Kitchen Light. (acrylic) This is the painting that people ask about most often. It is a portrait of my father. I worked from a photograph that I had taken, though I used artistic license very liberally in deciding on colors and composition. In fact, I originally conceived of this work as a color study--I was attempting to lighten my palette and study tonal values. Most often, people want to know what is in the steaming pan, and what is in the glass on the counter. I like to think that Dad was boiling crabapples (for jelly) that day. The glass holds water--used to cool the jelly. To that extent, the painting has a narrative quality that I hadn't really intended. It is quite large, for me: 36x40. This painting appeared in three exhibits: Creative Arts Guild Festival, Dalton, Georgia, about 1997 (indoor show); Young Harris College (one-woman show) 1998; and LaGrange College (one-woman show) 1999. Owned by Melissa Pritchett Sneads since 1999.
Sisters I: Ina & Esther. (acrylic) I painted "Sisters" around 1991 or 1992. It was one of the first successful acrylic paintings I did, after switching from oils. I consider this one of my "transitional" paintings, in that it was very much an inspired piece, in which the ideas and mental image come together very strongly. Often, subsequent paintings will veer off in another direction, seemingly unrelated, but often leading to new insights. The subject of the painting is my great-aunt, Ina, and her sister, my granny. That said, I leave any narrative interpretation up to the viewer. I let the painting tell its own story. I exhibited this painting early on in the indoor juried show of the Creative Arts Guild festivals in Dalton, Georgia (about 1992 or 1993). Not long after that, the work was accepted into Artstravaganza, a juried show in Chattanooga, Tennessee. However, before I could exhibit the painting, it sold from the gallery where I then had it on view. It was sold "to a dealer in Atlanta." I still get many inquiries on this work, but it's current location is unknown. I would like to hear who has the painting, if anyone knows. About 24x36. Painted on textured cloth (this was during my poverty period).
Sisters II: Diane & Bronda. (acrylic) This transitional painting was also one of my first acrylics, during the time that acrylic really started coming together for me. It has very deep meaning to me. Although it is a portrait of my cousins, it is actually a tribute to my aunt, who had died earlier that year (about 1992). The face of the cousin on the left is actually a likeness of my aunt. It appeared in a Creative Arts Guild exhibit, and later, in my shows at Young Harris College and LaGrange College. 40x40. 1992 (documented in a photo, 1993). Collection of the artist.
Three People on a Sofa. (acrylic) Ironic treatment of subject, experimental use of color. Large painting, 50x42. Completed by 2001, possibly by 1999. Exhibited at LaGrange College. Collection of the artist.
Yellow Barn & Sumac. (acrylic)This painting, one of my personal favorites, comes closest to expressing what I feel about "landscape" from my deepest soul. Size: 9x12, vertical format. Painted on board, as I recall ~ probably paintboard. Documented by 1998, as it appeared in the Young Harris College exhibit. "Yellow Barn & Sumac" is now in the collection of Wendy Schneider Slaton of Alabama.
Red Tree & Lake. (acrylic) This "transitional" painting was very spontaneous. I painted it on site. It turned out radically different than my other works, much freer. I consider it highly successful, in that the colors express exactly what I wanted to express. I think, too, that it owes something to David Park, an American painter whom I admire. Though I have never seen any landscapes painted by him, I have seen two or three figurative works by him. 8x10. "Red Tree & Lake" belongs in the private collection of W. Schneider Slaton of Alabama.
Still Life with Coffeepot & Fruit. (acrylic) This painting was the result of mind over matter. I had been painting in acrylics for some years, but was still struggling with color and tone, and with the way that acrylic paint tended to dry dark. I had done some smaller still lifes, but wanted to work with a larger composition. I set up an old coffeepot, some fruit, and a lamp on some cloth, and proceeded to study the colors and tones, working hard to perfect the composition. This turned out to be one of my best still lifes to date ~ I was pleased with it. It's 24x18. The predominant colors are yellow, gold, blue, white, cream, and red. Documented in a photo by 2001. Collection of Donna P. McConkey of Tennessee.
Still Life with Mannequin. (acrylic) This was an inspired work, and was successful. The brushwork is dynamic and accomplished. The composition is good. This was one of the acrylic works in which everything was finally coming together! The predominant colors in this are bright aqua green, naples yellow, and raw ochre. This particular palette became a favorite. I used a similar color scheme in several paintings of this era. This was probably done between 2000 and 2003. It's a fairly large work, about 30x36, perhaps. Collection of Bryan McConkey, currently held by Donna P. McConkey.
