Frank Lloyd Wright
________________________________________

Industry

Anonymous

_____________________

Fruit, berries, nuts

Willa Cather, American Author (1873-1947)

___________________________________________

Seeds, pods, cones

The Virgin Forests

There is a romantic notion that before Europeans arrived in North America, the forests existed in a state of natural perfection. They’re called “primeval forests” or “virgin forests”. But there never was a primeval forest in the sense of something in a condition of suspended animation. Trees dies of fire, disease and old age. They were cut down by beavers and their roots drowned by beaver ponds, ravaged by storms and uprooted by winds and floods. They were crowded out by stronger trees and attacked by insects. Ones struck by lightening exploded as if they’d been hit by bombs, and anybody who has ever tossed a pine knot into the fireplace knows how efficiently a blazing pine [coal] put the torch to the surrounding forest. There were burned up areas from the first time man set eyes on North America. A natural forest is not a state of perfection, but a struggle for survival and a constant process of succession.

Nevertheless, what man did to the forest s was far worse than any destruction accomplished by nature. He was the most lethal invader of all. To the pioneer of this land, the forest was the enemy. [They] looked on it about the same way as a used car dealer looks at a lot cars that he has to move to survive. Improved land was cleared of trees. The forests were used for making potash, laths, carriages, barrels, furniture, fence posts, telephone poles, railway ties, log houses. Fences were made from stumps of pines that grew eight to twelve feet in circumference and 170 feet high. There are people today who remember barns in southwestern Ontario floored with walnut.

Before the human invasion forests covered the shores of Lake Ontario. In 1851 W.H. Smith wrote, “The original forest (Etobicoke) was predominantly hardwood and covered the whole watershed. The trees were large and widely spaced and rose to a height of fifty feet or more without a limb. The interior of the woods was dim and cool, with hardly any underbrush, but with a deep covering of duff over the forest floor.

On the dry, level land, maple with its associate beech, and in some sections basswood was predominant. On the wetter sites, silver maple, white elm forests with their associates of swamp white oak and shag-bark hickory occurred, while on muck areas, cedar grew in swamps and on the wettest sites, tamarack were found. A few acres of oak occurred here and there, but nothing like the extensive oak plains which were present on the Humber watershed, notably in the western part of York township. White pine and hemlock grew on the well drained slopes and ridges along the stream valleys and occurred as scattered trees throughout the hardwood stands attaining their best growth in the maple beech woods”.

There are no untouched patches of forest left in the Great Lakes region.

The Dancing With Trees Art Exhibition, scheduled for May and June, 2010 in the Steinhauer Trust Gallery at the University of Wisconsin-Madison Arboretum premiered at The Museum of Natural Sciences in Raleigh, North Carolina during June 2009.

This solo exhibition celebrates the diversity, importance, and majesty of trees and forests. A range of artistic expressions emphasize the character of this show, with one subject as the binding influence. Acrylics paintings, photography, oil pastel works on paper, watercolors, and mixed media pieces are inspired by travels throughout the United States and Canada, to Mexico, Costa Rica, and Australia. The addition of a children’s workbook/coloring book is also in progress.

The accompanying website functions as the foundation where all related concepts are organized into one cohesive unit, so for a comprehensive view of the scope of this exhibition, browsing the website is encouraged. The collection in its entirety breaks from tradition slightly by offering more than just pictures of trees, presenting many other correlations conveyed in more than one medium. With gallery spaces limited, art that does not make it to show is also available to purchase online.

The overall concept promotes a philosophy about humanity’s positive role on the planet, with the statement that creative thought is our greatest asset. Further, creativity is our most primal, yet highly advanced and ever-evolving contribution toward solutions to healing wrongs done and changing ingrained habits to ones that are more appreciative of the environment in general.

Trees are vital to the health of our home, the Earth. All life forms on this planet proliferated, continue to flourish, and ultimately depend on the existence of trees. We are all touched at some point by the beauty and the benefits of trees, so I hope the appeal of at least a few pieces in this exhibition may cause some reflection.

_______________________________________

A Renewable Mission: the personal account of how the Dancing With Trees Art Exhibition materialized over the course of seven years into a lifetime of work.

