Blog, on Facebook and Twitter.

Help us find Sponsorship! Email us if you know someone who might be interested in sponsoring Take 5: Art Break Day. (our email: artismoving[at!]gmail[dot!]com)

Become part of our ARTmentor Team. We are looking for 8 ARTmentors to help us prior, during, and after the event with several different tasks. Check out the website for more info.

Volunteer. We have over thirty volunteer positions available.

Have fun with us in September! Put September 2, 2011 on your calendar NOW so you don't forget to come out and TAKE AN ART BREAK for free!

We hope you will join us in making

Take 5: Art Break Day a stellar success!!

Latest Painting Finished and Ready to Find a Good Home

2011-01-29T16:55:00.001-08:00

Phoenix Rising
Acrylic on Canvas
24" x36"
$1500.00

I really like this piece. I might have to keep it for myself :)

The Art of Destruction

2011-01-28T17:49:00.001-08:00

Life as an intuitive painter is always about creation and destruction. Sometimes you can go to far, but in the process it always seems to come back. It is really all about letting go. After many acts of creation, destruction, and recreation in my cyclic painting process-at some point and after some great reflection-I can look at the little vibrant creation and say your are done. It is time for you to go our into the world. Or if I love it so much it will stay in my collection.

Below is great example of the process. One thing to remember is I never have an outcome in my mind. I never plan out a piece or follow a formula. But, through a lot staring or gazing and great reflection, I tend to learn a lot from my paintings. It triggers something internal and metaphysical for me.

Here is the first layer of this painting..... it just did not feel right.
1.

Second and third layer, I started playing with pigment sticks. Kind of cool...
2.

Today, I decided that I did like the marks. I used molding paste. Some green and black colors.
3.

I think this is its third incarnation of this canvas and it is still not done transforming! It will dry and tomorrow I will stare it and then as always it will tell me what do. Some of works are layered with twenty individual paintings.

Paintings for Sale

2011-01-27T17:52:00.001-08:00

Lisa poured out The Thin Places for all to see. And in her hand the bending spree, in wistful, flowing, calming traumic interface, the witness be. Thinness of distinction. Thinness of discrepancy. The space between, the space unseen, the space where the twilight and the knowing sheen, find in each other the harmonic mean.

Spices emanating upward from the nestled mandala-savory-space, lubricating the nostrils with memories chased from deeper places sight unseen. Light and scent (!), we enter the scene, diving in towards the hidden seam. Paintings cast in measured care, with wildness constrained by just the bare mounts in the frames ringing evenly the room, holding in each a lingering tune, of the place where spirit and thisness meet.

A lozenge for the eyes and mind. Symmetries nestled in fun-filled calling mysteries bind. Pneuma. Anasazi. Darknesses, incomplete, faint, whistling memories that you barely taste again. The deeper reaches of the mind, trickling away in kind. Lingering whispers haunting so, bartered through the colors claimed in Ka and Bardo, the journey from each piece to another bringing with it a glancing blow. A living, feeling, beautiful, explosion inward away from the evening glow.

Linearity in Lil, shocking still, organized and regal. Containment stressed on that thinness undressed thoroughly saturating the acrylic finesse of boundary and order on yet another sinking beckoning regress. Moving me back and out and around, to touch and caress, the space, the place, my girl’s soft press. The art, for me, is a seeping, see, from hand and thought outward, and in to me. The expressions from you are a simple plea, for a return, a dance, some part of me.

Art that inspires, art that plants a seed, art that pushes and bleeds.
-Cameron Thrash

Transformation

24" x 36"

$1300

KA (SOLD)

Thin Places

36" x 36"

2 1/2" Deep Canvas

$2000

“A thin place,” “is a place where the boundary between heaven and earth is especially thin. It’s a place where we can sense the divine more readily."

Prana

24" x 36"

2 1/2 Deep Canvas

$1500

Prana means

Energy, Breath, Life force

Wabi Sabi (SOLD)

Wu Wei

24" x 36'

$1300

A key principle in realizing our oneness with the Tao is that of wu-wei, or "non-doing." Wu-wei refers to behavior that arises from a sense of oneself as connected to others and to one's environment. It is not motivated by a sense of separateness. It is action that is spontaneous and effortless. At the same time it is not to be considered inertia, laziness, or mere passivity. Rather, it is the experience of going with the grain or swimming with the current. Our contemporary expression, "going with the flow," is a direct expression of this fundamental Taoist principle, which in its most basic form refers to behavior occurring in response to the flow of the Tao

Griffen

24' x 36"

$1500

I exhibited this one at the LA art walk. I had several comments saying that it was the best piece that they had seen the whole evening

E-mail me at lisarasmussen08@gmail. com for inquiries.

Super! I sold another piece

2011-01-27T08:34:00.000-08:00

Wabi Sabi II has just sold. My art is in the perfect place at Room Art Gallery in San Raphael, CA.

Thanks Danielle.

Latest works that have SOLD!

2011-01-22T16:18:00.000-08:00

I am very happy to say I just sold two more works at the the Room Art Gallery in San Raphael, CA.

Wabi-sabi "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi.[Wabi-sabi] nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."

Shen
This dictionary entry for shen lists early usage examples, and many of these 11 meanings were well attested prior to the Han Dynasty. Chinese classic texts use shen in meanings 1 "spirit; god", 2 "spirit, mind; attention", 3 "expression; state of mind", 5 "supernatural", and meaning 6 "esteem

A big thank you to Danielle for making this happen.

Dig Interview @ Room Gallery in San Raphael

2011-01-20T12:19:00.000-08:00

Beautiful day! Danielle my gallerist and art loving friend at Room sold my first painting of 2011. The painting that sold was named KA, which mean is the Egyptian term for soul. I wonder who is the collector? It is always fun to know were ones creation makes a home.

