Announcing the Contrasts that Complement Exhibition

The Whitaker Foundation proudly announces an exciting new exhibition celebrating the watercolor paintings of artists Frederic Whitaker and Eileen Monaghan Whitaker.

The exhibition, Contrasts That Complement, pairs selected watercolors by National
Academicians and lifetime partners Frederic Whitaker and Eileen Monaghan
Whitaker, evoking a sometimes subtle and often dramatic dialogue between two
celebrated artists. From the exquisitely detailed architecture of Frederic’s Baroque
Facade, to Eileen’s exuberant rendering of Horton Plaza, this exhibition celebrates the
historical magnitude of both Whitakers’ contributions to the American watercolor
medium. Featuring some of Frederic and Eileen’s most iconic work, the watercolors
in the Contrasts That Complement traveling exhibition highlight the distinctive
voice of each artist in such a way that the paintings become counterparts, reflecting
a visual articulation of the Whitakers’ professional and personal relationship during
their lifetimes.

This exhibition was organized by The Frederic Whitaker and Eileen Monaghan
Whitaker Foundation, in celebration of the Foundation’s 30th anniversary. Established
in 1987 by Eileen Monaghan Whitaker, The Whitaker Foundation was created to
preserve her and her late husband Frederic Whitaker’s works and to promote the
American watercolor medium. Over the past three decades, the Foundation has
used innovative programs and technology to breath new life into the Whitakers’
legacy and inspire the next generation of watercolor artists. Some of this outreach
has included a comprehensive online exhibition of the Whitakers’ watercolors
through the Google Cultural Institute, publication in 2004 of the biographical book
Contrasts That Complement, the institution in 2014 of a bi-annual art scholarship
program to assist students majoring in art (watercolor emphasis) or art history/
museum studies, and savvy use of social media and the Foundation blog/website
to engage with artists, curators, collectors, and other watercolor enthusiasts from
around the world.

Maren Forsyth – Spring 2017 Scholarship Winner

Meet Maren Forsyth, a Senior at the University of New Hampshire, who is majoring in Art History. We would like to congratulate Ms. Forsyth on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Spring 2017 term. As part of the application process, Ms. Forysth was asked to submit an essay response to a question about the Whitakers and their work. You can read Maren Forsyth’s artist statement and essay below:

Artist Statement

“I am an Art History major with minors in Sociology, Spanish, and International Affairs. Last semester, I was fortunate to study abroad for five months in Granada, Spain and visited several works I was learning about, including La Alhambra. 

My art history journey began when I took introduction to architectural history during sophomore year to fulfill a discovery requirement. I was intrigued to discover that architectural spaces have more of a purpose than just places to live, work, or entertain. With each lecture, I was intrigued by how architects employed the use of ribbed vaulting during the Gothic, how the décor during the Baroque displayed excessive exuberance, and how artists were fascinated with portraying organic life during the art nouveau. From that class forward, I was fascinated with the concepts of iconography, of vision, and the public reception of art. I have taken classes from the range of studying the life of Michelangelo to Late Medieval Art to studying the Rococo…

I am interested in working towards completing a graduate degree in Digital Media. My top career choice would be in art design and would like to eventually be an art director. I believe that with my art history background and with the graduate degree, I’ll be able to examine the past and bring it closer to present day conceptions…”

Essay Question: Americana: the paintings of Frederic Whitaker & Eileen Monaghan Whitaker, two distinctive views

Americana: That which reflects the charm and nostalgia of America’s past.

Watercolor is more ephemeral than other types of painting. Acrylic and oil have a greater concrete presence on the canvas or panel than watercolor, and with less precision it has a wider range of expressivity. The translucency of watercolor gives it a fleeting, ghost-like quality and creates nostalgia, even if the moment depicted was only a few days previous. The Whitaker’s choice of watercolor as a preferred medium amplifies the nostalgic elements in their painting: making the moments that they capture, whether from life or created from imagination, even more ethereal and untouchable.