With ambitions to document trees in every way, shape and form, these activities are woven intimately with resettling, rebuilding and re-identifying the management of a career in Art.

A favorite neighborhood Oak tree grabs my attention every time I drive by. Pointing out all its perfections to my visiting niece, she yawned, “It’s just a tree, Auntie”. We were not seeing the same tree at all…

Until the exhibition premiered as The Majesty of Trees in June, 2009 at The Museum of Natural Sciences in Raleigh, North Carolina, I didn’t realize how large the collection had become. Not surprisingly, the gallery was only able to hang a portion of the work created for it. Sitting quietly the evening before opening, taking in the mood of the show and finally able to re-read the advertising fliers for it with an uncluttered mind, I reflected on how the exhibition concept had evolved into something so much more, and not just in terms of volume.

What did surprise me were the curator’s choices: they were strictly blue, green and brown paintings of trees. Then I remembered that two years before, the accepted proposal was presented that way; as more of a literal translation of the topic. Now, with a few of the key pieces excluded, this particular show did not prompt the free associations of trees I had hoped it would. It was clear that my updated perception of the the exhibition as a whole was probably going to be unclear to everyone else. The title, ”The Majesty of Trees” suddenly seemed too restrictive, confining the viewers’ interpretations and also the liberty to express my own. Without representations of other aspects of trees and the creatures that depend on them, plus some of the conceptual pieces implying other relationships, there was a disconnect to the broader statements made, like “Our carbon footprint is worthy”. The writing now came across more as artsy-fartsy and a little spacey rather than genuine.

I was already questioning the ethics of the exhibition title too, since discovering one year after naming it that there is already a book published with the same title. I don’t do plagiarism. Having said that, just as I’m satisfied that the new name is original, what do I find but a website with the new name owned by a lady who offers tree climbing expeditions. Oh well, I’ll happily put in a plug for her business here, and The Majesty of Trees book too, hoping they don’t mind sharing the titles. Though our use of it and the websites are entirely different, we are all, in the end, on the same page.

Change…it’s the nature of this occupation, and of course life. Plan, work like there’s no tomorrow, experiment and be flexible, internalize a little discipline here and there, and at the same time: you’ve gotta go with the flow.

It’s said that obtaining success involves remaining true to ourselves, doing what we love, and being eager to devote every hour, every day of the week if we have to in order to reach our goals. I had a fun, successful business as a freelance artist before moving to the United States late in 2002, and my career intentionally took a new path here. I welcomed the freedom to paint whatever the heck I wanted. For about three years there were no obligations to work for others until receiving a Green Card. It was great to experiment uninhibited. That was the goal then: to produce.

While entering competitions and juried exhibitions, the inconsistency of styles, subject matter and odd mixture of results became more and more apparent. I planned to exhibit in galleries and had no clue what a competitive field this is, but did experience the irony of a firmly established protocol in this industry. I am not a hobbyist. Not to diminish the importance of that pursuit, but they are now my competition. For a while there I felt at an extreme disadvantage at not having focused  on any one genre or medium. Although I thoroughly enjoy creating art every day and you could not stop me if you tried, the objective for my efforts is to earn a permanent living. Paid or not, to be truly successful, Art needs a purpose…and an artist needs a reason for being. You might say it was getting difficult to see the trees for the forest.

It was while driving back and forth to Canada a couple of times a year, first helping our sons resettle in the east, then visiting family in the west that my mission became obvious. The theme that would merge past, present and future together was growing alongside every highway. I also noticed: Oh, there are far more photos of trees than there are of relatives. Any time there’s an opportunity to travel, the first thing I think of is, “Yay! More trees!” It made perfect sense to focus that passion completely toward the production of art.