Ka(spirit) was the Egyptian concept of spiritual essence, that which distinguishes the difference between a living and a dead person, with death occurring when the ka left the body. The Egyptians believed that Khnum created the bodies of children on a potter's wheel and inserted them into their mothers' bodies. Depending on the region, Egyptians believed that Heket or Meskhenet was the creator of each person's Ka, breathing it into them at the instant of their birth as the part of their soul that made them be alive. This resembles the concept of spirit in other religions.
The Egyptians also believed that the ka was sustained through food and drink. For this reason food and drink offerings were presented to the dead, although it was the kau (k3w) within the offerings that was consumed, not the physical aspect. The ka was often represented in Egyptian iconography as a second image of the king, leading earlier works to attempt to translate ka as doubleKa (spirit)

And Danielle was also featured in this great interview with Dig in Magazine. Some great press for her gallery Room and my paintings. I love her honesty and so appreciate her support!!

Dig In Magazine Interview with Danielle Molinski
of Room Interior Art Gallery

Words By Cindy Maram

For more on Room Interior Art Gallery visit: www.RoomArtGallery.com

Room Interior Art Gallery held its monthly Art Walk on January 14, 2011 in San Rafael, CA. Dig In Magazine stopped in to see the art, listen to some music, have a glass of wine and say ‘hello’ to Danielle Molinski. There was a mixture of art spanning from abstract and figurative to pop culture and photography. The atmosphere was bubbling with excitement as new work covered the walls and art lovers from all over the Bay Area stopped in to admire the gallery and its artwork. Dig In Mag had the chance to talk to Danielle about her new role at Room Interior Art Gallery.

Dig In Magazine: Hi Danielle! You've done an amazing job here at Room Interior Art Gallery. What is it that you do for the gallery?

Danielle Molinski: Hi Cindy, it's been a team effort! Agne and I have known each other for many years and we work really well together. We always talk about what we want to accomplish at Room, she is an artist and I'm not, which makes for a good partnership because we look at everything from different perspectives. We have learned a lot from each other so far. Since I started, I have been focused on creating more sales for the gallery, building a clientele, bringing new artists and promoting the gallery through a bigger marketing presence. Besides being an art lover myself, I have many years of both sales experience and marketing skills that can help Room grow and become a great place to find art or host an event in Marin.

DIM: How have you changed the gallery since you began in November?

DM: Agne and I have very different backgrounds and we talked a lot about defining Room's identity as a gallery. An art gallery is a retail space so it is important to look at it as a business and make the right decisions. We have been working towards finding Room's voice by asking ourselves what art style best represents Room. I think that it is always going to be an ongoing process because we need to follow what works and what feedback we are getting from our clients. It is important to us that we are offering our public something different from what they are seeing in the other galleries around us. We want our clients to look at art that they can picture in their homes. We also want Room to be an art gallery space where people are not intimidated to come in, a place that they want to check out when they walk by. We are currently showing an array of artworks that range from $275 to under $10K hoping to offer something for everyone. After I started working with Agne, I was able to bring works of a few of the artists that I have worked with before such as the Internationally acclaimed Wosene Kosrof, Samuel Takembaiyee and Lisa Rasmussen. I'm working on a new redesigned website, a bigger Internet and email newsletter presence plus we have various projects using direct mail.

DIM: What is your background in terms of the art world? How long have you worked in the art industry?

DM: I have been working in art sales, events, management and marketing since 2001. Since I started, I have always been very involved and curious to learn more about the business of selling art and I have applied myself to study and work in all different areas of running a gallery. Through a lot of hard work and guidance I was fortunate to have the opportunity of being advanced into marketing, management, and to create and help organize several art events. I continue to learn a lot from my mentors and friends that have been in the business of selling art for several decades, they have guided me through where I am today.

DIM: How did you get into selling art?

DM: I have worked with high-end merchandise since I was fourteen. When an opportunity arose I took a chance on it; it was very natural for me to work with art because I'm a big art lover myself and I was extremely excited and ready to go to work. Previous to getting a job in the art world I have never worked with it before, but I applied myself so I wouldn't become just a salesperson selling art but someone that was truly involved in the process.

DIM: What galleries have you worked for?

DM: I have worked for a company that at one point owned nine gallery locations. It specialized in high-end art from Africa and later on American Art in some of its locations. I worked directly in four locations and indirectly on the other five. I started working in sales part time and rapidly got promoted throughout the years. Since last year, I'm also working with my good friend Horacio Gomes building his art gallery area at Horatius in the Potrero Hill in San Francisco.

DIM: What is your strategy for selling art?

DM: I believe that having a good personality and putting your client at ease, good product knowledge and getting to know your client's needs are very important points when selling anything. I try to get to know my customer and listen to what they're telling me. I always make notes so I can always remember what they have told me, who they are, etc. I find it very important to follow up with a client before and after a sale. I let the person connect with the artwork and try not to get too technical about a piece. I feel that it's important to let the person connect with the art instead of explaining it too much, only the artist himself can do that successfully because he is the one that created the work, it's best to let the person be “with it” for a moment. When I'm buying art for myself, I usually buy it because I fell in love with it, so I try to let people buy it for the same reason. Most times purchasing art is an emotional decision. I like to focus on the feeling that the artwork evokes, but also read the client for what they need to hear to make a good decision on an artwork. I try not to assume if the person can buy the artwork or not and I'm comfortable about asking for the sale.

DIM: Are there certain types of artwork that you specialize in?

DM: I'm best at selling contemporary art. I'm most excited about abstract, vibrant art although I also personally love works by old Masters. I find contemporary abstract artworks selling more frequently and because I'm sales minded, I tend to continue to learn and exceed at that instead of trying to work with several styles and have mediocre results. At the moment we are also looking for great sculpture art, which is something I really love. If you are excited about something you tend to sell well.

DIM: What do you like about art and working in the art industry?