When Frederic Whitaker paints cities, the buildings loom out towards the viewer, making the people seem like ants in comparison to the formidable skyscrapers ie: “Trinity Church.” Frederic’s works are complete narratives, leaving little to no questions. They lead the viewer from beginning to end, walking your eye up on a path towards the focus, and then letting your eye loose to explore the the fauna and sky behind. Color wise, he treats more important subjects with stronger, more vibrant colors, while separating the supporting elements by tinting them with more neutral shades of grays and browns. He doesn’t want the viewer to be confused on what part of the composition is the focus. He describes buildings by using strong, linear brushstrokes, while using curvilinear forms to construe the organic elements. Frederic has a formulaic approach to his art, continually customizing the conception of a true fore, mid, and background to adapt from scenes of country life to those of New York City.

“I Pledge Allegiance” shows the nuclear family saluting an American flag. Their homestead is down on the lower left corner while the flag dominates the composition in size and acts as the pinnacle of the work. The family looks peacefully at the flag, while the flag seems to be billowing in the fierce wind, turning and twisting in every way possible. A wreath wraps its way around the flagpole towards the golden eagle, the overseer of all. The work epitomizes the way a proper American family should feel about their homeland -hand over their heart, looking up towards that ideal of becoming the best and most productive citizen they can be. It also emphasizes a suburban or rural way of living rather than a focus on city life. This is a recurring theme for Frederic. He seems preoccupied with the industries that America was shifting away from ie: logging, fishing, or milling towards more white collar jobs in the city.

There is much more of an emotional connection with Eileen Whittaker’s perspective on America and this is shown through her painting techniques. More so than her husband, she is preoccupied with the relationship between nature and the female body. Formally, she doesn’t believe in the traditional background, uses various techniques such as splattering color to compose the background. Because of the informality of her compositions, ie: using oval vignettes as a frame rather than using the entire canvas, her works almost feel like dream visions, static and blurry like a having bad reception on a tv. Unlike Frederic, her architecture does not loom over the composition and instead extends beyond the canvas. The architecture is decentralizes and becomes a story about the smaller architectural spaces and the people rather than a showcase of architecture might. Her paintings are like microcosms of life, small insights into the working environment at large that make the viewer wonder about the details beyond those she provides. If there is a house, who lives there? If she paints a person, where is that person going? The viewer is an active participant, and the artist is no longer simply the messenger. There is an alive quality of her works, an expectation that something will change if one looks at it just long enough.

Compositions like “Nostalgia” from 1966, or “Fireworks” from 1979 are two very different takes for Eileen. “Nostalgia” shows Eileen’s taste for cropping the subject.  One can’t see the entirety of the house, instead it seems more like a detail study. The vanishing point leads the eye towards where the doorknob is, and invites the viewer inside to explore. Her brush strokes create blocks of form rather than distinct outlines. In “Fireworks over San Diego,” Eileen uses a an oval vignette shape to frame the bay view. Inside, the cityscape of San Diego is represented by a peppering of red, white, gold, and blue colors. The shape is evocative of the shape of one’s own vision. Eileen still activates each edge by extending the form of some of the fireworks, beyond the oval vignette.

Eileen produces nostalgia for the rural landscape of America. Her works “Nostalgia,” “Fourth of July,” and “Winter New England” portray farm houses, each progressively further away. In this way the paintings function as a progression of society away from these acres of land towards suburban and city living. As America progressed towards this way of living, individual features and the sense of distinctiveness (especially concerning where one comes from) slipped away. One becomes part of the greater landscape, and the individual parts of a house or a person becomes indistinguishable. “Fireworks over San Diego,” an urban architectural outlier in this genre of her portfolio, the viewer is the furthest away and therefore has the least amount of personal connection to the subject.

Frederic and Eileen reflect on the charm of America’s post WWII life, when the culture shifted from mass production towards white collared suburban lifestyle. They were preoccupied with losing individuality and the human connection with nature. While Frederic demonstrates a more systematic style to his landscapes and Eileen more of a freedom with her composition, both Whitakers display the essence of what it means to be American, simple diversity. There is no one landscape that can summarize what America is all about. America is its’ bustling cities, and the farmers working tirelessly in the countryside.


Abigail DeVizia – Spring 2017 Scholarship Winner

Meet Abigail DeVizia, a Senior at Kutztown University, who is majoring in Fine Arts. We would like to congratulate Ms. DeVizia on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Spring 2017 term:

“As an undergraduate art student, I have spent a great deal of time visiting museums and learning from the works displayed there.  While I am concentrating on my work as a painter, I have decided to focus my career towards gallery or museum service while simultaneously investing time in my own portfolio.  This way, I can educate others in art history and art production while still educating myself on a daily basis…

In my recent body of work, I drew inspiration for my watercolor landscapes from a town near where I grew up.  Port Jervis, New York, has been repeatedly abandoned by the government, and so the education systems are failing and crime occurs at an increasing rate.  Through painting these landscapes of vacant spaces I can tell stories of loss that equate with my interest in painting mundane and overlooked places.