That evening before show-opening in Raleigh, with so much work intended for the show missing, it was not just the room that seemed empty. At the time I could not pinpoint the origins of those feelings. There are reasons why galleries have developed prerequisites. The curator explained why the pieces she chose were all so similar; partly because the space was very small. She reminded me that in galleries people expect a uniform, consistent style in a body of artwork that’s immediately recognizable as having been done by one artist. Her opinion was that people need to be told [if not in words then visually] what they are looking at. I got the logic, but not the emotions that seem to have opinions of their own. At the age of forty nine, maybe I was too old to start learning new tricks…

I have to say that the curator’s critiques were on-point, and a debt of thanks is in order. With Nancy Bethune’s direction, this experience was pivotal to improving the exhibition on the whole, and to growth toward my own potential. I’m grateful for her judgments. There are realities every artist needs to know about exhibiting art in order to do it right and do it better, and this was a whole new world for me. I completely understand the curator’s perspective too. Hanging a show is no different than painting; instead the art and walls are the paint composing the room. Composition and balance are the most important components in a painting as well, where chaos needs order and a pleasing overall rhythm of colors and shapes should capture viewers’ attention and keep it there.

If there’s one common thread in all of the Arts, it’s that problems and finding solutions to them is what creativity is all about. If there are no problems, then we gravitate toward making a few. Artists are prone to discouragement – mostly due to their own high expectations – not necessarily of others - primarily of themselves. However, it’s also an obsession to jump right back in, meet the challenge head-on, and begin again. The core of what we do is seeking ways to make limitations work in our favor, material and immaterial. We automatically start searching for some sort of compromise, and are accustomed to the cycles of downs and ups. Strangely, there’s a deceptive fairness about the physics of it all. However confused, an equivalent eureka is just around the corner, and pushing the boundaries is always worth it.

I had to come up with a way to open up a broader view of the show. It was also important to incorporate my background in freelance I decided, because even though it went against the norm, it’s vital for artists to find their own unique niche. Meanwhile I try to focus on finding that niche as a painter, but the fact that I don’t restrict expressions to only paintings needs to be an advantage, not a stumbling block. 

First to change was the title. The seven foot high signature piece for this show became the inspiration for the title, because corny as it sounds it really felt like the paintbrush and I were dancing on that canvas while painting. Dancing With Trees finds me flitting about the forest using mixed-media with no particular place to be. With paintbrush in-hand I might marvel at the fungi or sit next to a monkey, then viewers can look at paintings of birds on branches and not have to ask (as a few people have already), “What have birds got to do with trees?”.

I firmly believe that we are all looking for something new, but we don’t know what we’re looking for. I don’t think we need to be told or what to think, or what exactly we are looking at. It’s an Artist’s job – no, there’s a sense of duty, (and we’re compelled anyway) to innovate; to generate new fads, fashion and new traditions, design better objects than those before us did, create a stir; to pull out the rug and open up the sky, make you cry, laugh, hate, question, love, or instigate any infinite number of reactions. It’s like there’s a code is embedded in an artist’s DNA to not do things the way they have already been done!

In the end we each have to decide what we feel is right for us. For now anyway, continuing to portray trees and aspects of trees in a variety of ways fits with how I need to work. I may never be a one trick pony, but what each piece of artwork here does have in common is that the process is all-important. Much of it has been through unexpected changes from start to finish, and all of the work since 2006 can be viewed in-progress on the nikkiartwork.com blog.

We are all creators in our own lives. The economy and the way folks do business is always changing, and we need to adapt. If there were ever a time when change at every level is necessary, it is now. None of us can rely on the way things have already been done. It means carving your own path in order to be successful. The Modern Age was built on creative thinking…not in ten or one thousand years, but ever since we first became curious about what stones could do when they were hit. The world would never be the same. Since then, change is in constant demand.

Every painter knows that we need to learn how to edit; what to put in, what to take out. For artists, the restraint that’s exercised must not only be in our methods creating art but also in presenting new ideas while staying respectful of the conventional reasoning that’s already in place. Our work ought to speak for us, and if it’s not effective enough, then as Jean Picard starring in Star Trek said, “Make it so”.

If creating the work is only partially under our control, certainly once it leaves the studio it’s on its own. We can never determine what the responses will be. Describing the idea in as few words as possible, we can only anticipate that viewers feel beckoned toward it, free to feel or think whatever comes to mind or heart, even take it from there and embellish it, which would not be unusual.