DM: I love art and most of the time my travels are based around visiting museums and ancient art sites. I'm always looking at art everywhere I go, it's one of those things that really inspires me. I travel to Europe and Americas every year and I'll never get tired of looking at all kinds of art, even if it's a piece of hand-woven upholstery, a clay pot or a centuries old painting. Art is attractive to me because it allows my mind to wonder. I have picked out a few pieces at home that will calm or excited me. I love looking at them. I find it so important to surround yourself with art objects that you love. Looking at your favorite piece of art can make you smile, can take you away to a distant land, tap into memories. Art is very personal and just for looking at someone's walls you can learn a little more about him or her. I enjoy working with art because it is a very social profession and also fulfills a part of me where I like to work with something that touches people's lives positively, the buyer for buying something they love, myself because I need to make a living like anyone else and the artist, because his art is appreciated by someone, I think ultimately that's what the artists most want.

DIM: What is your outlook on the art industry in this present day?

DM: Honestly, it takes a lot of courage to make your living out of making, promoting or selling art. It is a really attractive occupation because of the social part of it and because you can make money by working with beautiful artworks, but the other side of it is that it is not easy. It takes a lot of work, discipline, confidence and persistence. I have a tremendous respect for anyone that believes in art as a profession and sticks with it. I have had more success with art a few years back, but I have learned to adjust. I truly believe that if you have built a real relationship with your clients, you are always going to find the right piece for the right person. People that have collected art throughout the years are still buying art, but I might find it a little more difficult these days to sell art to a new collector. To an established collector, then buying art is like for some buying a new pair of shoes. It's already part of their lifestyle. I tend to have an optimistic but realistic outlook on selling art and that helps me think that I make my own successes. For me, working hard, to continue to learn, being creative, proactive and open to every opportunity has been the best formula. Times are challenging but it's when times get tough you can really see who has the guts to keep on going forward. With all that's happening in the economy, there's a new breed of artists that are determined to make it. They are more passionate when creating, more proactive and flexible, involved and social as opposed to taking a back seat throughout the process. I believe that 2011 will be a great year for people thinking about purchasing art again.

DIM: What is your vision for Room Interior Art Gallery in the future?

DM: Agne and I have great plans for Room, we are bringing in exciting new art from all over the country besides working with great local Bay Area artists, we are also looking into finding more three-dimensional art, we are organizing special installations and making Room a place where people want to come in and see what's new or use the space for special events. We would like to help promote Fourth Street in San Rafael as an art hub in Marin and work more with the non-profits as a way of giving back to the community. We want to work more closely with interior designers and also find art to place in offices and restaurants. We are working on a bigger presence online so we are able to expand and offer art to collectors all over the country. We also have art classes and poetry nights coming up, our goal is to keep the gallery busy all year around and take every opportunity to promote the artists we are representing. We try to think outside of the box to keep Room a lively and interesting space to visit and shop.

My Collectors, their Art ,and their Stories.

2011-01-18T12:00:00.001-08:00

"Knowth"
Medium: Acyclic on Canvas
40" X 40"

This painting was inspired by visit to the sacred site in Ireland called Knowth. This amazing site was constructed over 5000 years ago. This sacred site was definitely a thin place, were the veil between this world and the next is thin.

When I got home I created this painting in my studio. In the creative and intuitive process my arm my torso became part of the brush stroke. It is kind of dark piece, I feel that it invokes the thinning veils of our reality.

The Collector is Brazilian, Danielle Molinski, I have known her for several years. We used to work professionally at an art gallery together and she has bought several artworks from me. She resonated with this piece "Knowth" instantly and now is very proud to have it hanging on her living room wall.
Currently, Danielle is a partner at a gallery in San Raphael called Room Art Gallery. I am really excited because they are now representing me and have a pretty large and beautiful collection of my latest work. It is a great place to visit on second Friday of the month when they have a huge Art Walk. And collect some great ART!

Women Environmental Artists Interview

2011-01-18T12:00:00.000-08:00

I am really honored to be included in this graduate dissertation with these amazing Eco artists! Click Here

Artist Lisa Rasmussen
Women Environmental Artists

DATE AND TIME OF INTERVIEW: July 16, 2010 1:30 – 1:38PM

MM: What does it mean to be a woman environmental artist?

LR: Well, I think the first response is what does it mean to be an artist? And then the second would be what does it mean to be an environmental artist and a woman? I am artist because that is what I do – that’s my life, that’s how I walk in this world. I feel like I’m an environmental artist because I’ve really connected with nature; always been since I was a child and for me, environmental art is about reverence of nature, it’s about connectedness with nature and nature inspires me as well. But it’s also about reaction; I feel like our planet is really in dire straits and we have forgotten to revere nature, so part of me being an environmental artist is about connection but also about reaction – I want people to remember that are connected to a nature. But then to be a woman environmental artist I think as a woman, because we are connected through our cycles, that we are a little more connected to nature of the rhythms of nature … I mean, I’m not stuck in that but

I feel that with the rhythms of the moon, and nature, and the seasons, that as a female, we are connected through our own cycle.

MM: Okay, great. Do you feel marginalized as a woman artist?

LR: Again, I think in Western society, artists are marginalized, we are on the fringes. Art is, I f eel, is not respected and revered, just like nature. Do I feel marginalized as a woman artist? Kind of … you know, if you look up the top five environmental artists I think they are all men. But that is really reflective of the art world as well. The male, the white male is pretty dominant in the art world so I guess, in a sense, I do feel marginalized, but in a way I don’t because I feel, especially as an environmental artist I break out of the box of the classic art world so I don’t have to conform to their protocol or their rules. I am not constricted by it … I hope that makes sense?

MM: It does, you articulated that really well. So far, almost all of the women I have spoken to haven’t said exactly the same thing but very similar in terms, particularly in terms of the art world, as it were.