I have held a few exhibitions with the campus galleries and these shows have featured my oil paintings and my watercolor landscapes. When I am not engaged with exhibiting my art, I am employed in the Marlin and Regina Miller Gallery on campus…By this time as a senior, I am pursuing internships at museums and galleries within a commuting distance of home in anticipation of my  graduation… 

For me to receive the Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship would open up a host of opportunities for me to continue my art and to be recognized by a larger national community.”

Conrad Oil, 2016 ©Abigail DeVizia

For Rent, 2016 ©Abigail DeVizia

Xiaoyan Zhao – Spring 2017 Scholarship Winner

Meet Xiaoyan Zhao, a Senior at the California College of the Arts, who is majoring in Painting and Drawing. We would like to congratulate Ms. Zhao on being the first of our Whitaker Scholarship Alumni, to be selected for a second time as one of the Spring 2017 Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship recipients:

“In the past year, with exploring the art direction, I had experienced many art practices outside of the school such as participating and selling my paintings at the SFMade Holiday Fair 2015, became the selected artist for the third annual Clyde & Co Community Art Award (two of the three selected artworks are watercolor paintings) and become the fall 2016 scholarship winner of the Whitaker Foundation Scholarship Fund. All these experiences made me more and more confident. I feel so grateful with these opportunities to glimpse the art world outside of the school, because through these opportunities I know myself in a better way, and recognize what kind of art I want to make.

The semester has come to the half way, there is a crucial reason to participate in the Whitaker Foundation Scholarship Program again: the scholarship program is an effective way to test the new idea of my watercolor and art concept, and also the best way to prove myself. The self-criticism of art made me realize that as a practicing artist, the most important point and the first thing for me is to make art that I love, make art that I want, make art from the bottom of my heart instead of creating some “great” arts in order to attract the attention of others or make myself look “important”. Painting is all about “self”. Without “self” or without knowing “self”, my painting will become a kitsch art. “Self” has the ability to make art unique. This kind of “unique purity” has been the key to distinguish each outstanding artist. In order to have the unique condition, “self” has been the theme of my painting. I used to look for this kind of condition from the stories of grandparents and family, but perhaps returning to “self” is the most direct way to keep me away from confusion and reach my uniqueness.

Of course I still have many confusions, but rather escape from it, I choose to face it and show them in my painting, because they are parts of my “unique purity”. You may see my confusions of being an artist, the future, self identity; inferiority and narcissism. All these confusions can be the artistic language and speak for me in my art. I love this expression, and love to share with audiences if they experience resonance in my painting.”

Self Series 1, 2016 ©Xiaoyan Zhao


Self Series 2, 2016 ©Xiaoyan Zhao

Emily Bombere – Spring 2017 Honorable Mention

Meet Emily Bombere, a Junior at the University of Mary Washington, who is majoring in Studio Art/Business. We would like to congratulate Ms. Bombere on being selected as one of the two recipients of our Spring 2017 Honorable Mention Commendations for a Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship:

“I am studying Studio Art and Business in school.  While I would adore to solely create personal art for my career, I have been investigating gallery work and business to have more stability financially.  I am the student coordinator for the galleries on-campus and I have worked as a monitor the past two years.  I have enjoyed volunteering at other galleries in Richmond and exhibited a collection at the Art Works Gallery my senior year of high school.  The high school that I graduated from provides an incredibly advanced and rare opportunity for the students who are interested in art.  It is a specialty center that includes hours of higher learning in visual art, dance, theater, and musical theater.   I was exposed to many different mediums and ways of self-expression that has directed the art I create now and the way I perceive visual art teaching and making.  Studying abroad is the next step that I am planning on taking for my development as an artist.  I love art, but in order to push myself forward I need to experience an unfamiliar place and gather a new perspective.” 

