This is a Rights Restricted Document

It has been designed for the exclusive use of presentation of artist Victoria Moore’s Mythic Women to The Grand Master, the Museum Curator and any other internal parties as they deem appropriate for review and consideration of the Masonic Grand Lodge and Museum in Philadelphia Pennsylvania. Two print versions will exist. No additional prints or distribution is anticipated by either party without written permissions. November 2009.

©2009 Victoria Moore | All rights reserved to the artist. or appropriate party


The Illuminated Works Fine Art Magazine 20 A Matter of Spirit Mature Living Magazine



Gaming Lifestyle & Showgirls Influences High Roller Life Magazine 80 ELectrifying Power Art Manhattan Arts International Magazine 90 Commissioning A Portrait High Roller Life Magazine

In the cases where there is a ‘standard’ and ‘petite’ size offered, this edition size total includes the combined total of both dimensions available. Editions are reproduced on canvas. Editions ‘in the round’ require a paper option due to the limited access to round stretcher bars. The artist reserves the right to print a total of 15 from within in the numbered edition in any dimensions or color adjustment as might be required for a custom installation or application.

Ltd. Editions
edition size is 300


mythic women

The Goddess Isis Dance of the Seven Veils Mystical Vision Mystery School of Sophia Consulting the Oracle Themis: Blind Justice Cleopatra: Daughter of the Nile

5 6 7 11 14 16 19

Feminine Mysteries
My Secret Garden Bed of Roses Sweet Treats Inquiring Minds Power Lounging Easy Listening Romantic Read Finishing Touch Anticipation Swept Away Steamy Vision Let It Rain 36 37 38 39 40 40 41 43 44 45 46 47

creative musings
Visionary Vinyards: Francis Ford Coppola It’s a Wrap Inner Walls Unassuming Beauty The Invitation Objects of Affection I Objects of Affection II Morning Rounds Roaring Thunder Latina Aura 60 61 61 62 62 63 63 64 64 65

graphique femme
Sultry Right There Coming Home Sensuous Silk Sleeping Beauty Latoya’s Look Muscle Bound Madonna: Leather Madonna: Lace Her Hardwear Beth as Eve Memories Voyeuristic Tendencies Auspicious Arrival Sanctuary Changing My Image

Presence of Angels II Presence of Angels I Surrender Evidence Manifestation Crossing Guard Kindred Spirits

20 21 22 25 26 29 30

Ethereal Dreams Pillow Talk Warm Nights Dreamscape Slumber Abstract Beauty Sweet Dreams

aquatic wonders
48 51 52 52 53 53 54 Crystal Jelly Jelly Fish Series I Jelly Fish Series II Gossimer Undulation Communion Tickling Her Fancy Mermaid’s Ecstasy Crystaline Couple Overhead Cresting Dance of the Dolphins I Dance of the Dolphins II Merman & Mermaid Sensuous Waves

down the rabbit hole

Between Two Worlds Invocation at Stonecreek Blossoming Beauty

33 34 35

victoria’s angels
Angels Engaged Ethereal Elegance Radiant Passion Wings of Desire Spirit In Motion

55 56 57 58 59

67 68 68 69 69 70 70 71 72 73 73 74 75 76 77

79 80 81 82 82 83 83 84 84 85 85 86 87 88 88 89


Lance’s Armor Commissioner Robb Pitts Nora Gunther Ulysees Glee Midnight in the Garden Parke’s Study

90 91 92 92 93 93

misc. images
Self Portrait Lean On Me Rainbow Lotus

Title Page Dedication Back Cover

To begin from the void of blank canvas and create substance always elevates me. Capturing an image or a concept and suspending it in your mind is a provocative endeavor. When the spark of a moment has passed and the memory is all that remains, to breathe life into it again visually invokes the balancing of opposing forces; discipline and the creative spirit. The canvas transforms, becoming a permanent record and timeless home for that expressive energy. The Mysteries of life reveal themselves through the creative process. Exploration takes place not only on the canvas, it becomes a journey within. My hand is guided by the mind’s eye as I explore the fluidity of fantasy and reality, personal journeys and the inherently spiritual nature of our inner and outer worlds. Raised more with esoteric teachings and philosophies than influences of organized religions, I was very much a blank canvas when I had a near-death experience at the age of 22. The profound experience and the visual residue continue to demand attention. It inspired my search beyond physical realities as I delved into the sublime realm of the metaphysical. Plunging into ethereal worlds often reveals equally delightful discoveries as submerging oneself into physical indulgences. As a child of the San Francisco free-to-be-me sixties and seventies, the influence of culture movements and the emergence of the Divine Feminine began to weave throughout my work. As a human explorer, my hope is to continue the journey with a sense of wonder into the ever deeper Mysteries. As an artist, I hope to discover new ways to illuminate them. I have included concepts about the evolution of works that seemed appropriate for your introduction, I have presented articles about relative bodies of work. Some were edited to avoid repetition of historical information. Namast´. e


“The Illuminated Works of Victoria Moore”
by Jamie Forbes Fine art magazine

of Myth & Mysteries…

In her research and contemplation of the teachings of the ancient philosophers over the past two decades, Victoria Moore’s work has evolved along the path of her personal spiritual beliefs, which were intensified after a near-death experience in her early twenties. She has created an expanding series that explores iconic symbolism and its concealed knowledge embracing ancient mythical teachings in a modern interpretation. Victoria’s paintings relay universal and sacred wisdom that have been passed down throughout the ages and believes that the symbolism associated with mythic journeys illuminates nature and human imagination. Moore, whose strongest influence comes from The Mystery Schools, continues to explore the divine feminine with her latest work The Mystery School of Sophia. She executes this philosophic imagery exquisitely in her Mythic Women series. “The revelation of truth is a multilayer process, whether hidden by a cloak or veil,” says Victoria, who considers and executes these thoughts in the paintings: The Goddess Isis, Mystical Visions, Dance of the Seven Veils and Themis: Blind Justice. Each image presented in this expanding series establishes a modern painters’ interpretation of ancient doctrines and infuses a fresh perspective in the miraculous layers of human exploration. The Pillars are the foundation for the knowledge that is found in most esoteric traditions, represent dualistic ideals in Moore’s work. They are not only used as a reference to both strength and support, but further represent the balance of beauty and strength, severity and mercy, feminine and masculine, black and white, active and passive. Moore says, “In the research of these works I have discovered great truths. Within them have learned that we must all find and follow our own path to personal understandings. While I have enjoyed the other bodies of my work, this series is nearest to my heart. As I look back on these paintings, either they mature or I do. It seems I gain a broader understanding of their meanings over time. Wherever this passion takes me with this series, I have come to appreciate that there is a deeper meaning to the progression and a statement that will most certainly outlive me.” “If ‘myth’ is defined as having an imaginary and unverifiable existence, then I hope my legacy leaves not only evidence that these concepts move beyond myth, but that in the 20th century, they are still relevant, intriguing and will continue to enlighten and inspire generations to come.”


Seizing Moments
Victoria didn’t realize when she began her creative quest, that most of the mythologies of classical nations were originally rituals of secret societies. Esoteric philosophies were often taught by secret organizations. Moore takes her viewers on an “exoteric” visual journey. Her deep soul searching has taken on its own energy, leading her further into her journey with each painting. Her aim is to take you on a path of discovery. Her work will inspire you to explore the thread of truth within divine teachings that runs through the entire Mythic Women series. Stylistically, she often blends old school with new, the past with the present in an attempt to convey her message through her artwork. Victoria’s work has gained international recognition, awards and the attention of the late Dept. Director Don Lopez, who selected twoworks from her ‘Holes in the Sky’ series for the permanent collection of The Smithsonian National Air & Space Museum. She is a member of the Women’s Caucus for the Arts, and a founding member of the National Museum of Women In The Arts. and she is a past State Ambassador volunteer for the Portrait Society of America. Breathing life into these iconic women is an annual ritual I look forward to. They have become a vehicle for me explore aspects of diverse cultures, philosophies and religons in a way that reveals relevance in modern times. Most elements have been researched for their relevance such as the Mystery School of Sophia which includes 79 plus symbols that emerged in relevent documents. It is evident now this has become a life-long series of work as it now has moved well into the second decade. The source material research for the elements is a part of the process I love, as it always opens unexpected doors. While on staff at Lawrence Livermore Labs as a technical illustrator I had access to some of the most brilliant physicists in the world. When I had a near-death experience at the age of 22 I had not ever been exposed to organized religions, so I went to them to help understand the very real, substantive out-of-body experience. Their answers led me to a lifetime of spiritual research. In the process, I stumbled on many cultures, religions and philosophies. These paintings are a result of those very personal explorations.