LR: Yes.

MM: And how it’s pretty well dominated by white men, and yes, you’re correct … when I first started this project, whenever you do a simple kind of search, or start looking for information for environmental artists the only people that come up are the white guys.

LR: Andy Goldsworthy? Who I love, he’s my inspiration, but he’s the top, so …

MM: That’s true ... very interesting. So speaking of what you just said, what artists have

inspired you and the kind of work you do?

LR: Well, I feel like I can go back to ancestors, you know, I think about the Shaman’s who first did cave art and their response to nature. The Shamanistic art ancestors, the roots of art, I am really influenced by and then it’s interesting Andy Goldsworthy really does inspire me, I think he is phenomenal and I have always … his work really speaks to me. I like, again a man, there are no strong references of women, unless you go to the Green Museum? Where you can look up – it’s a great resource – and you can look up all these environmental artists and you can find – it’s almost like I find kin. I don’t find somebody that could be a mentor – I find somebody I like. But I really like Chris Jordan and how he infuses mechanism within his work and how he infuses the facts, you know what I mean, that this is what’s going on. But I also like Andy Goldsworthy because he’s like on with nature.

MM: He really put environmental art on the map.

LR: Yes, he did.

MM: And, it’s interesting because whenever I talk to anybody about my topic, they say, “oh, like Andy Goldsworthy”? And I go, yes … if it only it had been “Andrea” Goldsworthy (laughter).

LR: Yes, I know. You had brought up something from my thesis I had done a lot of research on that book called Overlay, have you heard about that?

MM: I haven’t.

LR: Oh, it’s an amazing book, it really about the foundation of more like the feminine aspects in environmental art. Like Ana?

MM: No kidding … Ana Mendieta?

LR: Yes.

MM: I was going to ask you about her. So, it’s called Overlay?

MM: I can’t believe I haven’t found this … I haven’t stumbled upon this. This is … I’m a litt

lLR: Yes, I’m looking it up right now for you … it’s a phenomenal resource and I wonder what its publication … what she does, the person who wrote this really brings in the feminine aspect of environmental art. It talks about the 70s when land art was big.- shocked because I think I am doing all this research, all this literature, and I can’t believe I don’t know about this. Overlay? Wow … this is great.

LR: But I hope it’s not out of publication … I will try to get the author because it is phenomenal … it talks about even the male artists that they were more connected to nature and not trying to dominate it like the predominant 70s model that you would see … so …

MM: Interesting.

LR: Yes, it’s interesting when you talk to somebody it sparks, oh yes, I forgot, I used that as a resource.

MM: Well, that’s great. I can’t wait to find it … I’m going to go the library and find it. That’s great.

LR: Yes, and if I can find it sooner I will definitely relay that to you.

MM: Thanks.

LR: You can find tons of historic references …

MM: Any other artists who have inspired you in your career?

MM: Yes, a very interesting and sad story there.LR: Ana Mendieta, she was phenomenal how she was one with nature. She really brought up the feminist aspect of nature. I think that would be morelike the ecofeminism? So … and it’s interesting, her whole story is interesting how she was connected with nature and the art world really didn’t revere her until she was destroyed herself.

LR: Yes. And there are other artists that I am inspired by and I can’t think of them right now but it’s more of a kin … an alike or a peer.

MM: How do your personal experiences inform your work?

LR: I think they are my work. I don’t separate my art from my life so it’s like I take nature… I love nature and I am really inspired by nature, it’s almost a transcendental experience to all benevolent and they shade people and they give and you know what I mean? So, my personal work is like a spiritual belief so mye in nature. My work is a reflection, I started doing the tree shrines that I do because I love trees. I wanted to revere them and I wanted people to remember … in our own civilization we, eve

ry culture used to worship trees on some level and so it’s like what happened?!? And now trees are looked at like decoration or something and they are not really looked at as a life force and I mean the metaphor of trees is phenomenal too. They are benevolent … there’s an amazing quote, I think it’s a Buddhist quote but they are environmental work is almost like a manifestation of my spiritual belief and life and that it should be revered and I want other folks to also remember, oh yes, this is what we’re all about and we are connected to it.

MM: Wow, nicely said. That’s great. Is your work related to Ecofeminism and or Deep

MM: So, definitely your work is related to both … so would you consider yourself an Ecology?

LR: You know it’s interesting … I don’t try to label myself and I would never write that in my artist’s statement. But I have studied and I look at ecofeminism and I am like, yes, I’m all about that. I believe that patriarchy in our society has oppressed nature and it is a reflection of the repression of feminism and the feminine form because the earth and the natural world is feminine. So I believe that but I wouldn’t consider myself political so I align with those views but deep ecology, yes, I believe that art is ritual and it’s really about our connection to the earth. I would say I am both but I wouldn’t be like … I think if I were to write about it I would write the same thing but in my words,people could consider me both if that makes sense?

Ecofeminist or a Deep Ecologist?

LR: What’s the difference?

MM: Well, there is slight difference in that I think for some artists, their work is definitely related to the agenda, or agendas or mission of ecofeminism or deep ecology but they wouldn’t necessarily, and for many reasons, like you said, you wouldn’t necessarily label yourself or call yourself an ecofeminist but you sort of align yourself with it. Is that right?

LR: Yes, that’s true. Yes, that’s very true. I align with it but I don’t … unfortunately, labels I think in our society really narrow they kind of box you in. And I don’t want to be boxed in and I think people are like, “oh yes, you’re an ecofeminist” or like “oh, you’re one of those” … so if you don’t define yourself than you can dissolve boundaries.

MM: Oh yes, that’s good … and just so you know, your women colleague artists are in the same, some of them have articulated the same thing. They don’t like the idea of labeling it. But the reason I am asking is because ecofeminism is a huge part of what is happening and what, well you kno

w, that whole feminist and ecofeminism and where do women … the whole crux of my research is do women align themselves with it? And if not, why don’t they, which is just as fascinating to me as to why they do.