The Steinhauer Trust Gallery at the Wisconsin-Madison Arboretum is a long  fifty two by eight feet wide hallway leading to the auditorium, so the artwork chosen and the way it’s hung must take these parameters into consideration. Fortunately, there’s enough room for all of the major pieces except the chairs.

The reality this exhibition faces as time progresses is that there is no existing gallery large enough to show it all, and one of the best ways to deal with that was to construct this website. What a perfect device, and how fortunate it is to be able to have this malleable medium as an integral part of the exhibition. I’m grateful to my husband and his unending patience teaching, and also for the basic design of all my websites. Also thanks to our sons for being available at a moment’s notice to help with issues constantly arising about computer codes and regular maintenance.

It’s pretty evident that the environmental and conservation causes in general are the prime motivating force behind this exhibition, and I’ve noticed a sort of human-bashing occurring over the years, and it’s time to reconsider the disfavor we do ourselves by not noticing. As for my role as artist in the bigger picture, if there is an agenda, it’s always going to be about hope. There are gentler and more pleasant ways to appeal to the masses effectively without being condescending to our own kind. We must hold ourselves accountable for wrongs done, but we live here alongside other life forms, and with regard to caring about anything else but ourselves, how can we change for the better if we believe we are forever guilty and never worthy?

Creative power is the excellence that humanity has to offer. We have come full circle in the sense that it plays a vital role in our present responsibilities toward our future, and possibly the existence of the living planet itself.

…our carbon footprint is worthy…

_____________________________________________________

Please direct emails to nikki_coulombe@hotmail.com

____________   Artist’s Statement, Bio  _____________

Reestablished in Texas, Nikki has produced an entirely new body of artwork, mostly paintings in acrylics. In 2009 she was voted Artist of the Year by the Visual Arts Society of Texas (VAST). While participating in juried competitions and exhibitions with other artists, the bulk of current subject matter has been of trees and forests.

Anonymous 

~

Seeds, pods, cones

Peru has suffered violent clashes between indigenous groups desperately trying to protect the Amazon and the government, who has pushed through legislation allowing intensive mining, logging and large scale farming in the rainforest.

I just signed a petition urging President Alan García to immediately cease the suppression of indigenous protests, to suspend laws that open up the Amazon to extractive industries, and to engage in a genuine dialogue with the indigenous groups.

Click on the link below to support the campaign:

http://www.avaaz.org/en/peru_stop_violence/98.php?CLICK_TF_TRACK

Thanks!

———————-

Dear friends,

The Peruvian government has pushed through legislation that could allow extractive and large-scale farming companies to rapidly destroy their Amazon rainforest.

Indigenous peoples have peacefully protested for two months demanding their lawful say in decrees that will contribute to the devastation of the Amazon’s ecology and peoples, and be disastrous for the global climate. But last weekend President Garcia responded: sending in special forces to suppress protests in violent clashes, and labelling the protesters as terrorists.

These indigenous groups are on the frontline of the struggle to protect our earth — Let’s stand with them and call on President Alan Garcia (who is widely known to be sensitive to his international reputation) to immediately stop the violence and open up dialogue. Click below to sign the urgent global petition and a prominent and well-respected Latin-American politician will deliver it to the government on our behalf.

http://www.avaaz.org/en/peru_stop_violence/98.php?CLICK_TF_TRACK

More than 70 per cent of the Peruvian Amazon is now up for grabs. Giant oil and gas companies, like the Anglo-French Perenco and the North Americans ConocoPhillips and Talisman Energy, have already pledged multi-billionaire investments in the region. These extractive industries have a very poor record of bringing benefits to local people and preserving the environment in developing countries – which is why indigenous groups are asking for internationally-recognized rights to consultation on the new laws.

For decades the world and indigenous peoples have watched as extractive industries devastated the rainforest that is home to some and a vital treasure to us all (some climate scientists call the Amazon the “lungs of the planet” – breathing in the carbon emissions that cause global warming and producing oxygen).

The protests in Peru are the biggest yet and the most desperate, we can’t afford to let them fail. Please sign the petition, and encourage your friends and family to join us, so we can help bring justice to the indigenous peoples of Peru and prevent further acts of violence from all parties.

http://www.avaaz.org/en/peru_stop_violence/98.php?CLICK_TF_TRACK

In solidarity,

Luis, Paula, Alice, Ricken, Graziela, Ben, Brett, Iain, Pascal, Raj, Taren and the entire Avaaz team.