The Goddesses Isis
The Egyptian goddess Isis played an important role in the development of modern religions, although her influence has been largely forgotten. Isis, the Egyptian goddess of rebirth remains one of the most familiar images of empowered and utter femininity. The Goddess Isis was the first daughter of Geb, God of the Earth, and Nut, the Goddess of the Over-arching Sky. Isis was born on the first day between the first years of creation, and was adored by her human followers. Unlike the other Egyptian goddesses, the Goddess Isis spent time among her people, teaching women how to grind corn and make bread, spin flax, weave cloth, and how to tame men enough to live with them. Isis taught her people the skills of reading and agriculture and was worshipped as the goddess of medicine and wisdom. More than any other of the ancient Egyptian goddesses, Isis embodied the characteristics of all the lesser goddesses that preceded her. Isis became the model on which future generations of female deities in other cultures were to be based. As the personification of the “complete female,” Isis was called “The One Who Is All,” Isis Panthea (“Isis the All Goddess”), and the “Lady of Ten-Thousand Names.” The goddess Isis, a moon goddess, gave birth to Horus, the God of the Sun. Together, Isis and Horus created and sustained all life and were the saviors of their people. Isis became the most powerful of the gods and goddesses in the ancient world. Ra, the God of the Sun, originally had the greatest power. But Ra was uncaring, and the people of the world suffered greatly during his reign. Isis was called the Mother of Life, but she was also known as the Crone of Death. Her immense powers earned her the titles of “The Giver of Life” and “Goddess of Magic.” Isis was the Goddess of the Earth in ancient Egypt and loved her brother Osiris. When they married, Osiris became the first King of Earth. Their brother Set, immensely jealous of their powers, murdered Osiris so he could usurp the throne. There are many variations of the Isis myth... in some, the goddess consumed the dismembered parts of her husband and brought Osiris back to life, reincarnating him as her son Horus. In one of the most beautiful renditions, Isis turns into a sparrowhawk and hovers over the body of Osiris, fanning life back into him with her long wings. Regardless of the differences, each version speaks of the power over life and death that the goddess Isis symbolizes the deep mysteries of the feminine ability to create and to bring life from that which is lifeless. The festivities surrounding the flooding of the Nile each year, originally named “The Night of the Tear-Drop” in remembrance of the extent of the Isis’ lamentation of the death of Osiris, her tears so plentiful they caused the Nile to overflow, is now celebrated annually by Egyptian Muslims and is called “The Night of the Drop.” She was worshipped throughout the Greco-Roman world. During the fourth century when Christianity was making its foothold in the Roman Empire, her worshippers founded the first Madonna cults in order to keep her influence alive.


Some early Christians called themselves Pastophori, meaning the shepherds or servants of Isis. which may be where the word “pastors” originated. The influence of Isis is still seen in the Christian ikons of the faithful wife and loving mother. Indeed, the ancient images of Isis nursing the infant Horus inspired the style of portraits of mother and child for centuries, including those of the “Madonna and Child.” Her role as a guide to the Underworld was often portrayed with winged arms outstretched in a protective position. The image of the wings of Isis was incorporated into the Egyptian throne on which the pharaohs would sit, the wings of Isis protecting them as in the ‘Egyptian Room’ from the photos included. The Goddess Isis has many gifts to share with modern women. She embodies the strengths of the feminine, the capacity to feel deeply about relationships, the act of creation, and the source of sustenance and protection. It is also the Goddess Isis who shows us how we can use our personal gifts to create the life we desire rather than simply opposing that which we do not like. The myths of Isis and Osiris caution us about the need for occasional renewal and reconnection in our relationships. She was the friend of slaves, sinners, artisans, and the downtrodden, as well as listening associated with Osiris, lord of the underworld (Duat), and was considered his wife.

Goddess Isis 60 x 36” | oil on masonite ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”

dance of the Seven Veils
Modern day mystics see the Dance of the Seven Veils and the story of Inanna’s descent as a metaphor for enlightenment, shedding “veils” of illusion on the path to deeper spirituality of self-realization. These “seven veils” are, in order, Dreams, Reason, Passion, Bliss, Courage, Compassion, and Knowledge. Some have claimed that it has its roots in an ancient myth about the Sumerian goddess Inanna or the Babylonian goddess Ishtar. In this myth, the goddess descends into the underworld and must pass through seven gates on her journey, at each of which she must surrender a piece of jewelry or a symbol of her royalty. The number seven was significant to the ancients, as it is the number of heavenly bodies visible to the naked eye without a telescope: Sun, Moon, Mercury, Venus, Mars, Saturn and Jupiter. Therefore, there are seven major gods in many ancient religions, and the number seven appears in many myths and classification systems. It is not a traditional Middle Eastern dance, but more probably a Western invention steeped in Orientalist misconceptions, although some believe it to have associations to ancient Eastern religions. In the modern Western world, The Dance of the Seven Veils is often associated with striptease, although some belly dancers perform more artistic interpretations. Women through the years have performed memorable and often scandalous versions of the dance. In The Dance of the Seven Veils, the dancer begins the dance wearing seven veils and removes them one by one as she dances, often, but not always, ending the dance nude or nearly so. As each of her veils drops, she comes to an epiphany about life.

dance of Seven Veils 60 x 36” | oil on masonite w/texture ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”

Mystical Vision
Science today seems to be pointing beyond itself or at least beyond its materialistic boundaries to what we might call a ‘meta-science’ which admits the possibility that consciousness may be primary. And in many religious traditions, there has been a re-awakening to the esoteric wisdom hidden within the outer forms, an esoteric wisdom which by its very nature participates in the mystical. In the mid-eighties, Dr. Annie Besant spoke of a ‘wave of mysticism passing over the world’ where many people express a hunger, an inner yearning, for a genuine spiritual experience. Not satisfied with the answers which either science or religion has to offer, many have sought out teachers, gurus, psychics of varying degrees of reliability, anyone who seems to promise fulfilment of an inner need. At the same time, the religious philosopher, Hans Jonas, suggests there exists a historical sequence of development that leads from objectification, as he alls it, to interiorization. In his view, one generation’s conceptual structure becomes the next generation’s guide to inner transformation. This is to say that our ideas, our beliefs, all that constitutes our basic world-view must become known experience in such a manner as to bring about a radical change in our lives. Such a sequential development, however, is not only a development from generation to generation, but must occur within us in a kind of continual pattern of assimilation. Every great teacher, for example, has recognized the need to translate objective theory into practical experience.

Mystical Vision 60 x 36” | oil on masonite w/texture ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”

Explorations of Science & Mysticism
Essentially the experience which we may call mystical is the experience of our interconnectedness. Dr Gillian Ross discovered the mystic vision is an ‘experience of the heart’, and to quote Dr Ross further, ‘Mysticism and compassion are inseparable.’ The vision that transforms becomes indeed transformative. Because we are the world, to put the matter simply, the vision that transforms us transforms the world. Do we not all have experiences that speak to us of something greater than the sum of these various impressions? Authentic mystical experience implies a complete transcendence of any separate self sense and therefore an awakening to an awareness of non-duality. No one can deny the transformative nature of such awareness. As Dr Neuman suggested, the true development of consciousness occurs through archetypal encounters which give a mystical stamp to the inner development of every person. Further, he proposed, it is possible to see the major phases of the life cycle in terms of the growth of mystical consciousness. Three major stages may be identified as early or source mysticism, associated with childhood, a zenith mysticism identified with maturity, and a last stage or death mysticism characteristic of the individual who has truly ‘died’ to the separated self, the one we often describe as liberated. Representationally, the cloak she wears protects and hides the Truth while the magnification of the fabric of life symbolizes the looking closer at it, through the refined crystal. The light within, the spark of Divinity to light the way. Mysticism extends back into that unknown sphere or the realm of the unconscious before the emergence of any sense of a separate ‘I’. Zenith mysticism is experienced in those transcendent moments when the ‘I’ is not present, while death or immortality mysticism is the realization of the One without a second and is indeed the experience of the extinguishing of any sense of a separate self. Perceived as simultaneously present within us, these stages constitute the totality of our experiences of pure Being. The mark of authenticity of the mystic vision, however, lies neither in some clearly demarcated progression in the growth of consciousness nor in some collective listing of characteristics of the mystical experience, but rather in the transformative impact which even a partial experience of the unitive state has upon our ordinary lives. All too often, visionary experiences end up being used in the service of ego-centered goals; the mystic vision not only results in an inner sense of renewal and peace, but even more profoundly in an outpouring of love and compassion for the suffering of the world.


Quite simply, the authentic mystical experience tends to manifest in ordinary life as ethical behavior founded on a genuine realization, far more substantial than theory, that all life is one. Annie Besant, referred to this essential transformative nature of the experience: That is the splendor of the mystic life, this power of service which only this inner form of realization can possibly give to any one of us. We are climbing towards it as we begin to understand something of its possibilities, as we live a little of the truth we know.... If you would become a mystic... never pretend to believe a truth which you are not willing to act out in the world... for truth is only truth when you have learned to live it. Mystic vision, may be said to constitute an in-break of the creative-sacred into our lives, in our immediate, existential, situation in such a manner as to cause an out-break of genuine and unconditional love for all beings. We begin to understand why the mystical vision authenticates itself by the transformation that occurs in that ‘personal nature’ because we now better understand the underlying unity of existence. We know ourselves as part of a greater whole in which the personal self no longer clamors for attention. The whole manner of our seeing, how we look at the world, is changing.

Our Human Destiny, It May Be Said, Is To Know.
To know fully and wholly, not simply to theorize, to have opinions, to conjecture, to believe, but really to know is to be the mystic. To know is to encounter reality at every moment of time, in every place in space. Out of that encounter, which is truly the mystic experience, arises naturally a new way of living, a way of living that is both simple and beautiful, a way that is one of commitment to the cosmos, to our fellow human beings, to life itself, a commitment of the personal self to the One Self seated in the heart of all beings. One’s action is one’s presence in the world and one’s presence in the world is action in accord with the ethic of love, compassion, harmony. Out of our encounter with reality, with the vision of oneness, we fulfill the challenge given by Krishna to Arjuna, when the Divine spoke to the human, saying ‘Be thou the efficient cause.’ Out of the vision, the experience, the moment that we call mystical, arises a new being, a transformed being, whose very life is love and compassion. Krishna to Arjuna, when the Divine spoke to the human, saying ‘Be thou the efficient cause.. Out of the vision, the experience, the moment that we call mystical, arises a new being, a transformed being, whose very life is love and compassion.