LR: This thought came to mind … a lot of times when you talk about feminism it’s almost like they are recreating what the patriarchy did but in a feminine way … so that’s what I think of a lot of feminists … it’s not like they are like resurrecting something that’s been oppressed, it’s more like they are creating a model that’s there. So, that’s why I feel like I align with those values but I don’t want to be labeled.

MM: Very interesting. And there are some women too, which is why I ask how old some people are, to find out if they want to be, there are some people who absolutely do not want to be called an ecofeminist because it’s too loaded with too much meaning.

LR: It’s very loaded and I don’t know … I went to this show in San Francisco and it was about the feminists and it had old feminist work and new … and it just seemed like … it really needs to be … it’s too loaded. There are too many stereotypes and it needs to be redefined and hopefully your

paper will do this or shed light on it.

MM: Well, I’m not … part of the problem is that there are many, many, many definitions of ecofeminism and that has been actually a part of the criticism is that ecofeminists can’t seem to get their act together to get aligned and define themselves in a really cohesive and succinct way. So … it’s really interesting …

LR: Do you mean as a movement?

MM: Yes, well as a movement and there are multiple philosophies within ecofeminism …

LR: Sure.

MM: There’s radical ecofeminism, there’s social, I mean it’s kind of like … I don’t like to make this analogy but I am just trying to think of … it’s kind of like belonging to a political party but what does that mean to someone? Well, it might mean something really different to … if you’re a Democrat that might mean one thing to you but it might mean something completely different to someone else. So there’s all this sort of layers and layers of other stuff underneath that and it’s been part of the criticism of ecofeminism and why it’s partially why it has a bad reputation or a bad rap, you know?

LR: Yes.

MM: So part of what I am trying to do is to find out if women identify or define themselves as an ecofeminist. And to also find out what does that mean?

LR: What does that mean?

MM: Yes, with deep ecology too ... because there are people who have different beliefs about that too. It’s really interesting.

LR: Deep ecology is about artist ritual, right?

MM: Well, that’s part of it, but again you see, it’s defined very differently and very broadly by different people. Deep ecology is also, depending on the reading, who you are reading and who is writing it … a lot of deep ecology is about not putting blame on anybody for the situation we are in, whereas ecofeminists tend to blame patriarchy, the domination of white male monotheistic thinking whereas deep ecologists are no, no, no, let’s not necessarily put all the blame there. Let’s split the blame and divide it up equally … because it’s a human issue and not gender related.

LR: Right, see, I believe that too (laughter). It’s like you can correlate it to the spill, the awful oil spill, that’s all of our responsibilities as well because we are all addicted to oil so it’s like it is very fuzzy. I mean if I walked everywhere I went and I didn’t use petroleum products than I could be like, yes this is bad, but so … interesting, very interesting.

MM: Yes, it’s really interesting and really thickly layered and really very controversial and I think it’s really fascinating.

LR: Yes, and what you brought up for me, is that it’s also that you can think of it as a holistic model as well. Why not incorporate all of that?

MM: Right, sure, definitely.

LR: That’s what nature is … a holistic …

MM: And that everything’s connected …

LR: Exactly … part of the web.

MM: Absolutely. How does your work relate to a desired repair of the ecosystem?

LR: I am an animal activist and an environmental activist in my core beliefs so I think when I think about the tree shrines that I do, I think about the destruction of trees, even like when I see tree cutters cutting down trees it … the insensitivity of it … it’s like I mean it kind of sounds radical but they are killing something and seems like … we don’t really, our society even sees it. You can look at factory farming and go, oh my God, that’s horrific that’s a living being that is being tortured and then killed for food, for sustenance but then when you walk around, this is just walking around in my neighborhood in Berkeley, it’s like trees are killed all the time and no one goes, oh no, that’s awful. So, even on a bigger sense when I look at what’s happening in the Amazon it breaks my heart. The unconscious acts of us … I teach inner city marginalized kids who are severely emotionally traumatized and they have no idea that trees give them oxygen and we can’t live without them. I think my work is definitely a reaction to what is going on.

MM: Sure. So do you hope for some kind of movement or momentum from your viewer?

LR: I do. It’s so cool … I want to do these around the world and I want exactly the web connection to occur … the interesting thing is that I do these installations, my environmental installations, kind of like an Andy Goldsworthy, you know where I do them on my own and then I document them. And my hope is that somebody will stumble upon them. The coolest thing is that I did one in Marin, which is across the bay in northern California, and one of my friend’s husband stumbled upon it. It was so cool … he was walking in the woods and part of what I do is feminine shrines, which is a lunar shrine; meaning half the circle is which is the whole tree, so this was a solar shrine and I think it was done around Mother’s Day, so this guy is walking in the woods and stumble upon it. He wrote something to me and he said that he stumbled upon a sacred moment, he was with his nephew walking in the woods and they were just in their own thoughts and all of a sudden they got to this … and so they were in their own internal dialogue even though they were together and all of sudden they got to this part … and they were like wow … he said it brought him home. So that was just …

MM: Oh …

LR: I know … it was just so beautiful. That is exactly why … that was the highest intention of my work is to bring people home with a big “H.”

MM: That’s so nice, wow. You must have felt so good about that.

LR: Yes.

MM: And then to have him tell you about that … that’s great.

LR: Well it was synchronistic because I was at a party and they asked what are you up to Lisa, these days in terms of your art. Well, I am trying to do these installations around the area around trees and they were like, wait, wait … did you do that one? I was like yes … oh my God … this is amazing the synchronicity of it.

MM: So, he didn’t know it was your work until you told him that?