Sources:

# Civilians and police killed: Human rights lawyers accuse the government of a cover-up, BBC, 10 June:
http://news.bbc.co.uk/2/hi/americas/8092453.stm

# Civil Society Condemns Massacre of Indigenous People in Peru, 8 June:
http://www.globalwitness.org/media_library_detail.php/765/en/global_witness_condems_violence_in_peru

# On Peru’s rift over economic policy and the controversial free trade agreement with the US , Reuters, 9 June:
http://www.reuters.com/article/latestCrisis/idUSN09374943

# Research Article: Oil and Gas Projects in the Western Amazon: Threats to Wilderness, Biodiversity, and Indigenous Peoples, M. Finer et al:
http://www.plosone.org/article/info:doi/10.1371/journal.pone.0002932

# Oil companies ‘should withdraw’ as Peru ‘faces its Tiananmen’, Survival International, 8 June:
http://www.survival-international.org/news/4640

# Peru’s Amazon oil deals denounced, BBC News, 3 February:
http://news.bbc.co.uk/2/hi/americas/6326741.stm

# Amazon Watch website:
http://www.amazonwatch.org/

More details about the progression of most of this work is posted on www.nikkiartwork.com

Click here to view more paintings of trees, 1980 – 2001

Photography can be purchased here.

Dawn at Bell Rock

	Dawn at Bell Rock (Juniper), 24 x 18 x 2 inches acrylics on canvas, gallery wrapped sides painted, narrow frame
Framed $550.00

Sounds of Silence

	Sounds of Silence, 36 x 24 x 2 inches acrylics on canvas, gallery wrapped sides painted, narrow frame
Framed $550.00

Dancing With Trees #03

	Dancing With Trees 03, 85 x 45 x 3 inches acrylics on canvas - Signature piece for the Dancing With Trees Art Exhibition
$5,500.00 Framed

Upper and lower half detail images:

Cycad Fossil Chair

	Cycad Leaf Fossil Chair, Homage to the Earth, 29 x 29 x 29 inches, completely functional refurbished vintage chair, canvas strips, white glue, plaster carved and sanded, Acrylic paints, varnish; completely functional
$2,500.00

Salish Wood Spindle-Whorl Chair

	Salish Wooden Spindle-Whorl Replica Chair (NW Pacific ancient Indian culture), 29 x 29 x 29 inches, completely functional refurbished vintage chair, canvas strips, white glue, plaster carved and sanded, Acrylic paints, varnish
$2,200.00

The Tree of Life Chair

	The Tree of Life Chair - Our spiritual and cultural connections with trees, 29 x 29 x 29 inches, completely functional refurbished vintage chair, canvas strips, white glue, plaster carved and sanded, Acrylic paints, varnish
Central detail	Details of work in progress
$2,200.00

Magic Squares series, part 1

Sides painted	$350.00 each

The Magic Square series, Part 2

$250.00 each	11 x 11 x 3 inches	Gallery wrapped sides painted

Shadows of Summer

	Shadows of Summer, Maple leaves, 60 x 40 x 3 inches Acrylics on canvas, gallery wrapped sides painted, narrow frame tidies the edges
Framed $1,100.00

Magic Hour

	Magic Hour, The Gitxsan Pole in Thunderbird Park, B.C. Canada, belonging to Chief Wiha of The Wolf Clan, Kitwancool, 60 x 40 x 3 inches acrylics on canvas, gallery wrapped sides painted, narrow frame
$2,500.00 Framed

Click here to view details and/or progress of this painting.

Polypore Fungi

	Polypore Fungi, 58 x 41 x 2 inches acrylics, carved modeling paste on canvas. Progression and more detail photos June 9th and Oct. 22, 2007 on nikkiartwork.com blog
$1,100.00 Framed

White Pine Bows

	White Pine Bows - framed, 20 x 34 x 2 inches Acrylics on wrapped canvas.
$750.00 Framed

Click here to view details and/or progress of this painting.