The Mystery School of Sophia
The concept and historical references to Sophia echo into centuries past. She is the personification of the Divine Feminine and is referenced as the feminine companion to God. She symbolizes the womb of creation, bringing forth all life from the sacred marriage of opposing energies: spirit & matter, heaven & earth, intellect & intuition. Also considered the ‘Goddess of Wisdom,’ according to the Book of Proverbs, “Wisdom has built her house; she has hewn it out of Seven Pillars.” The Greek religious temples and philosophical academies were supported by pillars carved in the likeness of women, as the priestesses of the Great Goddess were also the original “pillars of the church.” Known as the Seven Pillars of Wisdom: Arithmetic, Geometry, Astronomy, Grammar, Rhetoric, Dialectic,and Music. These correspond to the seven gifts of the Holy Spirit: Wisdom, Understanding, Counsel, Fortitude, Knowledge, Piety, and Fear of the Lord. As the viewer, I have placed you at the location of the Seventh pillar. This painting encompass no less than 79 icons and symbols related to Sophia and The Mysteries. Appearing as a dove, Sophia was identified with the Holy Spirit in The Gospels. In the most simplistic of terms does this space allow for explaining the symbology. She holds the caduceus: the winged staff entwined with two serpents. The serpent is an ancient symbol of duality. It is considered both masculine and feminine, solar and lunar, medicinal and poisonous, preserver and destroyer, spiritual and sensual. In addition, the synthesis of opposing energies is represented by the Rosy Cross, from which emerges the sheaf of grain, representing the ultimate revelation of the Mysteries. On the left of Sophia, the feminine energies are symbolized by the moon and the pool of water. The moon governs the tidal cycles and is associated with the waters of creation. The moon also symbolizes the material realm. As the moon reflects the light of the sun, matter is the reflection of spirit. In addition, the moon illuminates the invisible world which corresponds to the feminine gift of intuition. To the right of Sophia, the masculine energies are represented by the sun and the element of fire. The sun generates heat and light which sustains all life. The sun also symbolizes the spiritual realm. As the sun generates light, the spiritual realm is composed of pure light. In addition, the sun illuminates the visible world which corresponds to the masculine characteristic of intellect. In ancient times, the seven stars of the Pleiades marked the point of the vernal equinox which occurred in the constellation of Taurus. The two males reclining near the feet of Sophia represent the sacred king and his deputy who each ruled for one half of the year. This corresponds to the Ancient Poetic Theme: the God of the Waxing Year constantly striving against the God of the Waning Year for the love of the Triple Goddess. One male sits near the point of the winter solstice, known as the Gate of the Gods, where the soul ascends upon the solar path to the heavenly realm of spirit. The other male sits near the point of the summer solstice, known as the Gate of Men, where the soul descends upon the lunar path to the physical realm of matter. Both of these cycles harmoniously complement each other as the eternally revolving Wheel of Life, or Zodiac.


The stars around the moon and beneath of dove are five-ointed pentacles. These are associated with the goddess Venus, as her planet forms a five-pointed star within the circle of the zodiac every eight years. Around the head of Sophia are six-pointed stars which symbolize the union of masculine and feminine energies. To her right is a lily which is her sacred flower and symbolizes both purity and innocence. To her left is a lotus, the Eastern counterpart to the lily, which also represents enlightenment. Near the lotus is a crown which symbolizes divinity, sovereignty, power, and royalty. Finally, in her right hand she holds a book, the universal symbol of knowledge and wisdom. Sophia is also the embodiment of the Many-Named Lunar Goddess, crowned with a halo of twelve stars, which correspond to the twelve months, or moons, of the solar year. Upon her forehead, she wears the symbol of the triple moon. This corresponds to the three visible lunar phases of the Triple Goddess: the Virgin (Waxing Moon), the Mother (Full Moon), and the Crone (Waning Moon). Furthermore, her triple aspect is represented by her three daughters Faith, Hope, and Charity. According to the ancients, the Earth is encircled by seven heavens or spheres. Above them is the eighth sphere of the fixed stars. Also, behind the eighth sphere is the heavenly light of the Divine which shines through the crystal sphere and appears as stars. The All-Seeing Eye symbolizes illumination and was originally an emblem of Maat, the Egyptian goddess of justice.
The Mystery School of Sophia 48 x 30” | oil on canvas ltd. edition of 300 | standard 38.25 x 24” | petite 28.75 x 18”

The Book Sophia Offers The Initiate
Ouroboros is the ancient serpent seen in the act of eating its own tail, symbolizing the eternal cycle of birth and death and rebirth. Its current name comes from the Greek for “tail-eater,” for it is ever devouring itself, but it can be found in many mythologies over a vast span of time, from the Hindu to the Norse and even the Egyptian. Even as far back as the ancient Egyptian culture, the serpent already symbolized what it has come to mean through the ages - the essential unity of the universe, the eternal oneness that is at the core of all being. Through its union with itself we see the ubiquitous processes of creation and destruction, the endless repetitive patterns of the universe. Thus Ouroboros is the integration of opposites into the completeness of all reality, the realization that there are no others, only the One. Carl Jung described the serpent this way: Here the symbol of Ouroboros represents the continuity of life as a persistent process in the universe. The perpetuation of life necessitates three characteristics: the biological processes that sustain it, the instinctual drive to satisfy those processes, and the physical ability to actualize that drive. Where we are mistaken, I think, is in believing that “life” as we think of it is something separate from the other processes that the universe has unfolded in its glorious history. We tend to think in terms of needs and their satisfaction when in reality the universe flows in a pattern that behaves a certain way, true to its integrity. The process we refer to as life is simply a continuation of these myriad universal processes that stem from each other and feed each other in an unimaginably interconnected web of action, reaction and interaction. As sentient beings we seem to know ourselves, if only in a superficial, limited way, and in that sense it appears that we have stepped out of the pattern established by history. But exactly what that knowledge means may ultimately be unknowable to us. And what we may do with it is one of the great hopes and mysteries of the human condition. In any case, it is this continuity that is symbolized by the Ouroboros - from atoms to the stars to humankind, the cosmic path is continuous and clear.

Sophia: The Mother oF Faith, Hope & Charity
She brings meaning to human experience with her gift of understanding “the bigger picture.” Only when you stand back, gaining some emotional distance, can you see that even the most traumatic experiences can be the birthplace of your most treasured strengths. It is only in times of great stress that heroic feats are truly appreciated. Faith, hope, and charity are Sofia’s gifts to us... gifts that can overcome the despair, confusion, and suffering that frame human life. Sophia reminds you that clear vision and understanding line the path that leads to the discovery of the meaning of your life. Sophia’s Daughters: Faith, Hope & Charity are the Three Cornerstone Virtues.

The Mystery School oF Sophia’ Symbols & Iconography
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. The 12 levels of the Archangelic plane Hagia Sophia Dome Windows Sun (Solar) Masculine Day Forces Moon (Lunar) Feminine Night Forces Beams of Light Into Minds of Initiates Owl Wisdom Angelic Child Often seen w/Sophia All Seeing Eye Feminine Expression Dove Holy Spirit Ascending Angel Lighting the way Up Decending Angel Lighting the way Down Cross of Light Dove carries in claws 6 Stars Below Cross of Light Pyramid Knowledge Center Rosey Cross Eye in Heart Wheat Shaft Infinity Lunar phases Pillar of Wisdom 1 Arithmetic Pillar of Wisdom 2 Astronomy Pillar of Wisdom 3 Grammer Pillar of Wisdom 4 Rhetoric Pillar of Wisdom 5 Dialectic Pillar of Wisdom 6 Music Pillar of Wisdom 7 Geometry (out of frame) Initiate at Pillar 7 You, the Viewer Staircase: Degrees of Enlightenment Steps or Stages of Alchemical Purification 29. 30. 31. 32. 33. 34. 35. 36. 37. 38 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. Element Earth Element Air Element Fire Element Water Upper Universe Ceiling Constellation Lower Universe WIth hole & ripple Milky way Urn For fire Smoke from Fire Smudging: Fragrance of Prayer 12 Stars Around the Lunar Moon Faith, Hope & Charity Sophia’s Daughters Faith Cross Hope Heart Charity Anchor Chalice Sophia’s w/equal length bars making the cross Chalice Christ’s w/Christian cross w/a < to the left Crown Traditional Style Eagle On Crown Palm Leaf On Crown Lapis The ultimate in purification Flowers The “Sophia” flower in pot Vessel Surrounded w/Eastern & Western Flower Blossoms Green Tablet Crystals Transmit/Communication Lily Western Spiritual Traditions Lotus Eastern Spiritual Traditions 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. Bee’s Three Antakytheara Mechinism The Byss Or the Abyss Male Left Male Right The Ripple Effect Zodiac Wheel of Life Cosmic Egg Goose Laid Cosmic Egg Nest Solar & Lunar Crown 12 Starred Halo for Sophia Rainbow Light from halo on Faith, Hope & Charity Winged Ceduceus with Lapis stone in the top Dual Snakes Sword Warrior Philosopher’s Stone ‘Y’ on her dress Fem. Yanni Book of Wisdom Osobusus On Cover of Book Gold Pages Edges Book 4 Squared Metal corners on t Book of Wisdom Sophia’s Veil Hides Truths Eye of Horus Bracelet Sophia: Goddess of Wisdom, Virgin of the World