LR: No, until randomly, three months later I am at a party and we are having this conversation so I was like … wow … and the cool thing is also, I do with the kids that I work with I do wishing trees. So there was this olive tree … but it was dying and it was in this kind of small patch of earth surrounded by concrete and it was dying so I had to do something with this tree. So what we did was, I did the spice rings with my students around and the base of the tree. It was so funny, the kids were getting into it, they were like prostrating like Buddhists (I don’t even think they knew where that comes from) but they were like wow this tree … but then what we did was I asked them to make a wish and they would tie a ribbon on a tree, I took Sari cloth and they tied it to the branches … it was really beautiful. But what was so cool about that, later as a lot of the kids were leaving to go on with their lives they were like, guess what Ms. Lisa? My wish came true. And I was like wow … the tree that was so ill looking, was now transformed into amazing, vibrant being! To see this amazing exchange of energy and know it produces these amazing olives. So, I have had some really affirmative things with my work so it’s kind of like, I’m doing the right thing here.

MM: Yes! That speaks to the second part of the question: What kind of movement? Is this your intent … to move us forward? And so you are hoping for repair?

LR: Yes, I’m hoping for repair, yes. I don’t think we need to reinvent the wheel – it exists – it exists almost within our DNA – we just have to remember – it’s almost like a remembrance we have repair.

MM: Yes, I like that … remembrance … that’s a nice way to put that. An awareness, right? Like … don’t just walk by this and don’t pay attention.

LR: Exactly! And that’s the whole thing about being in nature, if you are aware you can become in a meditative state. It’s not like right, if somebody’s chopping down a tree or you’ve got to be aware that that is happening and what that’s doing to the environment. So it is an awareness and a lot of people … it’s an awakening too because it’s in all of us. It’s in us. So, it’s almost like wow … even for the kids, they had no idea about Buddhist tree worship or anything so it was like there was something being awakened within them … it was amazing.

MM: Wow, that’s very cool. It’s cool that you got them to think about that in that way. That’s awesome.

LR: Yes, it is.

MM: What media have you used to capture or conceptualize the intended meaning in your work?

LR: The media I use, I started out … well, how I started was there was this humongous redwood tree outside … I was in my graduate studies I was doing a class called Artist in Society and we had to do a project around arts in society and so there was this huge redwood tree outside my house and I loved the tree … I used to call it grandfather … so I decided, I don’t know how I decided but I was in the Asian market and I say all these spices, like turmeric and there’s something called green rice, sugar rice, and I don’t know why I was inspired by the colors – it’s very Hindu looking, but I was what if I circle this tree with these spices? So I did that and I lit candles so that’s how it began – the spices – just because of the color. And then I started to do research on historic tree worship and what people did and that is very Hindi to do that. That was big and then recently … when I was in Point Reyes doing one of my shrines there was this amazing tree, it was eucalyptus, I actually almost got arrested for doing it because you’re not supposed to … they didn’t know what I was doing so I got a little traumatized from that so I started incorporating natural elements but I still do the spices but I do them more consciously. I know there are some laws about public land but also I have been incorporating natural elements but I still use the spices.

MM: That’s cool. So, you still use the spices but you use other stuff too?

LR: Yes, like I use natural things around, even where I live right now, the pollen was insane and you know how people are like anti-pollen? They’re like … oh the pollen!! It’s always like the pollen is like the evil thing! I was like, this is what life is, the pollen. So what I did was make a pollen tree shrine. I tried to change perspective, we need to honor this … this is what makes life. I integrated the spices with flowers with the pollen. It seems like the direction I am going is more integration and even like I did a tree shrine in Salem and I could say that was very … [technical difficulties].

LR: (continued) In Salem, Massachusetts to honor the women that were slain …

MM: Oh, that’s cool.

LR: Yes, that was amazing, it was weird because I found the tree that I wanted do and I picked up shells from the beach … this is kind of like a weird thing but somebody put a sanitary napkin next to it, and I was just like oh … I was thinking of disrespect, kind of like a metaphor. Here I am in Salem and you know, talk about … what’s that called … the opposite of reverence?

MM: Yes, sort of a blatant disregard for it, right?

LR: Yes, so there I incorporated shells from the sea, which is also metaphoric …. Even when I don’t feel like using the spices, I incorporated whatever I found …

MM: Just organic things from around?

LR: Yes, very organic. And it could be … I could premeditate ... that’s when I use the spices that’s when I do it … when I want to honor something. Or if it’s not premeditated I can just do organic … whatever I find.

MM: That sounds terrific.

LR: I don’t know if you have seen the pictures but …

MM: Yes, everyone I am interviewing I am going to their website to see their work. I am also going to ask to incorporate some of your images into your artist profile for my dissertation.

LR: Love it, love it … very exciting.

MM: So, that’s the end of my questions …

Lucy Lippard, Overlay

Work from Circa 2000-Eternal Guild

2011-01-15T16:26:00.000-08:00

Lisa Marie Rasmussen was born in Wisconsin and finds her ancestral roots in Scandinavia, Germany and Ireland.
Lisa remains eternally grateful to her late mother, "Mickey," who cultivated her creativity and imagination, and who immersed her into the world of art. Her mother provided her with unyielding support, encouragement and inspiration. In addition, she taught her daughter to see that we are one with the natural world, a lesson that remains central to Lisa's work.

Lisa's creative process begins with the premise that we are connected to the universe. Through her art, she attempts to portray how the universe "speaks and dances in my eyes and in my soul." Her art is an expression of her core of being and her constant evolution. It taps into archetypal energies and engages the viewer into a surreal landscape of discovery.

Much of Lisa's art has been inspired by dreams. She finds that her dreams take upon new dimensions when she places them on canvas. Her paintings have enabled her to gained layers of "aha's" as well as elicit "aha's" within others.

Her art has also been inspired by transcendental experiences she has had during pilgrimages to sacred places around the globe. Such sites include the temples and mountains of Nepal, the catacombs of Peru, and the rainforest of Costa Rica.