E.V., 2016 ©Emily Bombere

Self, 2016 ©Emily Bombere

Holly Mazzio – Spring 2017 Honorable Mention

Meet Holly Mazzio, a Senior at Kutztown University, who is majoring in Studio Art/Painting. We would like to congratulate Ms. Mazzio on being selected as one of the two recipients of our Spring 2017 Honorable Mention Commendations for a Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarship:

“If there is one thing I don’t need to be told twice, it’s that pursuing a career in the arts isn’t an easy road. My path to get where I am currently in my artistic career has been anything but enjoyable, although I have learned some of my most defining qualities as a person and an artist during this time.  I have been able to learn how to turn difficult or challenging ordeals into learning experiences that benefit me and my future. Having been diagnosed with a learning disability at a young age, this had made many obstacles in my educational life starting as early as first grade. Following my passion to become an artist however, made for the most difficult and seemingly impossible road to take…Choosing to face the tough things in life has given me chances to show others just how serious and how far I am willing to go to achieve my goals. It fuels my passion to work hard and to be grateful for the chances I get to show people how much my work means to me.  I hope to find many opportunities in which my art will been seen by others who may also begin to believe in my desire to succeed at what I love.”

Chelsea NY, 2016  ©Holly Mazzio

Patco, 2016 ©Holly Mazzio

You’re Among Friends, South of the Border by Frederic Whitaker

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A Surprising Find from the Whitaker Photo Archives

There are times when an image crosses your desk, and it captures your attention, despite its rather ordinary composition. In this instance, that image arrived in the form of a small photo depicting an artist standing at the edge of a cliff, looking rather pleased with himself as he grasps the familiar leg of an easel holding his plein air painting. There was nothing particularly striking about the photo itself, and at this first meeting, I merely logged it as interesting, but moved on to other pressing matters. It was the second time the photograph caught my eye, as I was perusing the Whitaker image archives, that I felt compelled to pass it along to the Foundation board, along with a query asking if anyone knew the gentleman in the photo, or could provide any contextual information about why this image might appear in the Whitaker photo archives.

0419_Roy Mason friend of Whitakers_SMAs it so happens, this smiling gentleman, clad in a jaunty angled fedora, was none other than famous watercolor artist Roy Mason. Roy and his wife Lena were longtime friends of the Whitakers, who they met in 1940s while both couples resided in New York. When the Masons moved to La Jolla, CA in the early 1960s, it would be a combination of their warm influence and the enchanting culture and climate of La Jolla, which would persuade Fred and Eileen to join their friends by moving to the area in 1965. Over the coming decades, the friendship between the Masons and Whitakers would continue to grow as both couples flourished within the elite artist community of La Jolla and San Diego. Fred and Roy’s paintings were even featured alongside each other in the late 1960s as part of a group exhibition celebrating the 50th Anniversary of the La Jolla Art Association. 

In Roy and Lena, Fred and Eileen found kindred artistic souls, as reflected by the words of Eileen Monaghan Whitaker in the book Contrasts that Complement, where she remarks that

“It was natural to fall in love with Roy the instant you met him – everyone did…Roy was a bright man with broad interests, and a fine painter as well! There was never a more attractive couple than Roy and Lena. It was wonderful for us to have the Masons, such good friends and stimulating people, so close.” (Jennings, 53)

Whether it was hosting a social gathering for the arts, exchanging advice, introducing one another to collectors and patrons, or inspiring each other to continue to refine their skills and achieve new heights of personal and professional success, the legacy of the unique, decades long friendship between the Whitakers and Masons would be the enrichment of both their contemporary artistic community, as well as future generations of watercolor artists.

Eleonor Botoman – Fall 2016 Scholarship Winner

EleonorBotomanPortrait_editMeet Eleonor Botoman, a freshman at Barnard College, who is majoring in English and Art History. We would like to congratulate Eleonor on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Fall 2016 term. As part of the application process, Eleonor was asked to submit an essay response to a question about the Whitakers and their work. You can read Eleonor’s artist statement and essay below:


Artist Statement

As a double major in English and Art History, I’ve set my sights on exploring the art world through art criticism. I currently attend Barnard College, a women’s college in New York City, and I’ve spent my first year studying art history and architecture, researching internship opportunities for next fall, and wrote for the Journal of Art Criticism (JAC). This new student publication had its first issue release in early May and I am currently writing more pieces to be published in the summer and fall semester. I’ve also contributed to Postcrypt Art Gallery, an organization atColumbia University that puts on themed exhibitions of student artwork covering a wide range of mediums from installations, digital design, paintings, and sculpture.