Rocky Mountain Vista

	Rocky Mountain Vista, 24 x 48 x 2 inches Acrylics on wrapped canvas.
	Donated to VAST Arts, Denton, TX

Eucalyptus Tree

	Eucalyptus Tree, Queensland, Australia, 14 x 11 inches Oil Pastels on paper
	Being reframed, available for purchase again soon

Click here to view details and/or progress of this painting.

Northern Delights #02

	Northern Delights #2, Quaking Aspen - 24 x 36 x 1 inches Acrylics on canvas
$550.00 Framed

Click here to view details and/or progress of this painting.

Morning Light

	Morning Light, 58 x 41 x 2 inches acrylics on canvas, gallery wrapped sides painted
1,100.00 Framed

The Great Ocean Road

	The Great Ocean Road, Southeastern coast, Australia - 11 x 14 inches oil pastels on paper
	Being reframed, available for purchase again soon

Salt Spring Island Fog

	Salt Spring Island Fog B.C., Canada ~ 18 x 24 inches Graphite, Colored Pencil, Dry Pastels on paper, framed 28.5 x 34.5 inches
$750.00 professionally framed

Article published in the Denton Record Chronicle, Entertainment section February 8th, 2009

Click here to view details about this painting posted on the nikkiartwork.com blog.

Dancing With Trees 02

	Dancing With Trees #02, 48 x 48 x 1 inches acrylics on canvas, framed add .5 inch. This painting progressed through an interesting process and dramatic changes - see nikkiartwork.com
$550.00 Framed

Dancing With Trees 01

	Dancing With Trees #01 - 11 x 14 inches Oil Pastels on paper, white double mat and white 16 x 20 inch frame
$250.00 Framed

A New Day

	A New Day ~ Dry Pastels on scarlet orange charcoal paper ~ Available framed approx. 23 x 27 inches, or unframed 19.5 x 25.5 inches.
$150.00 Unframed

First Snow

	First Snow, acrylics on canvas, painting extends onto box-frame, 39.5 x 27.5 x 1 inches
$450.00 Framed

Sun Shower

Sun Shower, 85 x 45 x 2 inches	Acrylics on canvas, masking fluid used..	A pivotal piece, experimental..	Sold, work example only

Cardinal

	Cardinal, 24 x 24 inches acrylics on canvas
$250.00

Northern Delights #1

	Northern Delights 01, Poplar stand in Banff, Alberta, Canada, Graphite, Oil Pastels, watercolor pencils on paper
$250.00 Framed

Redbuds

	Redbuds, 11 x 14 inches dry pastels on charcoal paper
	Being reframed, available for purchase again soon

Guanacaste, Costa Rica

	Guanacaste, Costa Rican grasslands, 11 x 14 inches oil pastels on paper, white double mat, brass title plate, 22 x 26 inches white frame
$275.00 Framed

Redbuds in Fog

	Redbuds in Fog, Springtime in Texas, 11 x 14 inches Oil Pastels, graphite on paper, reframed with double mat and brass title plate, 22 x 26 inches framed
$275.00 Framed

March Winds

	March Winds - Coppell, Texas: Ode to Jackson Pollock via Oil Pastels
	Being reframed, available for purchase again soon

Pinion Sunset

	Pinion Sunset, 11 x 14 inches Oil Pastels on paper, white double mat, 16 x 20 inches white frame
$250.00 Framed

Speeding By The Poppies

	Speeding By The Poppies - Hwy 40 Tennessee, 11x 14 inches oil pastels on paper, white double mat, 22 x 26 inches white crackle on white frame
$275.00 Framed

Windswept

	Windswept, NC ~ Cypress, Kitty Hawk, Outer Banks, North Carolina ~ mainly Oil Pastel on paper, 24 x 18 inches, framed size approx. 27 x 23 inches
$150.00 Unframed

Moon Over Cypress

	Moon Over Cypress - Bald Cypress, Lewisville, Texas, 14 x 11 inches Oil Pastels on paper
	Being reframed, available for purchase again soon

Moon Over Myrtle

	Moon Over Myrtle, Summer morning moon 10:00 a.m., Lewisville, Texas - Oil Pastels on paper, white double mat, 16 x 20 inches white frame
$250.00 Framed