Consulting the Oracle 30 x 48” | oil on canvas | ltd. edition of 300 | standard 38.25 x 24” | petite 28.75 x 18”


consulting the oracle
“Know Thyself.” This famous Greek maxim is attributed to any number of ancient Greek philosophers, including the great Socrates. It was originally the admonition “Gnothi se auton” inscribed on the Sun god Apollo’s Oracle of Delphi temple in ancient Greece. Note: There are at least five different major versions (with several variations of each version) of exactly how the Oracle of Delphi came into being. Delphi is perhaps best-known for the oracle at the sanctuary that became dedicated to Apollo during the classical period. The priestess of the oracle at Delphi was known as the Pythia. Apollo spoke through his oracles, who had to be older women of a blameless life chosen from among the peasants of the area. When Apollo slew Python, its body fell into the earthly fissure, according to legend, and fumes arose from its decomposing body. Intoxicated by the vapors, the sibyl/oracle would fall into a trance, allowing Apollo to possess her spirit. It was in this state she prophesied. While in a trance the Pythia “raved” - probably a form of ecstatic speech - and her ravings were “translated” by the priests of the temple into elegant hexameters. People consulted the Delphic oracle on everything from important matters of public policy to personal affairs. The Seven Sages of Greece (c. 620 BC–550 BC) was the title given by Greek tradition to seven wise ancient Greek men who were philosophers, statesmen and law-givers. The Seven Sages are known for their practical wisdom which “consisted of pithy and memorable dicta.” The best were put up on the wall of the temple at Delphi as dedications to the god Apollo. Plato provides the earliest list of the so-called Seven Sages; although Simonides, a century earlier, sets out to answer Pittacus and Cleobulus as though striving for a place on the list. The standard list is: Solon, Miden Agan - “Nothing in excess”: Chilon of Sparta - “Know thyself ”; Thales of Miletus - “To bring surety brings ruin”: Bias of Priene - “Too many workers spoil the work”; Cleobulus of Lindos - “Moderation is the chief good”; Solon of Athens “Nothing in excess”; Pittacus of Mitylene - “Know thine opportunity”; Periander of Corinth - “Forethought in all things” Modern science proves the myth of the ‘trances.’ The Temple of Apollo at Delphi sits on crisscrossing geological faults, according to a team of scientists led by archaeologist John Hale of the University of Louisville and geologist Jelle Zeilinga de Boer of Wesleyan University in Connecticut. In re-embracing the ancients’ view that intoxicants emanated from water bubbling from a rock fissure beneath the temple, Hale said, the team is challenging a century of research that held “that the priests and oracle were deceiving the public and inventing stories” to boost the shrine’s importance. Instead, it appears the ancients were right. And so it proved. It seems most of the time, the priestess was conscious, clever and chatty, but on occasion she flipped out, and things got nasty. The bad trips, including a death reported by Plutarch, had led past Delphi administrators to swap out the young maidens they used to put in the seat for more levelheaded matrons.


Themis: Blind Justice
Themis built the Oracle at Delphi and was herself oracular. According to another legend, Themis received the Oracle at Delphi from Gaia and later gave it to Phoebe. When Themis is disregarded, Nemesis brings just and wrathful retribution. Themis is an ancient Greek goddess. She is described as “of good counsel,” and is the embodiment of divine order, law, and custom. Themis means “law of nature” rather than human ordinance, literally “that which is put in place.” To the ancient Greeks she was originally the organizer of the “communal affairs of humans, particularly assemblies.” The ability of the goddess Themis to foresee the future enabled her to become one of the Oracles of Delphi, which in turn led to her establishment as the Goddess of Divine Justice. Themis and Dike were both Greek goddesses associated with Justice. The role of Themis was the embodiment of order. Sometimes she is called the mother of Dike. Themis was also a goddess of prophecy and of oaths. She is sometimes associated with the Earth goddess, her mother Gaia. Themis is untranslatable. A gift of the gods and a mark of civilized existence, sometimes it means right custom, proper procedure, social order, and sometimes merely the will of the gods. Finley adds, “There was themis custom, tradition, folk-ways, mores, whatever we may call it, the enormous power of ‘it is (or is not) done’. The world of Odysseus had a highly developed sense of what was fitting and proper.”

Themis: Blind Justice 60 x 32” | oil on masonite | ltd. edition of 300 | standard 40 x 24” | Petite 30 x 18”

Themis presided over the proper relation between man and woman, the basis of the rightly ordered family. Themis was present at Delos to witness the birth of Apollo. According to Ovid, it was Themis rather than Zeus who told Deucalion to throw the bones of “his Mother” over his shoulder to create a new race of humankind after the Deluge. A Roman equivalent of one aspect of Hellenic Themis, as the personification of the divine rightness of law, was Iustitia (Anglicized as Justitia). Her origins are in civic abstractions of a Roman mind-set, rather than archaic mythology, so drawing comparisons is not fruitful. Portrayed as an impassive woman, holding scales and a double-edged sword (sometimes a cornucopia), and since the 1500s usually shown blindfolded, the sculpted figure outside a courthouse is Iustitia or Lady Justice, not Themis. Themis judged whether the dead went to Tartarus or the Elysian Fields and is depicted as blindfolded so as to be impartial. When people were assigned to Tartarus, the Erinyes took them. When alive, those who thwarted Themis, were visited by Nemesis, the personification or goddess of divine retribution. Themis was the first deity of prophecy and in charge of the Delphic oracle, until she gave it to Apollo. Themis was the Titan Goddess of divine law and order - the traditional rules of conduct first established by the gods. She was also a prophetic goddess who presided over the most ancient oracles. In this role, she was the divine voice who first instructed mankind in the primal laws of justice and morality, such as the precepts of piety, the rules of hospitality, good governance, conduct of assembly, and pious offerings to the gods. In Greek, the word themis referred to divine law, those rules of conduct long established by custom. Unlike the word nomos, the term was not usually used to describe laws of human decree. Followers of Zeus claimed that it was with him that Themis produced the Three Fates. Nona (Clotho), spun the thread of life, Decima (Lachesis), measured the thread of life. Morta (Atropos) - was the cutter of the thread of life.


Cleopatra VII: Daughter of the Nile
Though Cleopatra bore the ancient Egyptian title of Pharaoh, the Ptolemaic dynasty was Hellenistic, having been founded 300 years earlier. As such, Cleopatra’s language was the Greek spoken by the Hellenic aristocracy, though she was reputed to be the first ruler of the dynasty to learn Egyptian. She also adopted common Egyptian beliefs and deities. Her patron goddess was Isis, and thus during her reign it was believed that she was the re-incarnation and embodiment of the ‘Goddess of Wisdom.’ In most depictions, Cleopatra is put forward as a great beauty and her successive conquests of the world’s most powerful men is taken to be proof of her aesthetic and sexual appeal. The ancient sources, particularly the Roman ones, are in general agreement that Cleopatra killed herself by inducing an Egyptian cobra to bite her. The oldest source is Strabo, who was alive at the time of the event, and might even have been in Alexandria. He says that there are two stories: that she applied a toxic ointment, or that she was bitten by an asp. Cassius Dio also spoke of Cleopatra’s allure: “For she was a woman of surpassing beauty, and at that time, when she was in the prime of her youth, she was most striking; she also possessed a most charming voice and knowledge of how to make herself agreeable to every one. Being brilliant to look upon and to listen to, with the power to subjugate every one and she reposed in her beauty all her claims to the throne.” These accounts influenced later cultural depictions of Cleopatra, which typically present her using her charms to influence the most powerful men in the Western world.


Cleopatra: Daughter of the Nile 24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30”


A Matter of Spirit
By Johnny BlueStar: Mature Living Magazine

Victoria is currently exhibiting at Palm Springs Celebrity Art. As she explains, her influences extend somewhat beyond both art school and the history of art… somewhere-beyond infinity. “I cannot recall a time in my life that drawing and painting were not beckoning me. The first paid commission came at age fifteen and the first one-woman show in the San Francisco Bay Area introduced thirty works was at

Presence of Angels II 36 x 60” | oil on masonite w/texture & foil | ltd. edition of 300 | standard 17 x 40” | petite 12 x 28”


Presence of Angels I 36 x 60” | oil on masonite w/texture & foil | ltd. edition of 300 | standard 17 x 40” | petite 12 x 28”

the age of twenty-two. While studying fine art techniques in various disciplines, I slowly acquired consistent collectors. A near-death experience the following year began my journey in looking past the surface of nearly everything in my life. As I was growing on both spiritual and creative levels, it has been interesting to watch my artistic growth and life experiences reflected on canvas. I was 23 years old (1979) and bad been dealing with a medical health issue for over 18 months, often going to an emergency room by ambulance. The staff there had come to know me, and my emergency status fairly me well. Most had left the ER to get med’s and my charts, etc. While laying on the table, it felt like I ‘snapped’ out of my body and was suddenly looking over the scene below me from a comer of the room, which now seemed to not have a ceiling, as it felt very ‘open’ from above and behind ‘me’ ... very bright white & warm, but slightly out of focus. “



A Near-Death Event Catapults Artist to New Focus in Work.
I did not recognize for quite some time, that the person on the ER table was me. It felt like I was just an observer of someone else’s emergency situation. I kept looking around the room, trying to understand why I was viewing this, but also having this feeling of a presence ‘behind’ me. It felt very much like I bad a physical body. I experienced the feeling of sitting Indian style, egs crossed under me with both elbows resting on my knees, and my bead resting in my hands, very casually watching what was going on below, somewhat ambivalent and detached. I would get the feeling of being drawn by the other energies! As if there were personalities or beings beckoning from behind me and I kept looking over my shoulder to acknowledge them. I’d smile and feel comforted by their presence but would return my focus then to the scene below. This happened a number of times, and each time the draw to go to them was stronger. Suddenly the body on the table then went into total distress with convulsions, and it took my attention back to the scene below. I concentrated on it, and remember thinking. ‘’Wow, they are REALLY in trouble down there” Only then did I realize that it was me lying on the table. Now the conscious mental processes started... How could I be there and here? Why was I not afraid or feeling pain? What could I do or say to prove to the people in that room later that I was “out here”? Who was beckoning me from ‘behind me”. What was behind me? I looked over my shoulder again, and saw vague forms of energy bodies emerging from a cylinder/tunnel type shape of intense bright light... and I wanted to go just see who or what ‘it’ or ‘they’ were, but I kept being drawn back to viewing the scene below. It seemed like this continued 3-4 times. The last time I refocused on my body on the table, I kept thinking how amazing it was to feel the ‘body’ I was experiencing in this different dimension... I tried to control it as well. Changing my position, moving to another part of the room to get a different perspective, the energy bodies always seemed to be behind me no matter where I went. I looked around the room, trying to find something to conclusively prove later that I had seen the room from this vantage point... a dust ball, or ANYTHING left lying on the tops of the cabinets to validate my experience. As I watch the ER staff return and start managing the convulsing body on the table. I saw them hold me down and insert the IV’s. The room took a few big spins and I woke up hours later in an Intensive Care Unit.

