The Voice of Resiliency

Untamed, Raw, Wild, Honest

Artist Websites: Archives

The Chunky Teacup (from my female perspective) Freerangemaker (from my masculine perspective)

Curious the space and motivation to consider this clutter: considering the value of archiving. I began to create separate galleries, but have decide to not move forward with this at this time. Thinking.

Drawing From Life

Receptionist Series

Art Purge 2023

iPad Drawings

Paintings & Pastels





Digital and AI

Landscape and Digital Paintings

Pandemic Cardboard

Works Created During the Pandemic

Painting on Cardboard and Paper 

Black and White Photography

Select Images: 2022

Grit - Art Brut

Images of Resiliency

Alchemically Shifting the Unthinkable.

Life Drawing

I am officially overwhelmed. I, at this point in time, have no idea, how to go through all of this. 

October 21, 2022

The visual arts, in terms of flow, is swapping places with dance and partnering with sing/songwriting and poetry.  After A LONG TIME of unframing art, and showing up unannounced in Museums to install myself alive, guerrilla style, in settings in the U.S. and Europe, I fiddle with the formality of frame by being adjudicated into my home townʻs art association, the Santa Barbara Art Association, and am curious about this. 

September 13th, 2022

During my dance making career, I had a somewhat consistent visual art practice, with periods of a break of six months to a year even, when a particularly gnarly project came my way. One of my mentorʻs expressed that she did not think people could really understand my choreographic work without seeing the art, and an art consultant suggested I make sure I find an opportunity to show my art whenever I had a show, which led to my work being shown in Vienna, as well as NY, and through the NECTAR community. I submitted to a few community shows, but was more interested at this time in unframing art, and installing myself, uninvited, in museums, as a part of my vision of the arts becoming a thing of what it once was, for  celebration, community, sacred purposes. 

During this period, I was still processing complex-PTSD (from which I have recovered fully), and the work was shown under the auspices of Dylan and Friends. 

The journey was very much a gender fluid, identity fluid, ability fluid, and age fluid journey.

When it has all settled, I feel genderless, ageless, and infinitely playful, and for a time, I am walking in the name "Aunty No Name" and ʻIolani for my Hawaiian studies. I set the intention to learn other ancestral tongues as well.

So grateful.

For art, for its healing properties.

April 19, 2023

I find, that life drawing, in community, is a process, and I am aware, that the effort on my own part, largely is a part of a continued de-colonization process as I lean, in my retirement years, into the discovery process of being a neo Hawaiian.  Life drawing, over the years, has been a part of the process of remaking the body, the mind, the soul/spirit even as a part of responding to the assimilation sickness associated with historical trauma as expressed through the Hawaiian genocide.  The paradigms of the patriarchial, hierarchical, largely male driven perceptions and understandings of creativity, these ways of thinking and being, have been very much at odds with the work, which has been largely process oriented, rather than product shaped for an art market orientation.


Underground and Outside the journey has largely been with a commitment to “unframing” art in interest of seeing all of humanity playing creatively for the sheer wonder of playing creatively.


I have found, in this ego driven texture of the Western container, to be very closed minds, and closed hearted even, with a tendency to punish with words, and cruelty even, when creative expression surfaces in the structure of creating in community that is outside of the view of what this limited perception of art is for, what art should look like, what is good art, what is bad art, etc.


Of late, I contemplate the materials I have been using, the damage to the environment, and am integrating a digital process.


The life drawing process has a preparation component, beginning, middle, and ending drawing session  components, as well as a post drawing session component, which exists within a lifetime continuum of pursuit of cultivating an earth first, sacred creative, alchemical process, with the needs of the individual “ego” self being re-framed to be of service/support to the well-being of all expressions of life in interest of contributing to the betterment of all life on this planet we call earth.


So, in the present moment, I donʻt understand the static nature of framed art, if, the art itself, is a flowing, moving, growing process informed by many elements.


Hence, while I have of late been experimenting with framing art, and exhibiting art, formally, I find balance in letting the marker of process take form in mini-art stories, that move, and flow, and bring meaning in a way that reflects the historical fact, that I devoted 3 decades to exploring creative expression using the human body in time/space to create sacred performative physical theater witnessed at the Lourve, the Belvedere, the Norton Simon, LACA, MOMA, in alternative spaces locally in Santa Barbra such as Fishbon and Yoga Soup, at artist residencies at the Dragonʻs Egg, Earth Dance, and in theaters and studios in California, New York, Vienna, Ljubjlana, Paris, and Istanbul.


In these retirement years, I unzip the identity of being an artist, and step out of this skin.


of late even, I prefer walking in the name Aunty No Name.


I find, there comes a time, to retreat from society, and be more often in nature, in more intimate settings, but still, find myself engaging with with arts community, as one, walking with no identity, and no name, as I continue to quest a deeper understanding of being a two-legged in a complex world.