Her vision is to continue to travel to sacred places and to help and guide those who wish to tap into their divine creative spirits. She hopes to inspire others to create and to become a light that helps persons realize our connection to each other, to all creatures and beings, to the universe and to the divine.

Lisa presently resides in the San Francisco Bay Area where she lives with her true loves - Griffen, Maya and Paulo - her cats.

Stonehenge
This piece is a surreal landscape about my visit to the sacred ruins of Stonehenge - my rediscovery and fascination with the Pagan connection to the universe. Red symbolizes the life force - the stones in green symbolize the creative element. Bodies and entities are intertwined within the composition. The power of this piece is its expression. It is truly a passionate piece. This resides in the permanent collection of the artist.

The Green Tara
The Green Tara is a bodhisattva - an enlightened being who refuses to go to nirvana until she enlightens all souls. She is the divine Mother - the mother of all the buddhas. She embraced me on a pilgrimage to the Nepalese mountains.
My journey to those mountains was one of healing. I had come to spread my recently deceased mother's ashes into the sacred landscape. I came with a tour group of 14 people. We hiked through the mountains each day. On the day of the most difficult climb, I fell terribly ill. I thought I was going to die. But I got through it. The next day, I felt rejuvenated. I saw the sun rise, and I embraced the beauty of the morning. I felt like I had died the night before, and that I had been reborn. I knew in my heart that this was the right day to spread my mother's ashes.

After breakfast, we began hiking again. In the afternoon, as we were ascending to a monastery in the mountains, I saw a magnificent river carving its way through the landscape passionately. My eyes were drawn above it. Three hundred feet on a cliff, I saw an image of the Green Tara. I was awestruck by the shooting stars painted above her figure. For a few moments, I felt connected to the eternal. I felt my mother communicating with me, telling me that she would always be with me.

On the evening I heard the shocking news of my mother's death, I stared at the sky hoping for an answer... a reason. Blazing through the Chicago night, I saw a shooting star... 'Mom'? That same evening, my older brother also saw a shooting star in the night, as he tormented over my mother's death. We both were moved to write and express this at her wake.

When I saw the shooting stars above the Green Tara, I knew that I was meant to be there at that moment in time. I felt my mother's love, and the warmth of her embrace. For a few moments, I felt that I was one with the universe, and that I would never be alone.

The stars and the Green Tara embraced me. I was filled with peace and a sense of letting go. I knew this place was where my mother wanted her ashes to be united with the universe.

Afterwards, on a short sabbatical in the Ozarks at my family home, my passion for the Green Tara spewed from my paintbrush and my soul. She has been my guardian from the moment I saw her on the cliff. She embraces the world, and assists all who ask for her guidance. She demonstrates her magic when one is letting go... and bliss transcends.

My website that has vanished was called Eternal Guild. I found this fragment on the The Real Meaning of Dreams

My Collectors, their Art ,and their Stories.

2011-01-07T06:33:00.000-08:00

Chaos and Order
Acrylic on Canvas
36" X36"

My art is a metaphysical journey of discovery. Ever since childhood I have been fascinated with the liminal ---- the neither here nor there, the betwixt or the in-between. I found it to be a realm of pure possibility. The ancient Celts called this state Caol ‘ait or “thin places”, were the veil between the physical and spiritual worlds merge. I have found that through my creative process I can pass through a type of threshold that allows me to enter this realm of consciousness, where one can explore the interflow between soul and matter and between time and eternity.
This allure with “thin places” has also led me to explore transpersonal psychology and my own personal shadow through dream work and Jungian analysis. My art is a recorded event of my deep interest in mysticism and the natural world, as well as a passageway into my own mythical inversion of reality. It is my deep exploration into non-ordinary reality and the mysteries of the unknown.
A key element in my process is the study and travel to ancient cultures and sacred sites whose shamanistic worldview encompassed a belief in a magical Other World. My paintings or portals are visual archives that penetrate my unconscious. My surfaces are painted over layers of symbols and forms, recalling cave walls and ritual chambers. While creating I employ my two mental allies, instinct and intuition, to create a canvas of chaos and order

Collector: Richard(Rico) Bacon, actually was visiting John F Kennedy University for graduate school Fate would have it that my Solo Exhibition Caol A'it filled the A&C Gallery the whole installation connected with Rico's journey at that moment in time. He had an affinity with my work Chaos and Order and acquired it that very day that he had walked into the gallery.

Image of the Day: It is time to let go...

2011-01-06T18:26:00.000-08:00

Letting Go
Mixed Media
4"x 5"

Transformation: Alchemy Series
Pretty much all my Art is about transformation, but this is from a series that I did art around the science of Alchemy, and my own personal transformation. I was courageously confronting/addressing one of my personal demons through art. It was formalized in an amazing class taught by Mary Webster that I took at JFK in Arts and Consciousness during my M.F.A. program. I grew substantial in my own Art and within myself during that quarter. The art that I created is a marker of my experience.
The piece is a mixed media piece with acrylic paint, dead leaves, and the figure I got in Caba San Lucas Mexico,from a vendor on the street, who was selling the amazing and potent art of Dia de los Muertos (Day of the Dead). She did sadly say that this art form was dying, because of the youth were traveling to the cities and buying into American Culture. I combined each medium to create a composition that honored my internal demon and my ancestors. As I now know "it" has been passed unconsiously down from generation to generation.

For me during that powerful class I think I manifested my stuff that I wanted to heal via art, but I do not think I ever let go of my personal demon and today it is time to let go. After over four years of intensive Jungian Therapy.....

I am transforming my WV- I, you , me, and you again are so brave and courageous to be in this world. We all have brave hearts. Now it is time to take care of our Mama EARTH and THE amazing beings the exist with in. And so it is...

