Buried amidst the fabric that had fallen off hangers long time ago was a pile of sequins. Suddenly a rush of memories. I've had this vintage rainbow sequin jumpsuit for years and totally forgot about it. How fabulous.
4.29.2009
unexpected rainbow
Buried amidst the fabric that had fallen off hangers long time ago was a pile of sequins. Suddenly a rush of memories. I've had this vintage rainbow sequin jumpsuit for years and totally forgot about it. How fabulous.
4.20.2009
monochromatic addiction

so sorry. :(

Confession time: I've had a long-standing addiction, by long-standing I mean six months, to black and white. Knowing me and my love of color this admission would seem odd.
I have several theories as to why the love of monochromatic......
a. a grad school class a year ago, required that I must work solely in black and white (much to my dismay and frustration)
b. the set i designed and painted (see below) for the theatre at which I now work, thrived in black, white and gold.
set for Clue: the Musical, fall 2008
Since then I find great excitement in graphic patterns.



close up of "White Words"
4.16.2009
the art of makeup

It's finally here! The anticipation of waiting for Kevyn Aucoin's The Art of Makeup to arrive in the mail almost unbearable. This 14x11" over-sized beauty of a book is filled with 227 full color photographs. In a previous life, I was a makeup artist for several years and Kevyn Aucoin is my hero when it comes to artistic makeup. Brilliant. Beautiful. Knowledgeable. His books have it all. He shares all his "secrets" to the art and includes wonderful journaling about the person behind the makeup. I could read his books for hours. Sadly, I have never owned one until now. This book was published in 1994 and is inspiring. I have yet to find a book on makeup that I would recommend more. Enjoy the photos of his artwork!
4.13.2009
fiber and flowers
With spring tauntingly close in the weather, I've been anticipating pulling out all things floral and frilly to celebrate. One step outside....nope...too cold to go sleeveless. But this batwinged, sweatshirt by Norma Kamali is so often the perfect solution for those in-between days. It's like wearing a comfy blanket, but looks so much better than that option!
norma kamali batwing sweatshirt, thrifted shirt, belt and jeans.
shoes by predictions
shoes by predictions
vintage thrifted belt and ruffled shirt
oops. the ruffle is stuck in the belt :)
oops. the ruffle is stuck in the belt :)
happy easter
art theory nerd moment: notice the simultaneous contrast between the egg and the napkin. lovely isn't it?
4.07.2009
what a woman may be

Lest you think me ignorant, I realize there are many anti-feminist women out there. In fact, during the late 1800s, early 1900s , when women were pushing for their freedom and the right to vote, there were a great deal of "anti-feminists" spreading as much propaganda as the side we hear so often about. And ask anyone of my mother's generation, they all know Phyllis Schlarfly. She is as iconic as feminist, Gloria Steinem.
But in today's society, feminism is just accepted. Of course, there are the "wacko feminists" out there that we all hear about, but overall, every woman is just expected to be feminist. I immediately flash back to the WWII poster of Rosie the Riveter. We grow up thinking this way. Go women.

It's not a topic we really study in school, much less hear any controversy about in the media. We always hear the feminist viewpoint and that "go women" mantra is repeated to us in commercials. Don't take me wrong here, I greatly respect the goal of those commercials....to raise self-esteem and remind girls that we can be anything we dream to be.
Suzanne Braun Levine speaks of feminism in 2009, "I have a 22-year-old daughter who cannot really comprehend that when I got married, I was unable to take out a loan without my husband's signature, or that jobs were listed [as] male and female in the paper. It's inconceivable to her. On the one hand, that's a good thing because it means that she is somewhere else, that she doesn't have to deal with those things. On the other hand, it's a bad thing because she doesn't realize what a struggle women have in most societies."
Coming from the same generation as her daughter, I'd readily agree with her two statements. Feminism has done a world of good. But one must also realize, the feminism of Susan B. Anthony and the feminism of Betty Friedan are worlds apart.
Labor 2008 mixed media
Coming from the same generation as her daughter, I'd readily agree with her two statements. Feminism has done a world of good. But one must also realize, the feminism of Susan B. Anthony and the feminism of Betty Friedan are worlds apart.
Phyllis Schlafly says of feminism in her interview, "The feminist movement is not about success for women. It is about treating women as victims and about telling women that you can't succeed because society is unfair to you, and I think that's a very unfortunate idea to put in the minds of young women because I believe women can do whatever they want. Feminists don't honor successful women. You never hear them talking about Margaret Thatcher. Take Condoleezza Rice. She's a remarkable, successful woman. You don't hear the feminists talk about her or Carly Fiorina or Jeanne Kirkpatrick. They don't talk about them because they are just determined to preach this idea that women are unfairly treated in our society and they need legislation and government and taxpayers' money in order to get them a fair break.
"
Both sides have valid points, really. And like everything in the world, there must be a balance. In many arguments, I'd say the anti-feminists are right. The feminists from the 1970s to today have swung way past their original goal....way beyond equality. Then again, I can't imagine living in a world without the freedom that feminism has granted us. Feminists are correct on so many levels.
The key here, in my opinion is go back to the beginning.....back to the roots. Understand where we, as women, have come from, what we have fought through and who we need to idolize.
There is so much clutter in society today. Stop. Reflect. Look to the past. How can we see where we are going, if we don't know where we came from?
The key here, in my opinion is go back to the beginning.....back to the roots. Understand where we, as women, have come from, what we have fought through and who we need to idolize.
There is so much clutter in society today. Stop. Reflect. Look to the past. How can we see where we are going, if we don't know where we came from?