Surrender 36 x 48” | oil on masonite | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24” 23

As this was the late 70’s... there had not been much written on the subject of NDE or OBE, so it took much effort to research. Raymond Moody was one of the few pioneers at the time, and I was working closely with the physicists at Lawrence Livermore Labs and NASA (as a visual artist contractor when I was having all these health problems) so I ran right to them for answers or explanations. These scientists so surprised me with their varied observations, explanations and interpretations that it has sent me on a lifetime of research into the subject. I have continued to work with recreating the OBE through meditation, and have had some success. My experience led me to he in communication with Betty Eadie (Embraced By The Light author) and was invited to spend some time whether at her home in Seattle to discuss our experiences in depth. The painting “Presence of Angels 1 & II” were a result of that conversation. These paintings are large (5 feet wide) and reflect her experience of the angels as being ‘larger than life’. These experiences have directly influenced some of my work. For instance, a painting called “Surrender” is an attempt to present the feeling of peace and transcendence of an OBE. I added candles in the foreground not only to reflect my own tools in the process, but also for those who could relate to it more from a meditative effort, without the benefit of knowing a NDE. The painting “Manifestation” was also a result of my experience and then reflecting a concept I felt impressed to understand from my experience. That energy transforms to matter and, through some sort of spiritual transformation, drifts out to impact the physical world and then has the ability to transform back to non-matter (ethereal at some level) and to continue this cyclic pattern... but with some guidance or influence so to speak. I was raised without a strong religious influence or foundation, which I feel has helped me to accept the experience without trying to make it fit into some religious doctrine. Both of my parents were cutting-edge type science/research oriented. I had always had precognitive dreams as a child, and a psychic sensitivity, that until much research into these matters, never had understood or had validated. My intuition and ability to ‘connect’ with others in mind-spirit seems above normal, whether as a result of this NDE/OBE experience I am not sure... but it is very real. It is truly a life altering experience like no other. Those that have been ‘on the other side’ all seem to have a major shift in the attachment to this earth/physicality those others do not possess. I no longer have a fear of death, and those alone causes one to live life differently than most. My approach to life allows the opportunity for more serendipity and less attachment to the physical. With the lack of available literature or resources of the time, it has led me to some wonderful people who have helped me to understand my experience. Now that the subjects has tons of books and references of case studies, it does seem that there are some common elements to the experience, but individually, there seem to be many nuances, and those with strong ties to a particular religious doctrine, seem to have experiences that fit more to their belief systems of their life experiences.


Having gained the skill to paint anything I could see or visualize in a fairly photo-realistic manner. At a point when I was feeling personally fractured and trying to get back to basics in my life, this too showed dramaticIy in the work and I began breaking down the elements. A new style emerged during this time with hold free line work. This style gained recognition from New York to San Francisco, and attracted recognition from Manhattan Art Magazine and new collectors in Tokyo. Collaborating with photographers and directing shoots with a specific eye for the subjects of my paintings is a pleasure. Regional and international private collectors maintained their interest, making it difficult for me to hold a body of work available for shows, so I was not yet on the gallery radars. I continue my studies under specific artists where I explored techniques and materials, contributing greatly to my skill level. I owe much to the amazing mentors and teachers who have come into my life. I endeavor to be a worthy student.

Evidence 30 x 40” | watercolor & oil on masonite w/texture ltd. edition of 300 | standard 24 x 30“ | petite 18 x 24” This in an in-production shot. available spring 2010



A form in which a being manifests itself or is thought to manifest itself, esp. the material or bodily form of a spirit. The act of manifesting or disclosing, or the state of being manifested; discovery to the eye or to the understanding; also, that which manifests; exhibition; display; revelation; as, the manifestation of god’s power in creation. the secret manner in which acts of mercy ought to be performed, requires this public manifestation of them at the great day. This brings us to the more Metaphysical and Mystical and implores us to look at the vertical/Spiritual interaction dynamic of this Illusion which we are experiencing. I am not going to go into a detailed discussions of the different planes of existence, suffice it to say that on the highest levels we are all One. The energy of consciousness is projected outward (downward vibrationally) from the Source. It passes through the level of Cosmic or Christ Consciousness as One emanation. We are all one in Christ Consciousness. It then is projected into the next level which is the Archangelic plane. The emanation becomes 12 different vibrational manifestations on the Archangelic plane. These are the 12 tribes of human kind. The science of manifesting your ultimate dream life and destiny starts with understanding one basic principle...that you are a Manifesting Magnet and can attract anything. It also holds the belief that the future is not written in stone and you have the free will to create anything you want at anytime. If your attitude is positive and you believe it is possible to do so, then the door is open for you to manifest any destiny you desire. There is something very important to this equation that allows you to manifest any future outcome. This is maintaining a state of “possibility consciousness”. Scientifically speaking it’s the bioelectric amplitude of the frequency at which your bodymind vibrates at. There are of course very “random” cosmic interactions from the Universe that will raise and lower your vibration, yet its the general foundation of your being that determines how effortless things manifest for you. The experiences you manifest are also a play of energy between your Manifesting Vibration, your level of expanded consciousness, and how well you can emotionally receive the experience of your life in this moment. Ultimately, you are the main architect of your reality, and by learning just a few of these ancient manifesting secrets. Your Spiritual Intelligence uses the fine subtle energy that emanates from Spirit to create your desires. Your subconscious mind cannot detect these subtle energies so it doesn’t even notice that change is happening. Knowing how to manifest your destiny originates from the belief that you are the master of your mind, and that your thoughts create your life. So What Do You Want to Create?

Manifestation 36 x 48” | oil on Masonite | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”


The Crossing Guard
“Quantum physics has now proven that everything we see is an illusion, that the physical world is an illusion. Everything is made up of interacting energy. Energy interacts on a subatomic level to form energy fields which physicists call subatomic particles. These subatomic energy fields interact to form atomic energy fields, atoms, which interact to form molecules. Everything in the physical world is made up of interacting atomic and molecular energy fields. There is no such thing as separation in the physical world. Energy is interacting to form a gigantic, dynamic pattern of rhythmically repeating energy interactions. In other words, a dance of energy. We are all part of a gigantic dance of energy. This Universe is one gigantic pattern of dancing energy patterns.” In order to fully understand what an out of body experience (OBE) is, it must be understood as one of many related spiritual spectrum phenomena. An OBE can be defined as an experience in which a person seems to perceive the world from a location outside the physical body. Some of the earliest research is still widely used as the gold standard in the study of OBE. Much of the ground-breaking research in OBE paralleled that in NDE in the mid-to late ‘70’s and early 80’s. Robert Monroe, who founded the Monroe Institute of Applied Science had his first OBE in 1958. The experience was profound enough to him that he spent the rest of his life trying to scientifically figure out what happened to him. His formal conclusion was similar to what we typically observe in NDEs – that although there are significant differences in cultural upbringing, religious beliefs, and experiencers there were striking similarities in the basic elements of separation of consciousness from the body. The person sees his or her own physical body from the point of view of the “double.” While out of body, astral projection, and lucid dreaming all share the common element of the consciousness separating from the body. The consciousness separates from the body and is free to roam the earth plane. Astral projection is usually associated with inter-dimensional travel where places may sound like dreams since there are no earthly points of reference. Aethers are generally thought of as energy layers around the earth where different types of spirits reside depending on lessons they need to learn.


Crossing Guard 40 x 30” | watercolor, resin & oil on masonite | ltd. edition of 300 | standard 30 x 24” | petite 24 x 18”



Kindred Spirits
Kindred Spirits is many things. It is a band of people who recognize that there is more to life than meets the eye; that there is a difference between temporal matter and eternal spirit; that there are Beings greater and grander than us who have been elevated to the levels for which we strive and who will assist us in our lessons if we let them. It is my heart. Kindred Spirits as a concept is non-sectarian in that it supports the journey of others where ever they are along the way. I must begin from where I am and so must you. We can travel in contact with each other. We can help each other by sharing what we have learned along our way and by making offerings to each other that will assist in making our journey the most effective, the most beneficial and the most joyous. “We are all kindred spirits in terms of our humanity, in terms of our relationship to the horizontal human experience. We are all kindred spirits with more connection than differences without even taking the vertical the Spiritual relationship - into consideration.” You are together because you resonate on the same wave lengths, you fit together vibrationally, in such a way that together you form a powerful energy field that helps both of you access the Higher Vibrational Energy of Love, Joy, Light, and Truth in a way that would be very difficult for either one of you to do by yourself. You are coming together to touch the face of God. You are uniting your energies to help you access the Love of the Holy Mother Source Energy. You are not the source of each other’s Love. You are helping each other to access the love that is the Source.”

Kindred Spirits 36 x 48” | oil on masonite | ltd. edition of 300 | standard 30 x 24” | petite 16 x 20”


Down the Rabbit Hole

The process or interpreting Tori Amos as a young ‘Alice’ in ‘Between Two Worlds’, involved creating a new myths for modern women. A more empowered ‘Alice’... 18 artists are selcted by invitatoin to interpret Tori Amos for a calendar to benifit RAINN, The Rape, Abuse And Incest National Network. I was chosen to participate in the ninth annual edition. It was an honor to be selected for the cover.

Exclusively for Tori’s calendar image I replaced the checkerboard floor with a keyboard I painted on a seperate canvas.