Still Life with Coffeepot, Fruit and Bottle. (acrylic) This painting was part of a series of still lifes that I did when I had a little studio in Dalton, Georgia. There was a wonderful old table, of pale-green, painted wood and red tile, that probably came from a pizza place. I set up an old blue-gray, enamelled coffeepot, some fruit, a lemon, and an antique green bottle, on a white cloth, paying close attention to the composition, trying to get a really nice interplay of forms, spaces, and color. The resultant still life is one of my best paintings to date. Collection of Sonny Mancao of Austell, Georgia.
Rose & Bottle. (acrylic) This piece is very special to me. It is one of my first successful acrylic paintings. The subject is somewhat romantic: a wilted flower inside a tall, slim, antique green bottle. It sits on a rust-red bookshelf. The background colors are muted. This painting now belongs in the collection of D. Williams of LaGrange, Georgia. Small painting, about 8x10 or perhaps 9x12.
Pear. (acrylic) I kept "Pear" on my wall for several years before I offered it for sale. This is an interesting composition, of a large pear in front of a white shelf, with the shelf form being an integral part of the composition. In this painting, I can see the influence of early expressionism on my work ~ particularly of Van Gogh, I think. The style of this painting was transitional for me. It's one of those "breakthrough" works. The year was about 1995 (documented by 1996). The work is 8x10. It now belongs in the collection of A. Williams of Iowa.
Storm Clearing Over Fort Mountain. (watercolor) Perhaps my best watercolor and one of my favorite landscapes. 14x11. It now belongs in the collection of Laura Coleman Stanhope of Marietta.
Varnell Landscape. (acrylic) Andrew Williams has a way of singling out my best works. This traditional landscape stayed on my own wall for a long time. It was a transitional work, one where everything came together at once and unexpectedly. For many years, I wouldn't even put a price on it. Now I'm glad it has a good home. 12x9. By or before 1996 (documented in a photo that year). It appeared in my Young Harris College exhibit in 1998.
Pear & Pepper. (acrylic) Still Life. I wanted to produce a small gem of a still life, and feel that I did achieve it in this small, spontaneous painting. The subject is a bosc pear and some red peppers on a cream-colored cloth. The painting is on a 5x7 canvas. Created about 2001, this painting was exhibited and sold at the Creative Arts Guild 2003 Festival Patron Purchase Exhibit, Dalton, Georgia. It now belongs in a private collection in Dalton.
Still Life with Red Peppers & Lemon. (acrylic) One of my favorites, a small acrylic. This was one of the last of the red-table series that I did about 2004. It's a nice composition and the color is just as I wanted. This was an experiment in reds, and there's a hint of pattern or texture in the background. 9x12 canvas. Collection of Sonny Mancao of Austell, Georgia.
The Fincher Place. (acrylic) Landscape. The predominant feature of this work is the vigorous, expressive brushwork. It has a spontaneous look about it, and I was very pleased with the result. Painted on site at the Fincher property in Crandall, Georgia, probably 2001-2002. Exhibited and sold at the Creative Arts Guild 2003 Festival Patron Purchase Exhibit, Dalton, Georgia. (One known influence: David Park, the American artist. I admire his brushwork). This painting now belongs in a private collection. 10x8 or 12x9 canvas.
Sunrise Over a Ridge. (acrylic) This was very spontaneous! It was a time of experimentation, growth, and intensity in my artistic life. The morning I painted it, I'd been up all night. I was still in my upstairs studio when the light dawned over a ridge out of my big, picture window. I was so caught by the dramatic clouds, with the sun, so white and pale, just creeping over the ridge, that I decided to paint it. The brushwork was so aggressive! But I can say that I was really happy with the result. I went to bed, exhausted, but gratified with my success. 12x9, on canvas. Documented by 2001. I can't remember if this one appeared in any of my shows. Collection of Terri Ransom Mathis of Kingston, Georgia, who admired the painting, and what's more, recognized the subject without prompting. A tribute to teachers and other early risers!
West Hill Chapel. (watercolor) This is one of those watercolors that turned out perfectly for me. It is tiny and has a gemlike quality. The colors are very crisp and clear. 6x4. Documented by 2002.
Golden Trees. (gouache) This was one of my first gouache paintings. Its small size made it difficult to execute, but I was very happy with the results. It belongs to A. Williams of Iowa.
