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I often use trees in my imagery both from mythological, religious and art historical sources. Most often they represent the germinal force of nature as positive images of hope.

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The earth as it heals,
the herbs as they heal.
Sitting on a rock
through all time—
the light through trees,
through branches,
through leaves.

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I enjoyed burning a peaceful water scene on wood for an event that celebrates trees. The trees, heat, and water came together to create a little quiet, hopefully.

I found the old tool box on a street corner in San Francisco. It took 2 months for it to dry out in the sun before I could burn it, so I was given slow quiet time to get to know the patterns in the worn lid.

Before my time the box had held tools for a partner in trade for many years—its weathered panels record that loyal companionship.

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Artist will install on site for the buyer.

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I love the distinct palette of trees, the lines drawn by their twigs and branches and the complexity of their blossoms. I often draw or paint leaves because I am drawn to the structure of their veins...a reminder that just like we, they are living things.

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The primal beauty of the curve of a neck. A glimpse into shadows. The place where two shapes meet and touch. A spirit that illuminates from within. These are the essences I search for and strive to reveal in paint.

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I consider the Lincoln Log cabin toy an icon of Americana. By replicating it in steel with a gun metal finish it now suggests the harsh reality that lies behind our romanticized American historical narrative.

There are six different cabins in this series, each an edition of three.

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A very simple translation of wabi-sabi would be, sad beauty, particularly acceptance and contemplation of the imperfection, and impermanance of all things.

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The first signs of Spring in San Francisco are the blossoms on the trees— Plum, Asian Magnolia, Tulip, Cherry. The renewal of life, the cycle of the seasons, and another year begins, offering us hope for goodness, beauty and life eternal.

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These tree images, depicted in the book "Regarding Beauty" are from the photographic series "Oxfordshire Oaks" by the contemporary artist Rodney Graham. In this series his photographic inversion mirrors the way humans as well as cameras process visual imagery. To me it is an invitation to look at the world from a different perspective.

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In spite of the loss of its main trunk, this California Buckeye along Strawberry Creek thrives in full bloom in a poetic form on the Faculty Glade, U.C. Berkeley. Inspiration from nature!

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My work addresses the fragility of our environment, its beauty, and its desecration. My core belief is that the beauty of nature lifts us toward a higher state of spirituality and consciousness; by basing my art in the mathematics of nature I seek to achieve a balance of mind and heart. My objective is to assist viewers in attaining inner equilibrium so that they may make wise choices in their everyday lives and salvage our ecology.

Plastic is my sculptural medium as its longevity makes a visceral statement. In fact, the plastic elements of my work may become archaeological finds in the future. My ongoing sculptural series, Time Pieces, is concerned with the preservation and documentation of our current natural and urban environment. Liquid plastic is poured into molds with such elements as photographs, letters, flora, stamps, feathers, broken glass, seeds, mechanical parts, computer chips, and international coins. It is through such juxtapositions that I present information. To know an object is to know its meaning, but seeing that object in relationship to another object often releases new and different meanings.

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'We behold the face of nature bright with gladness. We do not see, or we forget, that the birds singing around us live on insects or seeds, constantly destroying life.'
-Charles Darwin

My bird and insect paintings provide a glimpse into the natural world, using birds as a metaphor for the cycle of life and death and the progress of the soul. By portraying imaginary birds, often in a stylized theatrical format, I explore the profound, dark, and unknowable dramas unfolding in nature, just out of our sight.

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I came upon this gorgeous wind-worn manzanita while hiking on Mt. Tam. Possessing both beauty and strength, it reminds me that trees grace our world in so many splendid, silent ways.

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I make my paintings outside in my subjects' environment, intensely observing and painting. There, I am able to deeply understand my subject and its home. I am particularly attracted to old forms of life. Aged & gnarled trees, vines and rocks possess a deep intelligence to me.

My paintings are completed in the studio. At this point, I work from memory and feeling. As the work evolves, it sometimes changes from the original scene, taking on its own life. The painting eventually becomes a symbol of my experience with the environment I painted.

The paintings are composed to convey a certain feeling. I want the the viewer to go deeply into the painting, directly experiencing the natural world I have painted.

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Courtesy of Hespe Gallery

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My studio is in an attic with wonderful light and fresh air. A huge tree fills the view out the west window and I feel like I am artist and tree-dweller at once.

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I love that feeling when you know youre seeing something amazing. Painting for me is a way to share these moments of "beauty."

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It is noble for one person to plant a tree. It is nobler still for a group of people to plant a forest. Special thanks to the Friends of the Urban Forest for their dedication to their mission, and for their efforts to beautify and vitalize our city streets with greenery.