Between Two Worlds 30 x 40” oil on canvas | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”




Invocation of the Dragonflies
Some life experiences demand acknowledgement in my work somehow, and this was one. I had recently moved to what I had later found out to be historical American Indian tribal land along “Stonecreek” that not only had large quartz crystals pushing their way out of the rich soil, it often served up crystal arrowheads and other remanats of earlier civilizations. My new neighbor invited me poolside for tea, and when she asked me if I knew how to invoke the dragonflies to land on you, I knew we had the softness of spirit to become the best of friends. It didn’t take long to step down my energy to a level of stillness that can attract them to land. With practice it became a wonderful excuse to break from the activity of the studio and reconnect with nature. Four dragonflies were the most that ever simultaneously land on mes. We can learn to commune with nature in some pretty amazing ways.

invocation at stonecreek 36 x 48” | oil on canvas | ltd. edition of 300 standard 24 x 36” | petite 18 x 24”

Blossoming Beauty 48 x 36” triptych | oil on masonite


My Secret Garden
Literary works from my youth and my late teens converge for me in this painting. Author, Frances Hodgson Burnett, was a practitioner of Christian Science due to the premature death of her son as well as personal illness wwhe she wrote The Secret Garden in 1909. As a result, her now classic children’s read is a wonderful book about friendship, determination, and perseverence. while it espouses the concepts of New Thought and theosophy as well as ideas about the healing powers of the mind. The Secret Garden has steadily risen to prominence, and is now arguably Burnett’s best-known work. The book is often noted as one of the best children’s books of the twentieth century. My Secret Garden: Women’s Sexual Fantasies by Nancy Friday was released in when I was 17 as a collection of women’s fantasies through letters and taped and personal interviews. At the time, I was a common-law wife living in a state where that was legal, and very much a young adult in search of answers to the topics of the day... sexual freedom and women’s liberation. Nancy Friday had organized these narratives into “rooms”. The book revealed that women fantasize, just as men do, and that the content of the fantasies can be as transgressive, or not, as men’s. The book refuted many previously accepted notions of female sexuality. The garden, as the central symbol is a site of both the near-destruction and the subsequent regeneration. Paradise contains the promise of eternal life.

My Secret Garden 40 x 21” | watercolor, resin & oil on masonite ltd. edition of 300 | standard 24 x 12”

Feminine Mysteries
Modern Classics
Whether the approach to a painting is with loose brushwork and a spontaneos expression with paint, or a tight meticulous technique, the female form continues to intrigue and inspire me. The casual elegance of a woman comfortable and at easebecomes sensual to the observer as she indulges herselfin simple pleasures. Chocolate, wine and cheese or listening to music are stolen moents. Curling up with a romantic read or lounging in the comfort of a favorite saronge can become an invitation. This series began as an exercise to lossen up my hand, which due to the technical illusstrator training seems to impulsively want to pull out every detail of an image. What I am finding is that with painting, as in life, softening the focus and and becoming less concerned about the details, you can find a richer eperience in the process.

Bed of Roses 40 x 30” | oil on canvas w/light texture ltd. edition of 300 | standard 36 x 28” | petite 24 x 18”


Sweet Treats 30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24” 38

Inquiring Minds 30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24” 39

Power Lounging 30 x 40” | oil on canvas | ltd. edition of 300 standard 24 x 30” | petite 18 x 24”

Easy Listening 30 x 40” | oil on canvas | ltd. edition of 300 standard 24 x 30” | petite 18 x 24”


Romantic Read 30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24” 41

Gaming Lifestyle & Casino Showgirls
By Sonja Vass: High Roller LIfe Magazine

Growing Up on Gambling Strips & In Players Clubs Pays OFF For Artist Victoria Moore.

When your father likes to gamble and wins like a racehorse, you find yourself growing up in gambling hot spots. I always had my little art box and sketchbooks ready to go on a moments notice, because winners’ stay in the game, and the games can run late. From big name theme casinos to private games and players’ lounges, he and my mother worked a system that paid off for our family. As far back as I can recall, I would sit and sketch while my father drew hands at Blackjack tables. Reno, Tahoe and the Las Vegas “Strips” were magical wonderlands for a child of the 60’s. The sea of lights and dizzying sounds were mesmerizing, but most inspiring was the exotic nature of the clubs and the lifestyle. Their adult playgrounds infused my childhood fantasy worlds on paper. I would sit on the strips sketching people and practicing architectural perspective drawing glistening clubs as they faded off into the horizon. At sundown, when the clubs vibrant colors intensified and the energy really started crackling, neon lights turned the night into a kaleidoscope. Faces lit up and jewelry sparkled. Rooms came to life in a swirl of dice, cards, chips and money changing hands. The range of emotions found in a gaming club was artistically challenging. Roulette Wheels and Craps tables beckoned with frantic highs and wild gestures. I’d try to capture the essence of the room or the concentration of a dealer, from the disappointed loser to the ecstatic big winners, these character studies influenced me towards figurative work and portraiture. In the days when these were adult towns, families were not so catered to as they are today, I had to entertain myself. It felt safe to wander the streets and clubs as I pleased. It was wildly curious to spend so much time in an endless sea of adults feverously throwing money around. Eroticism and sensuality were pervasive themes in these environments and they captured my artistic eye. The showgirls and their exotic costumes were most often my subjects. With their curvaceous lines, glistening clothes and fluid movements, costumed casino hostesses with trays of cigarettes or drinks looked like pin-up girls come to life. As a young girl, I would easily talk my way into dressing rooms and sketch the girls making up for a show. continued on page 45


Finishing Touches
Inspired by the introspective reflections women experience in applying those “finishing touches” before they present themselves before their lovers, their peers, associates or in public exhibition at the fashion extravaganzas or on the runways. Often a time of reflection and self-critique, it is an experience all women repeat time and again throughout their lives.

Finshing Touch 60 x 36” | resin & oil on masonite w/texture ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”

Anticipation 24 x 48” | oil on masonite ltd. edition of 300 | standard 18 x 36” | petite 12 x 24”


My parents were well-educated life adventurers with wanderlust. He was a military cryptographer and pilot who had gambled all over the world. She was an outgoing broadcast personality, researcher and musician. Gambling junkets were monthly events, and almost every holiday trip we took involved a gambling stop, including Mexico for games occasionally. The border-towns of Tijuana and Juárez were vibrant with inviting colors and textures. Colorful markets on dusty streets, bullfights and cantina card games seemed worlds away from San Francisco. The differences intrigued me and sparked my interest in other cultures that appear in my work today. Club designs were pure fantasy that enhanced my architectural rendering skills. From elevated hotel rooms I would draw cloud formations and expansive horizons which have continued to emerge in various series throughout my life. It wasn’t just the casinos, they took in the horse races and I loved to watch the ponies run. The excitement at the gate and sinuous lines of a horse reaching for the finish line inspired me and I became proficient in drawing them. At fifteen, their gambling d estinations started paying off for me when my first paid portrait came from a breeder who saw me sketching and commissioned a painting of his prize palomino, or a jockey would tip me for my random sketch I’d offer them. continued on page 46

Swept Away 30 x 24” | watercolor, oil on masonite ltd. edition of 300 | standard 24 x 18”


It was easier to draw than paint while traveling and I eventually became a skilled technical illustrator and designer in the high-tech world of the Silicon Valley corporate giants. A near-death experience in my early 20’s infused more abstract and surreal elements into my work and propelled me on both spiritual and creative levels while living the free-to-be-me lifestyle of 1970’s San Francisco. By the mid-80’s I migrated to the west coast of Florida to concentrate on painting. While the subject remained beautiful women in elegant settings and draping fabrics, I began breaking down the elements and a new style emerged with bold free line-work. This work gained recognition in New York and attracted recognition from Manhattan Arts Magazine. In the 90’s, private collectors maintained their interest making it difficult for me to hold a substantial body of work long enough for solo shows, so I’ve yet to really hit the gallery radar screens so I have begun working in series more recently. The direct influence gambling has had on my artistic development is without question. Some might think it was not an environment for a child to be so exposed to, but it was fertile grounds for figure studies and portraiture. While my work is widely considered Fantasy & Pin-up, I am also a member of the Portrait Society of America as well.

Steamy Vision 36 x 24” | watercolor, resin & oil on canvas ltd. edition of 300 | standard 28 x 16”

I cannot recall a time in my life that drawing and painting beautiful women did not beckon me. Whether I was wandering the clubs, the streets, or bidding time in some hotel room, I was always consumed with lines and c olor on paper. I continue my studies now under specific artists and I feel I have a few bodies of serious work behind me. As an emerging artist, I pray the audience enjoys watching the transitions. I have come to appreciate how gambling infused the richness of my childhood and were a major influence in developing my creative abilities. For my parents, gambling was part of their lifestyle. These gaming weekends which were an adventure for my parents, held wonderful opportunities for me creatively, and winnings often supplemented my artistic education. In my early twenties, when an artist was relocating, they bought out his entire studio as a surprise for my birthday. While I still love the sights and sounds of the casinos, my favorite gamble is stepping before a blank canvas. It feels like shooting craps some days with the excitement of not really knowing which direction each painting ultimately will take.