Daylilies. (watercolor) I painted this watercolor on site (plein air, as they say). At the time, I was practically having to steal time for creativity. I went out to the park in Chatsworth, Georgia, where daylilies were blooming by a wall. The flowers are foremost in the composition, with the roof of an old house showing in the back. The work turned out well, a surprising favorite. It appeared in my 1999 exhibit at LaGrange College. Collection of Wendy Schneider Slaton of Alabama.
Two Trees and Monument (watercolor) Two dark evergreens, with a monument in the foreground. Painted on site, at West Hill Cemetery in Dalton, Georgia. A traditional, successful little watercolor. Mid-sized, probably 12x9. Appeared at my exhibit at LaGrange College in 1999. Collection of Jerry Carter, of Chattanooga, Tennessee.
Two Trees, Mountain Setting. (watercolor) One of my more successful watercolors--small, but painted very loosely. Collection of A. Williams of Iowa. 4x6. Created between 1999 and 2002.
Wild Geese. (watercolor) Small, crisp watercolor of two wild Canadian geese on a blue lake. This small painting was a success ~ the water looks light, the waves spontaneous. About 2009.
Still Life with Mug (Monochromatic) (acrylic) Expressive brushwork, monochromatic browns and grays. 9x12. Painted on board, probably paintboard. Documented by 2000, probably done in the mid-1990s. Collection of Danny Pritchett of Chatsworth, Georgia.
Old Rock Building. (acrylic) Painted from my own photos and sketches of the Old Rock Building (before renovation), with the windows done in its old style. I paid particular attention to the wonderful stonework of the building, and consider it a portrait of the building, really. One flaw in the composition is that the left side of the building runs off the canvas ~ and that was caused by the unique phenomenon of a changing point of view. I took the photo at an angle, which was necessary because of the road and trees. As the painting progressed, I changed the composition, pulling it forward into a frontal view. This did cause the left side of the building to become more and more elongated. What a challenge! 2006-2007 (documented by 2007). Presented to the Old Rock Building Committee of the Murray County High School Alumni Association. Prints and notecards of the painting were made, to be sold for charity. Funds went toward a new roof for the Old Rock Building (or V.C. Pickering Administrative Office) of Chatsworth, Georgia. The painting is owned by the Murray County Board of Education.
Lavender and Yellow. (acrylic) Floral, blue or lavender-colored flowers on a yellow background (possibly hyacinth). 11x14 gallery-wrap canvas. About 2003. Collection of Melissa Pritchett Sneads.
Landscape with Barn and Pond. (acrylic) The Reid's house on CCC Camp Road, Murray County, Georgia. I did two views of this (one more detailed, one more expressive) and used the paintings for a seniors' painting class that I was teaching. 10x8. Painted on canvas. Done by 2007. One of the paintings belongs to Mrs. Reid. The other belongs to Melissa Pritchett Sneads.
Landscape with Two Bushes. (acrylic) This small painting was done during the time that I was painting in or near West Hill Cemetery in Dalton. 7x5. Documented by 2002.
Evergreen (gouache) Landscape, in a verical format ~ it is really a portrait of an evergreen tree. Painted on site on Dug Gap Road in Dalton, Georgia. A rich, textured surface. About 2001-2002. 9x12. Donated to charity.
Autumn Trees. (gouache) Landscape of trees in brilliant fall color. Painted on site at West Hill Cemetery in Dalton, Georgia. A rich, textured surface. After 1997. Probably painted about 2001-2002. About 14x12.
Tree and Path (gouache) Landscape, in a verical format. It features a small tree on the side of a hill, in light, neutral greens. About 2001-2002. About 5x7.
Young Girl with Black Hair. (acrylic)One of my early acrylics, maybe around 1995. It was exhibited at Young Harris College in 1998. The girl is very pretty and has a solemn expression. She is wearing a wide-collared white dress. The predominant colors are a powder or periwinkle blue, deep teal green, white, and black. I did have some difficulty with the darker colors. The black went a little flat and the glaze tended to be too shiny. Still, the painting does have a nice effect. Owned by Dick Aunspaugh of Young Harris, Georgia. It's about a 16x20 canvas.
Landscape with Tree (or, "Loughridge") (acrylic) Landscape, view of the Loughridge farm, using the big tree on Loughridge Road in Murray County as the subject. Painted on from my own photo. I may have done more than one of these. I used it to teach a seniors' painting class. Done by 2007. About 8x10.
Landscape with Two Bushes. (acrylic) Landscape, painted on site at West Hill Cemetery in Dalton. The brushwork has a spontaneous "feel," as I had hoped. The composition is slightly abstract. About 2001-2002. 7x5. Currently owned by the artist.
