Welcome to RiverSea Gallery!

Visit often, as we make changes nearly every day, adding more artists and new artwork.

Take a look at our Exhibits page to find information about our current and past gallery shows. and get advance notice of all events by signing up for our newsletter here.

Thank you for your support of the gallery and of northwest art!  

Email us about an artwork:

This form does not yet contain any fields.
    Search this site:


    About the artist:

    Prior to my formal art training, I worked for four years as a teacher and fifteen years as a psychotherapist. I then created a line of fused glass tiles which allowed me to begin painting full-time about sixteen years ago. The experience of working with the human psyche was internal and personal. Hence, my printmaking and painting focus was almost exclusively figural for some years. This interest has grown to include place and space—landscape and water.

    Majoring in printmaking and painting at PNCA, Portland, I was the recipient of the Louis Bunce Scholarship award, the Printmaking Department scholarship award,and the Local 10 Scholar award. My work is included in the collection of Portland Art Museum, and many private collections. I work and live in Portland, Oregon.

    Having been a painter, printmaker, and glass artist, the encaustic medium is a natural progressive step for my work.  Encaustic painting combines the very process-oriented work of printmaking with the mysterious translucence and transparency of glass, while demanding a foundation of composition, line, and form.  

    Artist's Statement

    Painting with encaustic medium (pigmented beeswax) is my foremost means of expression in reaction to emotions, experiences, images, and interactions with others as well as nature.

    The encaustic medium is process-oriented. Much time is dedicated to heating, scraping, layering, preparing the substrate, and mixing medium. The painting process is both additive and subtractive, complementing the thematic construct of revealing, covering and re-revealing with an often surprising and different consequence. The fluid nature of the encaustic process lends itself to exploration of forms and patterns which combine structured and unstructured shapes. The medium allows the application of translucent and opaque layers, building a complex and varied underpainting. The process demands flexibility, using a heating process which accounts for unexpected changes in composition, form, and color.  

    Other than relationships with people (hence the focus on figural work), water is my life’s common recurring theme. It has appeared in vivid dreams since childhood, and in my adult reality it rules my life as I swim, kayak, snorkel, boat, do underwater photography, and live part-time on two islands. Water is a challenging element to capture artistically, since it is translucent, transparent and reflective. Its ever-changing nature distorts elements within and reflects elements without. The translucence of encaustic wax lends itself admirably to this element.

    This show reflects my connection to water as well as the figure, my two recurring themes in painting. Color, shape, form, value, texture, and line work together to achieve the depiction of both, using the demanding medium of encaustic.

    The Encaustic Painting Process

    Encaustic painting involves painting with molten beeswax, to which a small percentage of natural resin has been added for hardening. Natural pigment is added to small amounts of the basic medium to achieve colors. The paintings are created on a hard substrate (in this case, board). The encaustic medium is melted and applied to the canvas using a brush, which is dipped in pots of molten pigmented wax.

    Each layer of wax medium is fused to the preceding layer using a torch, allowing the layers to become one. Tools used in addition to the brushes include a scraper, which keeps the surface of the painting even, when desired.

    Layering and removal of layers keeps this process-oriented painting method archeological in nature, as there is much digging back into and revealing the often forgotten history of the painting. A non-attachment to the current phase of the painting may develop, which allows for a certain freedom in the work.

    Encaustic painting is one of the oldest painting methods, used by the ancient Egyptians beginning 100-300 AD. Encaustic has occasionally been used by western artists, including Jasper Johns, in the 1960s. There is a recent revival of the medium.