Here is good resource if you wish research and engage in Alchemy. Alchemy
& The Philosopher's Stone or take the class with Mary Webster at JFK in Berkeley it will change your life and you ART!!

My Collectors, their Art ,and their Stories.

2011-01-06T13:52:00.001-08:00

Mystery
Acrylic on Canvas
3'x5'

This was a painting that I did from a powerful dream. It was very strange dream about this mysterious hybrid creature, that just kept on staring at me from various vantage points. The hybrid looked like the white being on the canvas. I still today have no idea what he was or what was his meaning. All I do know is I was driven to draw a series of eight works on paper of this hybrid character in various scenes. Below is one image from the series.

As I was preparing for my solo exhibition Caol A'it, I intuitively decided to paint this hybrid creature life size. Jais Booth fell in love with this mysterious image and she added it to her collection.
Collector: Jais Booth says about her own work, "My practice as an artist is inextricably linked with my 38 years of discipline and study in both eastern and western forms of alchemy – the alchemy of personal growth and transformation" Also, in August 2008, Jais and I with twelve other artist opened the Red Door Gallery and Collective in the Art Murmur district of downtown Oakland. The Red Door was a collective with a vision of art to transform both individuals and communities. Our studio gallery exhibited art from various community service organizations, while our main gallery showcased transformative artists from around the country.
Jais and I also co-curated together two critically acclaimed exhibitions at the Red Door Gallery and Collective, Art and the Body Poltick, (with Lauren Odell Usher ) which was a follow-up show from Art Hazelwoods, Art of Democracy prestigious exhibition.As well we co-curated Myth, Magic, and Mystery, (with Cheja)which Jais documented in an Art catalogue.

My Collectors, their Art ,and their Stories.

2011-01-05T15:55:00.001-08:00

Nordic Cross
Caol 'Ait Graduate Exhibition
Acrylic on Canvas
Size: 18" x 18"

This piece was inspired from an amazing journey in 2007, when my sister Tara and I visited the sacred sites of Ireland, primarily those that exist in the County of Slane. We had an amazing time driving through the beautiful country side visiting the powerful hubs of New Grange, Knowth, and the Hill of Tara. Also, we took an spectacular road trip up to the Giants Causeway in Northern Ireland.This adventure took me back to my ancestral roots as I am both Irish and Scandinavian.
When I returned home I started creating this work. It was a beautiful combination of layers upon layers of color. In my whole meditative process I used a lot of water to make the paint flow on its own accord.
JJ actually acquired this work for his wife Megan. He also wrote an amazing review of my whole solo exhibition Caol A'it. I think this work went to beautiful home. JJ and Megan love sacred sites and shamanism.

Collector: "Art made of, about and for the Earth and our spiritual connection to it has been integral to humanity since art-making first began. I find solace, teaching and identity in the natural and supernatural worlds, and I feel that it is my responsibility to share this experience with others through my art "
JJ Levin

Art Review from Cynthia Hanson

2011-01-05T15:25:00.000-08:00

That is how I feel when I am visiting her studio with her paintings piled up or hanging from the walls all around us. I feel that her paintings are showing me both personal and universal truths. They are about Lisa, of course, but also about myself connecting to that which is dark and deeply within, or that which is light- arising and emerging to engage with in sacred conversation.

I view Lisa as a kind of artist/ archaeologist: using painting as a tool for expression, but in a manner that embodies self-discovery and excavation of connections that yield both personal and universal truths. There is also a strong element of healing in her work, not only for herself but for the Earth. "I see the sprit of the Earth as being continuously tortured, destroyed, and ostracized from civilization," Lisa says."I empathize with her pain and her victimization, but I also marvel at her power, strength, and spiritual resilience. I drawn upon my link with the earth and infuse my paintings with life force to activate the human/ divine connection to help create balance within our collective consciousness," She speaks of the earth as the "Ultimate Artist."I feel that by integrating the divinity of the natural world into my fear of our modern world," she goes on to say, "I will heal-thus equalizing myself and then the world."
Cynthia Hanson

Artist Lisa Rasmussen

Art Tip Networking for Artists and Social Phobs

Metamorphosis of Painting-B

"Just start," Rasmussen said gently. "Art can be anything."

Inspirer William Blake and the Getty

Metamorphosis of Painting-A

Portfolio from TheWhole9.com

I won a Peace Prize for the Hands of Creation!

Take 5: ARTbreak Day 2011

Artist, Dreamer=Heartbreak

The Broken Drum is Transformed with my ART!

Support Our Amazing Cause!!

Painting of the Day! Raramuri @ Terra Firma Gallery

Caol Ait!! Painting of the Day

Re visit from 2008 "What are my Goals as an Artist"

ART=EMPOWERMENT! I was Quoted in the SF Chronicle!

Terra Firma: My New Gallery

Love this image from my Solo Exhibition

Save The Arts Benefit

Interview @ Room Gallery!!

Empathy!!

MOCA: Art in the Streets

Take 5: Art Break Day 2011

philosophical discussion about napkins

Happy Earth Day

Practice Random Acts of ART!

New ART @ ROOM Fine Art Gallery

Support Our Newest Project - Take 5: Art Break Day!

Latest Painting Finished and Ready to Find a Good Home

The Art of Destruction

Paintings for Sale

Super! I sold another piece

Latest works that have SOLD!

Dig Interview @ Room Gallery in San Raphael

Dig In Magazine Interview with Danielle Molinskiof Room Interior Art Gallery

My Collectors, their Art ,and their Stories.

Women Environmental Artists Interview

Work from Circa 2000-Eternal Guild

My Collectors, their Art ,and their Stories.

Image of the Day: It is time to let go...

My Collectors, their Art ,and their Stories.

My Collectors, their Art ,and their Stories.

Art Review from Cynthia Hanson

Dig In Magazine Interview with Danielle Molinski
of Room Interior Art Gallery