The Baxter House. (watercolor) This is a pretty straight-forward view of the Baxter residence on Baxter Road near Crandall, Georgia ~ almost like an illustration. The house itself is wonderful ~ an old white farmhouse with gingerbread trim. Its most unusual feature is its five dormer windows in front. Gift to Dee Baxter. About 2009.
Landscape with Tree Trunk (acrylic) Painted on site, view from West Hill Cemetery of a house across the road. Bold composition, with the tree trunk (or bole) in the foreground, two bushes against a white house in the background. Angled light. About 9x12. Appeared in the LaGrange College exhibit, 1999.
Still Life with Blue-Glass Vase (acrylic) Part of the red-table series that I painted while in my little studio in Dalton. This painting seems less "finished" than the other three paintings of the same size and color scheme, but is actually my favorite of the group. The work sort of jumped out of its intended spot in a series and became an independent painting. The brushwork is more spontaneous, the composition more dynamic, and the colors more exciting. 20x16 (actually 20x15 3/4). Probably painted between 2004 and 2005. Currently owned by Sonny Mancao of Austell, Georgia.
View Through Woods I, II. (watercolor) Two small, spontaneous paintings ~ the second one is actually a re-creation of the same subject. I was inspired by the view of a little white house way across the pasture, barely seen through the trees. Trees are in the forefront, with a white birch and a small red tree being prominent. The colors are sienna, white, brown, and gray. The composition is somewhat abstract. The second painting is the more successful one. There is a nick in one corner, as that corner stuck to the watercolor block and tore as I was removing it. Both paintings are 4x6. One painting is owned by Terri Ransom Mathis of Kingston, Georgia. The other is currently in the collection of the artist.
Still Life with Fruit I, II, and III (acrylic) A series of three small still life paintings of fruit. My challenge here was actually to produce some paintings in a cohesive series. I used the same subject and color scheme of sienna browns, reds, and golds for all three. 20x16, painted on canvas (the length may be slightly off). All three were probably completed between 2004 and 2006. Collection of Cohutta Springs Conference Center, of Crandall, Georgia.
Blue Self-Portrait. (acrylic) Very expressive, slightly abstract. Named for the predominantly blue color. Painted on a rust-colored cloth. 18x24 Before 1999. Exhibited at LaGrange College and Young Harris College. Collection of the artist.
White Cat (Monochrome). (acrylic) This painting is a copy of an earlier work that I had done. The earlier work received some moisture damage, so I repainted it for my niece. Owned by Amy Williams of Dalton, Georgia. Early 1990s. About 20x16.
Satirist. (acrylic) Portrait of Dr. Murial B. Williams, of LaGrange College. One of my earlier acrylics, and quite a challenge! I was proud of the result. Dr. Williams scarcely recognized it as herself, though everyone else said it was a perfect likeness. She was my mentor ~ I admired her greatly. Someone described her demeanor, in the portrait, as "lizard-like." I think that that perception had to do with the turn of her head and the changing perspective. I did the painting from a combination of photos and drawings, in which the perspective did change from a three-quarters view to a sort of profile view, partly by accident. The composition was of my own making. Black and white striped blouse with a bow; shelf of books in background. 18x24, acrylic on canvas. 1992. Currently in the collection of the artist.
Landscape with Light (or Landscape with Cedar). (acrylic) I did most, if not all, of this painting on site, in Dalton, Georgia. It was up near a school (Fort Hill, I think). I wanted to capture a certain deep mood of color, and I did that. There is something solemn and almost surreal about this work. The rather abstract embankment in the foreground (which almost looks as if it could be a roof or form) is, once again, the result of the Matisse influence. This painting is documented in a photo by 1997, which ties in with the Matisse influence. I saw a show of his work at the High Museum in Atlanta that year, and was amazed by his brushwork ~ I had never before seen it "up close and personal." 18x14 on canvas. Currently owned by Sonny Mancao of Austell, Georgia.
The Beam Children. (acrylic) Commissioned portrait. This was a pretty complex undertaking. I used photos of the children, and pulled poses from various photos to put together into my own composition. Collection of Karen Beam of Georgia. Completed by 1997. 24x30. Painting later sustained irreparable damage.
Orange Tree. (acrylic) Experimental, unexpected, and spontaneous, and highly abstract, for me. The color of the tree is a rather brilliant orange. The tree itself inspired the method, I think. Collection of C. Meier of Chicago, Illinois. 4x6 canvas.
Pears in Bowl. (acrylic) The predominant colors are blues and golds. The bowl of pears sits on a surface that shows the reflection of the bowl. Painted between 1994 and 1996. Collection of Donna McConkey of Tennessee. 12x9.