Being in New York, I’ve been able to discover new developments in the art world by exploring all of the museums and galleries just a few subway stops away, and my professors, experts in the art history and architecture field, have guided me through not only the history of art, but also where the future of art is going.

As I begin my writing classes in the fall, I’m eager to develop my writing skills and use the analytic knowledge I gain from English to produce criticisms and theories of my own. I want to question artistic choices, draw comparisons and relationships across movements, understand the artist’s influences and inspirations, and place contemporary works into greater historical contexts. The skills I learn in writing will help me articulate my ideas in ways as creative as the artists I choose to discuss. However, I don’t want to keep all of my learning strictly on-campus.

With the fall semester just a few months away, I’ve already begun applying to internships in different organizations in order to further immerse myself within the art world. Some of these organizations include, a website that not only produces articles but also keeps track of artists’ profiles and pieces as well as guides to auctions and various galleries. There is also Magnus, a new app that identifies the work of art you’re looking at and provides you with all of its information including the artist, the gallery it belongs to, and the current sale price. I am also looking to work for ArchDaily, an architecture journal that looks at up-and-coming architects, explores new developments in design, and studies the impact of contemporary projects (both residential and public works) on the world today.

Essay Question: Compare and contrast Frederic Whitaker and Eileen Monaghan Whitaker’s watercolors depicting Mexican culture

Mexico has been a source of inspiration for many writers and artists over the years, from the Beat poets’ trips south of the border to Diego Rivera’s grand murals of indigenous people. The Whitakers felt this strong pull to Mexico, and captured their awe in beautiful watercolor paintings. Both Eileen and Frederic’s works project emotion into the viewer. The flickering effects of the watercolor evoke a bright Mexican energy. Frederic and Eileen’s pieces may share subject matter, but their individual perception of Mexico causes them to splinter into two subjects of focus: Eileen studies the Mexican people while Frederic documents the Mexican earth, bringing a narrative quality to the forefront of his compositions. In an exploration of their differences, the watercolor artists together produce a whole, richly dynamic image of the power of this Latin-American land.

Eileen Whitaker explores Mexico through its people. Her warm portraits use vivid color to bring a face to a kind of Latin-American energy. She captures moments of daily life, brightened with whites and reds. The figures themselves, however, stand almost rigid poses. She does not use Impressionist brushstrokes to create her pictures. Subjects are rendered to as close a realism that can come with watercolor paints, people documented as if each moment she sees is a photograph. Princess Mariposa (1989) captures the woman with a realistic lightness and her dreamy expression with the rainbow patterned fabrics of her traditional dress. However, there is no intense overlapping of motifs or color in the composition. The mural in the corner, the leaves, the hummingbird, and the butterflies that bloom from behind the woman are included as motifs to further emphasize her identity. The flat white wall ensures no distraction. Eileen sees the people and their lives as the true expression of Mexican tradition, worn in their clothing.

Frederic’s interpretation of the lives of Mexican people emits a more rugged and masculine quality. In the Poultry Merchant (1967), he uses rougher strokes, yet overlaps the washed out tones to create delicate shadows and streaks of sun-brightened white across the feathers. Unlike Eileen, he does not paint the Mexican people with emotion. The merchant’s face appears with only a few minimal strokes while the chickens, the blanket, and his handkerchief are rendered with precision. Eileen captures the expressive quality of the locals’ faces, punctuating their portraits with richly colored cloth, while Frederic defines the Mexican people by traditional objects they use in their lives, carrying into a greater narrative quality of his series of paintings. Two paintings show this documentary quality: Dawn, Nov 2nd (1968) and the Lettuce Pickers (1966).¹ One takes place on an urban street while the other shows men at work in the fields, however Frederic produces two very similar studies on the power of the Mexican landscape. Watercolor is not a painting medium that encourages exact lines so the artist must make the choice to place the most important aspect of the painting right at the foreground where the image can be meticulously rendered. In both Dawn, Nov 2nd and the Lettuce Pickers, he places Mexico at the forefront while the flickering forms of the people linger towards the background. Only one individual sits close to the viewer in Dawn, Nov 2nd, and it should be noted that he wears the most elaborate costume. The Lettuce Pickers appear as generalized forms as well, but in the foreground Frederic places a cardboard box in the corner as a symbol of their agricultural work. He brings the rows of lettuce forward before stretching them all the way towards back of the canvas, sending the viewer’s eye back into a vast and fertile land. Eileen shows individual identities but Frederic uses the Mexican people to create a larger history of a collective identity. Their faces have a formless quality, only enough to differentiate a person within a group. In the darkened daylight of Dawn, Frederic punctuates the men with bright yellow caps. In the Lettuce Pickers, hats play a similar role. This is a symbol of male traditional dress, a practical one that keeps them cool under the hot southern sun. The Lettuce Pickers could become faded into the monotony of the green field, but their bright hats emphasize their hard work. As with the boxes, the hats are a symbol of hardworking spirit, similar to Eileen’s representation of the women’s energy in electric fabrics.