Let It Rain 48 x 30” | oil on canvas ltd. edition of 300 | standard 48 x 30” | petite 30 x 18.75”

Ethereal Dreams 30 x 40” | oil on masonite | ltd. edition of 300 | standard 28 x 38” | petite 18 x 24”


Notes F romDreamlamd
Sigmund Freud noted as the Father of modern Psychology, believed that the function of dreaming was to allow the release of repressed instinctual impulses in a way that would preserve the ability to sleep, and that the instigating force causing dreams to occur was always a repressed thought or wish. Though Freud was an avid student of neurobiology, at the time when his suppositions were created scientists were unaware of certain aspects of the nervous system that today make Freudís theory unlikely. Dreams are in fact not always subconscious or repressed thoughts, but often just the mindless ramblings of the brain and nervous system. Therefore, due to the lateralized remembrance of dreams, the left hemisphere of the brain must access the memories of the right brain when a person is asked to describe a dream or even to remember it. To access the memory banks of the right hemisphere, the left hemisphere must use the corpus callosum or anterior commissure. The left hemisphere of the brain is involved primarily in the encoding and recall of verbal, temporal sequential,



and language related memories. As a result, dream interpretation becomes very difficult due to the fact that the left hemisphere is forced to interpret what the right brain has created using a language the left brain does not understand. This accounts for the often sporadic and non-sequential order of dreams, for the right brain, which created the dream, cannot establish sequences. Therefore, the left hemisphere must try to put a dream in order when it is interpreting it. On rare occasions, a person may experience a dream during non-REM sleep, a dream created entirely by the left hemisphere of the brain. These dreams are typically devoid of imagery, being more like a running monologue and interestingly, it is during this type of dreaming that one may talk in his/her sleep. Dreaming has been seen in many forms since the beginning of time, but this seemingly unexplainable event is simply explained by the connections of neuron cells, which we call the nervous system. By exploring such aspects as sleep stages and REM sleep, we can locate where and when our dreams occur. Likewise, the anatomy of the brain, and its firing during dream periods gives the scientist new insight into the purposes which dreaming serves. These purposes have often evaded humanity in the past due to the simple fact that one could never remember their dreams, due to a now understood phenomenon of unilateral communication between the two distinct hemispheres of the brain. Perhaps Freud was correct in assuming that dreams were the key to understanding suppressed or subconscious thought, but perhaps dreams are just a jumble of left over thoughts and images of our days, and the real subconscious thought comes in the form of how we interpret them. by Jennifer MIller


Pillow Talk 24 x 48” | oil on canvas | ltd. edition of 300 | standard 18 x 36” | petite 12 x 24”


Warm Nights 24 x 48” | oil on canvas ltd. edition of 300 standard 18 x 36” | petite 12 x 24”

Dreamscape 30 x 48” oil on convexo® canvas | ltd. edition of 300 standard 24 x 36” | petite 15 x 24”


Slumber 24 x 48” | oil on canvas ltd. edition of 300 standard 18 x 36” | petite 12 x 24”

Abstract Beauty 14 x 18” poured oil on canvas | ltd. edition of 300 | standard 11 x 14”


Sweet Dreams 36 x 48” | oil on canvas | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24” 54

Victoria’s Angels


One thing that struck me in the NDE was the encounter with angelic beings. I did not see them in a traditional sense that I have portrayed them here. In my experience they were more like a fluttering energy with an internal radiance that moved in a flame-like undulation. When Bettie Eadie, author of “Embraced by the Light” were sharing our experiences in her Seattle area home, the one thing that stunned us both was an element she had not addressed inthat book, and that was the common experience of their size. For us both, they were comparatively and proportionally half again the size of human beings. While these four paintings are not portraying that aspect, when I painted the Presence of Angels I & II, the originals were specifically painted to be 1-to-1, at the size they appeared to be.

Eternal Elegance 48 x 24” | oil on canvas w/texture originals only available at this time. rights restricted: all rights strictly reserved to the models, photographer and their contractors.

Radiant Passion 48 x 24” | oil on canvas w/texture originals only available at this time. rights restricted: all rights strictly reserved to the models, photographer and their contractors.

Wings Of Desire 24 x 48” |
oil on canvas w/texture

originals only available at this time. rights restricted: all rights strictly reserved to the models, photographer and their contractors.


Spirit In Motion 24 x 48” |
oil on canvas w/texture

originals only available at this time. rights restricted: all rights strictly reserved to the models, photographer and their contractors.


This imaage evolved when I was looking for an engaged subject for a portrait competition. While some might have seen the full 2 page ad spread for Louis Vuitton, a small fragment, maybe twenty percent of the image, caught my attention. Reinventing the situation and setting, I removed a second person, his daughter, from the shot and changed the crop of the image which created more intimacy with the subject. The square proportion ads a bit of the unexpected, like the man himself. Inserting a view from Coppola Vineyards personalized the piece to the subject in a more meaningful way. Credits for the Original source image: Photographer: Annie Leibowitz Advertiser: Louis Vuitton Subjects: Francis Ford Coppola & Sophia Coppola Location: Brazil Assoc: Fund-raiser/Awareness Ad for . . .
Visionary Vineyards: Francis Ford Coppola 20 x 20” | oil on canvas 60

Creative Musings

Inner Walls 24” diameter | oil on convexo® canvas | commission

It’s A Wrap 24” diameter | oil on convexo® canvas | commission 61

Sometimes the call to the easel is for personal growth or teaching. Other times it is for the shear joy of painting without seeking a specific outcome wih the work where experimentaion becomes the order of the day. Often it is the impetus to interpret something or that spark of inspiration that you just follow, not knowing where it will lead.

The Invitation Unassuming Beauty 28 x 22” | Oil on Canvas Ltd. Edition of 300 | Standard 22 x 28” | Available Winter 2009 this is an in-progress shot 28 x 22” | Oil on Canvas Ltd. Edition of 300 | Standard 22 x 28” Available Winter 2009 | this is an in-progress shot


Object of Affection I 28 x 22” | Oil on Canvas Ltd. Edition of 300 | Standard 22 x 28” Available Winter 2009 | this is an in-progress shot Object of Affection II 28 x 22” | Oil on Canvas Ltd. Edition of 300 | Standard 22 x 28” Available Winter 2009 | this is an in-progress shot


Roaring Thunder 18 x 28” | oil on masonite | study

Morning Rounds 20 x 16” | AquaOil® on Canvas | Study

Latina Aura 24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30” 65

Seducing The Eye & Beguiling The Mind

Aquatic Wonders
The lighting and reflective nature of the internal aspects constitute an entire universe of their own.

The sea cast it’s spell on me growing up on the northern California coast. Weekends chasing sunlight on the waves and fog banks with a camera on the PCH often led to the Monterey Bay Aquarium where I would hover around thier magnificentjellyfish collection.

Dolphins Snorkeling the gulf reefs and sailing waters where dolphin pods play in the wake of the boat also inspire me to delve into them with a paint brush. Mermaids: It seems natural to this Pisces to envision where the translucent might retreat, when I portray these sensual creatures


The jellyfish are so unique and other-worldly and the lighting is so fleating and fascinating to capture as it lights them both internally and externally. It is very easy to get lost in the nuances and diversity of them.

Crystal Jelly 20 x 16” | watercolor, resin & oil on canvas ltd. edition of 300 | standard 20 x 16“

Jelly Series 1 20 x 16” | watercolor, resin & oil on canvas | ltd. edition of 300 | standard 20 x 16“

jelly series II 20 x 16” | watercolor, resin & oil on canvas | ltd. edition of 300 | standard 20 x 16“ 68

Golden Glow 36” diameter | oil on convexo® canvas ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

Undulation 36” diameter | oil on convexo® canvas ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”


Tickling Her Fancy 36” diameter | oil on convexo® canvas ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

Communion 36” diameter | oil on convexo® canvas ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”


The enchanting mermaids from ancient myths and legends have captured the imaginations of artists for centuries. The lure of their elegiac beauty captivates the viewer while the sea gently echoes their music and the breaking waves keep time with the music while they cast their spell. As with all mythical creatures, capturing their essence is the best an artist can hope for. In the poetic words of The Voice of the Silence, that gem of transcendental wisdom given to the world by H.P. Blavatsky, dedicated by her to the 'few real mystics' among us, we find the summation of that transformation: Know that the stream of superhuman knowledge and the Deva-wisdom thou hast won, must, from thyself, the channel of Alaya, be poured forth into another bed. Know...thou of the Secret Path, its pure fresh waters must be used to sweeter make the Ocean's bitter waves - that mighty sea of sorrow formed of the tears of men...when once thou hast become like the fix'd star in highest heaven, that bright celestial orb must shine from out the spatial depths for all--save itself; give light to all, but take from none. Now bend thy head and listen well... Compassion speaks and saith: 'Can there be bliss when all that lives must suffer? Shalt thou be saved and hear the whole world cry?'

mermaids ecstacy 40 x 30” watercolor, resin & oil on masonite Ltd. Edition of 300 | Standard 30 x 24“ | Petite 24 x 18”


Crystaline Couple 16 x 20” | oil on canvas | ltd. edition of 300 | standard 16 x 20“ 72

Cresting 24” | oil on convexo® canvas ltd. edition of 300 | standard 24 x 24“

Overhead 24” | oil on convexo® canvas ltd. edition of 300 | standard 24 x 24“


Dance of the Dolphins I 24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30” 74

Dance of the Dolphins II 24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30” 75

Merman 36 x 24” | watercolor, resin & oil on masonite ltd. edition of 300 | standard 18 x 24” 76

Mermaid 36 x 24” | watercolor, resin & oil on masonite ltd. edition of 300 | standard 18 x 24”

Sensuous Waves 24 x 30” | oil on masonite ltd. edition of 300 | standard 24 x 30” 77


captured moments

Graphique Femme

Bold brushwork with a clear intention. Manhattan Arts Magazine gave the work steamy reviews and tagged me as an “Artist to watch” in the 90’s baed on this style. Breaking free of the tight exacting line work required in technical illustration this exacting yet expressive use of larger brushwork work was achieved without the use of a digital process. This work is most often created in acrylic with a limited pallet and fairly large chissel brushes. The fluid intention of brush movements is liberating as the materials are restricting. Acrylic on illustration board is entirely unforgiving. Since the white is the exposed board, you need to unwaiveringly commit to each brushstroke.