Wild Canada

	Wild Canada, Stony Swamp, Ottawa, Ontario, 14 x 11 inches oil pastels on paper
	Being reframed, available for purchase again soon

Coconut Palm

	Coconut Palm, Costa Rica, 14 x 11 inches oil pastels on paper
	Being reframed, available for purchase again soon

Lake Cote Cloud Forest

	Lake Cote Cloud Forest Reserve, Costa Rica, 14 x 11 oil pastels on paper
	Being reframed, available for purchase again soon

January Thaw

	January Thaw, Fallowfield, Ontario, Canada, 14 x 11 inches Oil Pastels on paper
	Being reframed, available for purchase again soon

Calgary In September

	Calgary In September, Alberta, Canada, 14 x 11 inches oil pastels on paper
	Being reframed, available for purchase again soon

Arkansas, July 6:25 a.m.

	Arkansas, July 6:25 a.m., 14 x 11 inches oil pastels on paper, white double mat, 16 x 20 inches white frame, Paper Places Series
sold

Galahs in Traffic

	Galahs in Traffic, Norfolk Island Pine, South Australia, 14 x 11 oil pastels, graphite on paper
	Being reframed, available for purchase again soon

Gold In The Mountains #1

	Gold In The Mountains #01 - Acrylics on canvas, 20 x 16 inches set inside box-frame, total size 23 x 19. As seen in the very first phase April, 2006 was accepted into AJAS 2006 Spring/Summer Online Juried Exhibition. Reworked then finished November 2007. See nikkiartwork.com for details about the phases and dramatic changes in progression.
$550.00 Unframed

Gold In The Mountains #2

	Gold In The Mountains 02, Kananaskas Valley, Alberta Canada, 11 x 14 oil pastels, graphite on paper
	Being reframed, available for purchase again soon

Flowering Eucalypt

	Flowering Eucalypt, South Australia, 20 x 16 inches Acrylics on canvas
$550.00 Framed

Spruce

	Spruce, 24 x24 inches Acrylics on canvas, painting extends out onto narrow frame. Older work.
$250.00 Framed

Conifer

	Conifer, 6 x 6 x 1.5 inches, Encaustic
$50.00 frame unnecessary

Branching Out

	Branching Out, 6 x 6 x 1.5 inches, Encaustic
$50.00 frame unnecessary

Flamboyant Tree Seed Pods

	Flamboyant Tree Seedpods, Encaustic, 10 x 8 x 2 inches
$100.00 frame unnecessary

Cedar, Stony Swamp

	Cedar - Stony Swamp, 11 x 14 inches watercolors and graphite on W/C paper, white wood frame with antique crackle finish, total size 22 x 26 inches
$250.00 Framed

Nature Insists

	Nature Insists, 11 x 14 inches watercolors and graphite on W/C paper, reframed with brass title plate, white double mat, white wood frame with antique crackle finish, total size 22 x 26 inches
$275.00 Framed

Takkakaw Falls

	Takkakaw Falls ~ Graphite, watercolors on paper ~ 11 x 14 inches ~ study only of the collectible hand-colored VanDyck Photogravures of the Canadian Rockies that inspired the Antique Photo Series.
NFS

Mt. Assiniboine

	Mt. Assiniboine ~ Graphite, watercolors on paper ~ 11 x 14 inches ~ study only of the collectible hand-colored VanDyck Photogravures of the Canadian Rockies that inspired the Antique Photo Series.
NFS

Loosestrife

	Loosestrife and Oak tree near Fallowfield, Ontario, Canada, 41 x 58 x 2 Acrylics on canvas, gallery wrapped sides painted. Older work
$550.00 frame unnecessary

Quaking Aspen

	Quaking Aspen, Maine, USA, 50 x 28 x 1 inches acrylics on canvas, narrow frame. Older work, 1993
$550.00 Framed

Bald Eagles in Hemlock

	Bald Eagles nesting in Hemlock, Prince Rupert, B.C. Canada, 44 x 30 x 1 inches Acrylics on canvas, gallery wrapped, narrow frame. Older work
$550.00 Framed