A final point of contrast between the two artists arises with Frederic’s use of a darker palette. Eileen doesn’t shy away from duskier tones, but she prefers bright pinks to her husband’s shadowy blues. This comparison is drawn between two paintings: Eileen’s Se Vende Ajos (1990) and Frederic’s Flower Market (1977). Both pieces address the bustling Mexican marketplace, however there is variation within color schemes. Eileen’s painting projects warmth with hues of orange, reds, and purples. The figures are arranged so that each item for sale can be represented. Oranges and garlic are presented by the merchants and fabrics draping in the background are only partially blocked by the man in the center while the rest of their patterns are unobstructed. The scene is inviting, decorated for the viewer. Frederic’s work, on the other hand, shows a louder, busier scene. All of the shapes reduce in definition to enhance the frenzied setting. The women’s dresses merge together in tones of blues and purples. Sellers carry clouds of blossoms. The sky is darker, drawing attention to the flowers and the dynamic movement of the crowd. In Eileen’s painting, the man engages with the viewer, welcomes them into the selling space. Frederic places the viewer behind the women sitting in the shade with their children. They do not participate, perhaps because they cannot keep up with the chaos of the market, and the viewer is encouraged to observe in order to learn about the culture. Frederic’s paintings capture a dynamic story of Mexican life while Eileen’s works follow a more stagnant tradition of portraiture and elegant expression of culture. 

¹Unbeknownst to the author, the setting for Frederic Whitaker’s watercolor painting “Lettuce Pickers” was Salinas, California, not Mexico, as suggested. This is an understandable misconception as the painting is included with collections featuring Mexico and Mexican culture, and details regarding where “Lettuce Pickers,” was painted were not available to the author as of the writing of this essay.

Carrie Taylor – Fall 2016 Scholarship Winner

CarrieTaylor PortraitMeet Carrie Taylor, a senior at Georgia State University, who is majoring in Studio Art. We would like to congratulate Carrie on being selected as one of three recipients of our Frederic Whitaker and Eileen Monaghan Whitaker Foundation Scholarships for the Fall 2016 term:

[I am] only 6 classes shy of my B.F.A. degree, [and] upon graduation I will be able to be financially independent while working in my field. I have been a working artist for a decade and have a stunning portfolio, but often I am overlooked [in] the application screening process since I lack a Bachelor’s degree.

The B.F.A Studio Art program grooms the working artist. In my final year, I will work closely with professional artists and have dedicated studio hours. It will teach me the boundaries needed to successfully raise my infant son as a single parent and work in an unconventional profession with opportunities for office hours and freelance work. I have always been a great student, as I maintain an above B grade point average, and I have received recognition and awards in both my educational and work environments. I would like to believe that hard work does not go unnoticed, and though we may face challenges, we can overcome them. I want my son to believe in himself as he believes in me.

Going to class for me is attending my studio. It is another place of work. I have found through the challenges of my past year it is also a place of retreat and healing. I have had a dormant interest in art therapy, and if I can achieve my short-term goals I can continue to believe that despite challenges, art is a constant and a place of serenity for healing. I would like to further pursue qualifications and responsibility in order to be part of the promise and promotion of creative expression in art therapy.

Carrie Taylor_My Sunshine_4x6_2015

“My Sunshine” 2015, 4 x 6 in. ©Carrie Taylor

Carrie Taylor_Daisy_4.25x5.5_2015

“Daisy” 2015, 4.25 x 5.5 in ©Carrie Taylor