Sultry 30 x 40” acrylic on illustration board 79

by Sylvia M. Purcupile Manhattan Arts International Magazine

‘Electrifyin Power-art“

Artist’s In The 1990’S
She’s full-lipped, bold and sexy: she knows what she wants; pleasure, high-voltage passionate pleasure. She’s a hyperfemale, archetypal seductress, a 90’s icon of women’s sexual power expressed in the vernacular of the Madonna generation. She’s artist Victoria Moore’s electric femme in stunning, high-impact black and white acrylic. Ms. Moore’s direct and forceful style mploys the barest of high-contrast essentials-there is no modulated chiaroscuro to soften the message. Her women, no nurturing goddesses, are self-absorbed and indulgent connoisseurs of the sensational moment. In Right There and Coming Home, crisp, fluid lines cascade like black tongues of flame down tensely yielding forms rapt in ecstasy-in the body-bliss of now.

Right There 30 x 40” | acrylic on illustration board

Her technique, suggestive of a photographic negative, creates the impression of a quick take etched in the white-hot heat of passion-snapshots of a fleeting moment, a fantasy, a dream. The images are close up and powerfuL Her works are frank, sophisticated and dramatic. They explode with energy. Their striking clarity lends itself to print making, so it is not surprising that she has recently expanded into publishing. Her first venture was Right There, published in a limited edition of 225. She now has two more pieces in production. Ms. Moore began her career in 1973 as a publication and technical illustrator and later s hifted to graphic design. By 1985, 30 percent of San Francisco’s top 100 companies were among her clientele. Successful as she was, she decided to move to Florida and direct her talent toward the fine arts. She has recently opened a studio in Sarasota. In 1988, she represented Florida in a show of women artists in New York, and in 1990, she appeared in NY. Art Review and American Artist’s “Leading Contemporary Artists in America.”

Coming Home 40 x 60” | acrylic on illustration board

Sleeping Beauty 24 x 18” | acrylic on illustration board Sensuous Silk 52 x 24” acrylic on illustration board

Muscle Bound 40 x 60” | acrylic on illustration board Latoya’s Look 30 x 40” | acrylic on illustration board


Madonna: Leather 30 x 40” | acrylic on illustration board

Madonna: Lace 30 x 40” | acrylic on illustration board


Her Hardwear 30 x 40” | acrylic on illustration board

Beth as Eve 30 x 40” | acrylic on illustration board 85


Memories 36 x 48” | oil on masonite ltd. edition of 300 | standard 24 x 30” | petite 16 x 20”


Voyeuristic Tendencies 72 x 72” diptych | oil & resin on masonite


Sanctuary 24 x 24” | acrylic on iIllustration board | study

Auspicious Arrival 30 x 40” | acrylic on illustration board ltd. edition of 300 | standard 24 x 30” | petite 18 x 24”

Changing My Image
In most creative careers there are points where styles, subjects and often mediums begin drifting in and out of the work. Leaving California’s Silicon Valley as a technical illustrator,and graphic designer, I shifted my focus to fine arts in Florida. While through the early years, I had found oil paints to be very forgiving, allowing the flexability to correct or make changes. I found myself painting with an, ‘I can fix it later’ attitude. As a challenge I created a body of work on a paper illustration board, which is completely unforgiving, and acrylic paints, which have a myriad of limitations by comparison. The technique involved the white resulting from the paper being left exposed. A stroke needed 100% commitment throughout. One mistake at any point and a piece could be ruined. I loved the challenge and tension that could involve. This was created on masonite so I could introduce oil paints back into the process for a handful of paintings that involved both the graphic and realistic styles. It also recognized the change from the graphic ‘signature’ I had used for years of the zig-zag ”VM” stoke with the dot. Even though it was used as a background element, it was the last painting in which it appeared

Changing My Image 36 x 48” | oil on masonite ltd. edition of 300 | standard 24 x 30” | petite 16 x 20”

“Commissioning a Portrait”
HighRoller Life Magazine: September 2005

Lifestyle Portraits
It is a great privilege for any artist to be commissioned to paint a portrait for posterity. Commissioning a portrait, for no other reason than adoration, shows the highest regard for that person, which is often the motivation behind political, judicial, military, academic, religious, corporate and VIP portraits. Portraiture is experiencing a revival, especially with the affluent and upwardly mobile. Understanding the process of this time honored symbol of status and culture will help you enjoy the co-creative process with a professional artist. Your partner, child, pet or precious object can be savored forever in an original work of art. Recognizing someone’s interests and efforts, including your own, is probably not as expensive as you might think. You’ll be supporting the arts in a very personal way where prices range from quite modest to astronomical, usually based on talent, reputation and popularity. . The new resurgence has seen the trend toward ‘Lifestyle’ portraits. Honoring an individuals’ passionate pursuit can serve as inspiration for the visions we hold of our loved one or ourselves. An unexpected element of my own career portrait is that I have found it serves to remind me of who I am on those days when I am feeling less than at the top of my game.

Lance’s Armor 16 x 20” | oil on canvas


Portraiture asks a lot of the artist. As one of the most historically significant branches of the fine arts, it is also one of the most challenging to master. It is our charge to create a sensitive and compelling work of art that portrays the subject with authenticity. It is my passion to capture the human spirit on canvas. It’s an engaging, multi-dimensional experience for both the subject and the artist. As artists, we understand our energy infuses the work to some degree, which is why original works of art enhance a room in a way prints and photographs cannot. One sign of a truly skillful artist is their ability to create an image strong enough to attract a stranger to the painting. In choosing a portrait style, whether it’s traditional, romantic, formal, lifestyle career oriented, not only is the content and concept important, decisions made in the early stages are crucial to the spirit of portraiture.

member Portrait Society of America State Ambassador 2006-2008 Volunteer

Atlanta, GA Fulton Co. Commissioner Mr. Robb Pitts 36 x 48” | oil on canvas


Ulysees Glee Superintenent of Schools. Washington, DC 36 x 48” | oil on convexo canvas Nora 3o x 4o” | oil on canvas


Once a moment is gone, it cannot be recaptured, so the painting becomes more precious with each passing day. While not traditional portrait styles, “My Secret Garden” reflects a woman’s personal connection to her favorite childhood book, whereas “Lance’s Armor” captures a moment in a young man’s life with a compelling image that is true to his spirit. Regardless of the type of portrait you desire, first and foremost, pick an artist who’s style you like. There area as many styles as there are artists. Establish your budget. Knowing where and how the piece will be displayed will help you determine the size and shape. Think about what you want to achieve visually. Let the artist be creative and provide you with comprehensive sketches prior to starting the painting. Some artists work solely from live sittings, others only photos, while most prefer both. If you want to catch even the most fleeting moment, more are working from on-screen digital images. Every element contributes to how a portrait tells it’s story, but the true magic is in the skill of the artist to breathe life into a flat surface.
Midnight In The Garden 3o x 3o” | oil on masonite

Most of them are not included in this compilation. It is my feeling that they are of a private nature. Each project is a unique experience with a client and a distinctly personal work created to suit the occasion, tastes and budget of the client. When a client commissions a work, comps are provided as part of the process as well as approval stages. A kill fee is available, as appropriate.

Parke’s Study 30 x 40” | oil on masonite


About the In-Progress Works Included
There is a tri-fold objective in presenting the current works in progress. It is my experience that collectors, the general public and students show an interest in the process an artist goes through to achieve their objectives. For fans, I have only included works where the vision for the completed work is evident. I trust my audience sees the direction a pieces is going stylisticaly and that I will detail it to the appropriate level of the desired clarity. For the student, Certainly they are far enough along to be presented in this portfolio, and trust me, there are many in the studio that are not quite there yet. For the collector, a chance to see what is on the easles, and view the process as worls evolve in the protfolio.

Pre-Release Pricing

If you see something you like in-progress, consideration is given in pre-release pricing for both sale of the original and the reservation of limited editions, Supporting the work in this way with the artist and representatives, allows us to insure the availability of the works to a wider audience.


Staying Focused On The Future
When left to my own devices I proceed as inspired and move toward completion of a painting as it’s relevance unfolds. Ultimately they take their own position for order of completion. I can be on my own schedule ad needed, and as a military brat that can be ridgidly projected. Somewhere along the way, after the first blush of the concept or image hits the canvas, it’s ability to capturing my attention again and move it towards completion takes on a life of it’s own. Encouragement from a variety of sources have also inspired me to bring a work back to the easle, accelerating the lessons from the research of the work.. Ultimately, it’s a fairly organic process, some emerge, some evolve and some transform you in the process.

With Deep Gratitude
I’d like to thank family and friends, fans and collectors, publishers, publications, galleries, writers, models, photographers, framers and reproduction houses that encourage my creativity. Your support is unwaivering and deeply appreciated.



The Portrait Society of America State Ambassador volunteer 2006, 07 & 08 The Academy of Fine Art Foundation member: inception National Assn. of Female Executives NAFE: mid-90’s- early 2003 Women’s Caucus for the Arts national & state level National Museum of Women In The Arts 1995-07

Honors & Collections
National Air & Space Museum 2 Paintings: Holes in the Sky Series “Illuminations” & “Halo” were requested for their permanent collection by Deputy Director Don Lopez. One will reside at the National Mall and the other at Udvar-Hazy NASM. Presidential Commission 1986 Ronald Regan American Biographical Institute 2000-04 Marquis Who’s Who of American Women 2001 - 02 Kensington Who’s Who 1998 - 04 International Who’s Who 2000 Who’s Who in America 2010

Please support those who invest their resources on artists behalf by contacting your local gallery or regional representative. When you contact the studio you will be directed to the appropriate resource to assist you with originals, limited editions,or licensing. Commissions considered.

For My Son follow the light on your path.

Know Thy SelF, And You Will Never Lose Your Way.

Lean on Me 28 x 22” | oil on canvas | a work in progress | available spring 2010


photo portraits of artist by Herb Booth Studio lifecast of artists’ hand by Leslie Ennis

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