Labor is a piece I did about a year ago this time with the same message as the last sentence of the previous paragraph. It is primarily made with a heavy duty watercolor paper that was painted, stamped, photo-transferred and written on. Then I went back through and stitched the paper to look like a quilt.
I chose the quilt as the vehicle to convey my message because of the significant symbolism it holds in woman's history. When you look at the top of a beautiful quilt, you see the brilliant colors, patterns and shapes. But if you were to unstitch the top from the back and turn it over, you'd find loose strings, raw edges and the underside of the colorful fabric.....you'd visually see the work that went into the thing of beauty.
Labor is the backside of a quilt. So often we, as women, easily forget the long years of toil and sacrifices that went into giving us freedom....the right to vote....equality. We have a rich and beautiful heritage.
I chose the quilt as the vehicle to convey my message because of the significant symbolism it holds in woman's history. When you look at the top of a beautiful quilt, you see the brilliant colors, patterns and shapes. But if you were to unstitch the top from the back and turn it over, you'd find loose strings, raw edges and the underside of the colorful fabric.....you'd visually see the work that went into the thing of beauty.
Labor is the backside of a quilt. So often we, as women, easily forget the long years of toil and sacrifices that went into giving us freedom....the right to vote....equality. We have a rich and beautiful heritage.
parachute



"THIS COLLECTION WAS DESIGNED IN THE 70'S MADE FROM REAL PARACHUTES. THE STYLES RANGE FROM JUMPSUITS, PANTS JACKETS SWIMSUITS SACK BAGS, SKIRTS. TIMELESS STYLES UNIQUE DESIGN ALL CONTRIBUTE TO THE FACT THAT THIS CATEGORY IS STILL PART OF THE NORMA KAMALI COLLECTION. NEW STYLES ARE ADDED EACH SEASON, CAMOUFLAGE PRINT , AND THE COLORS AVAILABLE IN THE NYLON PARACHUTES ARE WHITE FOR LANDING IN SNOW, BEIGE FOR LANDING IN THE DESERT , DARK GREEN FOR THE JUNGLE, AND BRIGHT ORANGE FOR SOS HELP!.
THE FABRIC IS RIP STOP NYLON AND THE CORDS ARE USED TO ADJUST LENGTH IN THE PARACHUTE STYLES."
THE FABRIC IS RIP STOP NYLON AND THE CORDS ARE USED TO ADJUST LENGTH IN THE PARACHUTE STYLES."
4.06.2009
no worries
Dialects and accents have always fascinated me. And I'll be the first to admit that I am not great at imitation, but ever since meeting Dylan (pictured below) in FL, I've been inspired to learn the Australian accent.
Mid-conversation one day, I asked him to imitate an American accent. Momentarily his beautiful Australian accent was turned off and he began speaking with a Boston accent. I collapsed in laughter. Even more impressive was his feat of taking on the Southern American accent. Even funnier.
Then it was my turn to imitate his Australian and I failed miserably. Each time my accent turned British sounding, not Australian. This greatly amused him. In an effort to help, he'd slowly say a phrase and I'd repeat it. The tiny little nuances of sounds were incredibly difficult.
Mid-conversation one day, I asked him to imitate an American accent. Momentarily his beautiful Australian accent was turned off and he began speaking with a Boston accent. I collapsed in laughter. Even more impressive was his feat of taking on the Southern American accent. Even funnier.
Then it was my turn to imitate his Australian and I failed miserably. Each time my accent turned British sounding, not Australian. This greatly amused him. In an effort to help, he'd slowly say a phrase and I'd repeat it. The tiny little nuances of sounds were incredibly difficult.
To my great excitement I found the Speech Accent Archive. A site full of sound recordings from people all over the world saying the same little paragraph. An accent is always a classy way to dress up your speech. :)

4.03.2009
photo or frick collection

Sometimes a photo, painting, or sculpture will just strike you. Same with a beautiful piece of clothing or pair of shoes. We can all understand this feeling. As I was looking through FotoDecadent, as I sometimes do, this photo above struck me. There were several others of the same fashion in the shoot, but this one in particular seemed the most "true". And by that I mean the most true to a photo realistic painting. To see the rest of the photos, go here.
My mind immediately jumped to my first visit at the Frick. Yes, go ahead, get that laugh out. I made the mistake last summer of staging a play involving a mystery theft at the mansion of Mr. Frick with my group of 8 to 12 year old budding actors . After the first day of rehearsals and non-stop snicking, I change the lead character's name.
Anyways, back on track....the first time I visited the Frick collection in NYC, I was awe-struck by the painting below. She was taller than I was in real life. Seeing her in person, instead of a textbook was breath-taking. The amazing detail in her bracelet specifically kept my attention for at least 15 minutes. I tried to memorize every detail to tuck away into my growing technique. Just beautiful.

Comtesse d'Haussonville, 1845
oil on canvas
51 7/8 in. x 36 1/4 in. (131.76 cm x 92.08 cm)
Purchased by The Frick Collection, 1927.
Bonus painting from the Frick Collection....just because it's lovely.
George Romney (1734- 1802)
Charlotte, Lady Milnes, 1788-1792
oil on canvas (lined)
95 1/8 in. x 58 3/4 in. (241.62 cm x 149.23 cm)
Henry Clay Frick Bequest.
oil on canvas
51 7/8 in. x 36 1/4 in. (131.76 cm x 92.08 cm)
Purchased by The Frick Collection, 1927.
Bonus painting from the Frick Collection....just because it's lovely.

Charlotte, Lady Milnes, 1788-1792
oil on canvas (lined)
95 1/8 in. x 58 3/4 in. (241.62 cm x 149.23 cm)
Henry Clay Frick Bequest.
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