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: 36 x 40. 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. M.N. Pritchett bought the work in 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.

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. The face of the cousin on the left is actually a likeness of my aunt. 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. "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 (one of which belongs in the permanent collection of the Hunter Museum in Chattanooga). "Red Tree & Lake" belongs in the private collection of W. Schneider Slaton of Alabama.

Rose & Bottle. (acrylic) This piece is very special to me. It now belongs in the collection of D. Williams of LaGrange, Georgia.

Pear. (acrylic) I kept "Pear" on my wall for several years before I offered it for sale. It, too, was transitional. It now belongs in the collection of A. Williams of Iowa.

Storm Clearing Over Fort Mountain. (watercolor) My best watercolor and one of my favorite landscapes. It now belongs in the collection of L. Coleman Stanhope of Marietta.

Varnell Landscape. (acrylic) A. 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.

Golden Tree. (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.

Orange Tree. (acrylic) Unexpected and spontaneous--the tree itself inspired the method, I think. Collection of C. Meier of Chicago, Illinois.

Auburn Tree. (acrylic) Collection of S. Stephen of Peoria, Arizona.

Daylilies. (watercolor) Collection of W. Schneider Slaton of Alabama.

Two Trees, Mountain Setting. (watercolor) One of my more successful watercolors--small, but painted very loosely. Collection of A. Williams of Iowa.

Hallway Portrait. (acrylic) Collection of W. Schneider Slaton of Alabama.

Pear & Pepper. (acrylic) Still Life. Exhibited and sold at the Creative Arts Guild 2003 Festival Patron Purchase Exhibit, Dalton, Georgia. It now belongs in a private collection in Dalton.

Pears in Bowl. (acrylic) Collection of D. McConkey of Tennessee.

The Beam Children. (acrylic) Collection of K. Beam of Georgia.

The Fincher Place. (acrylic) Landscape. Exhibited and sold at the Creative Arts Guild 2003 Festival Patron Purchase Exhibit, Dalton, Georgia. It now belongs in a private collection in Dalton.

Windy Landscape (Cedar & Shed). (acrylic) Collection of J. Lawrence of Georgia.

Blue Self-Portrait. (acrylic) Collection of the artist.

Otis Jones' World-Famous Stamp-Burger. (collage) Collection of the artist. Reproductions.

Stamp-Photos While-U-Wait (collage) Collection of A. Pritchett of Georgia.