Kudzu Field. (acrylic) This is an unusual work in many ways. The landscape is done in a vertical (or "portrait") format. I was trying to work from a combination of memory and sketches, which was, in itself, a new challenge for me. I particularly wanted to get the embankment in the foreground right, but somehow failed. The dramatic brushwork of the trees and the bank is very much the result of the Matisse's influence on my work. I had started the painting, struggled with it, and considered it finished, though I was not really pleased. Then I saw the Matisse show in Atlanta. When I came home, I grabbed a brush and "set to" in the most spontaneous and aggressive manner imaginable ~ not exactly my usual method of working! But in the end, I felt that I had achieved some success. Still, there's something a little odd about the overall impact of this work ~ and that is probably the result of working more from memory than from a model. Begun by 1996, completed in 1997. I sold the painting on Ebay. 18x24.
Spreadline. (acrylic) Experimental composition and use of color. Done from sketches. Created for Whitfield-Murray Historical Society, as an image of the Dixie Highway spreadlines of the "Peacock Alley" era. Probably completed about 1997 or 1998. It was after I had seen the Matisse exhibit in Atlanta in 1997. This is a fairly large work (for me) on a gallery-wrap canvas. Collection of Whitfield-Murray Historical Society.
Auburn Tree. (acrylic) Quick study of a tree, painted on site in Dalton, Georgia. Collection of S. Stephen of Peoria, Arizona. 5x7 canvas.
Hallway Portrait. (acrylic) Collection of Wendy Schneider Slaton of Alabama. 24x18. Early-to-mid 1990s.
Self Portrait. (acrylic) Almost a monochromatic of tans, browns, and rose tones. Appeared in my LaGrange College Exhibit (1999). Canvas board. Collection of Ella May Walton of LaGrange, Georgia. Small to medium, probably 11x14 or 16x20.
Windy Landscape (Cedar & Shed). (acrylic) By 1996. Painted on 12x9 board or illustration board, as I recall. Collection of John Lawrence of LaGrange, Georgia.
Ancestor Portrait. (acrylic) Large painting, 30x36, with experimental use of color and composition. Expressive. The predominant colors are browns, golds, and brilliant blues. Documented by 1992. Appeared in at least one show, at Young Harris College, and possibly in the LaGrange exhibits. Partially destroyed by moisture. Not sure where it is now.
Still Life with Yellow Wildflowers (acrylic) Still life, experimental colors: yellow wildflowers on a deep, teal-green box, with an olive-green coffee cup. Has an orange kitchen utensil and wooden spoon in the composition. Painted on illustration board. Mid-1990s, documented by 1997. Collection of Alan Pritchett of Dalton, Georgia.
Still Life with Coca Cola® Bottle (acrylic) Experimental use of media, acrylic on paintboard. 9x12. Probably between 1994 and 1996. Documented in a photo by 1996. Currently owned by Sonny Mancao of Austell, Georgia.
Still Life with Blue Bud Vase (acrylic)Cloudy blue-glass bud vase on a pink cloth. Moody use of colors. Probably about 1993-1994. Documented by 1996. Neutral green background. 8x10 canvas, framed.
Portrait of Amanda. (acrylic) Young girl, one arm clutching the other. One of my early acrylic portraits. Unprimed canvas, as I recall, which made it a little bit of a challenge! Early 1990s. Collection of Amanda Pritchett Bennett of Signal Mountain, Tennessee.
Portrait of Bonnie. (acrylic) Young girl in a textured sweater. Moody and somewhat romantic in use of color, tone, and texture; slightly abstract composition (very angular). Textural brushwork. One of my early acrylic portraits. Early 1990s. Collection of Bonnie Williams, Dalton, Georgia.
Otis Jones' World-Famous Stamp-Burger. (collage) 1983. The original has deteriorated, having become darkened and discolored, due to the unstable, experimental media. Appeared in 1984 in the LaGrange National IV Exhibit at Chattahoochee Valley Art Association (CVAA). The CVAA is now known as the Chattahoochee Valley Art Museum. The collage may have appeared in other shows, as well. Prints were made of this work (4-color mechanical lithography). Collection of the artist. Reproductions.
Stamp-Photos While-U-Wait (collage) Collection of A. Pritchett of Georgia.
The galleries shown on this website are intended as a retrospective of the artist's work. Many of the works shown throughout Southern Muse are not for sale as they are already in private collections (including "Sisters" & "Kitchen Light.")
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