Each panel in the trilogy is a 4’ x 8’ black slab…like an enormous headstone.

The first, “The Sacred Crack”, began with a pre-history image of the sacred feminine, the vagina, the “crack” that lets light in at birth. Because my intention in the creative process was to “go dark”, I waited. Next came an anatomically correct image of the labia. As I painted, using color intuitively, a distinctive icon unintentionally emerged, the “Virgin of Guadalupe”. Because I am not Catholic, the synchronicity was dissonant. I knew it was right. “Dark wings” spread protectively over the figure as flames licked up from the base. It felt complete.

The second panel, “Dark Too Sings”, was inspired by Wendell Berry’s “dark feet and dark wings”. Creatures from Hieronymus Bosch, Escher and nature’s nocturnal winged ones are all on a journey through the night, symbolic companions of our dreams and nightmares. They felt like my familiars. We don’t know where they are going or where they come from.

The final piece, The Light Gets In, is in the design stage. Since the Trump election and subsequent ugliness, divisiveness, and chaos, I struggled for months, not knowing how to authentically create light in this time of darkness. Leonard Cohen’s words began to speak to me. “Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything. THAT’S HOW THE LIGHT GETS IN.” I could “see” the crack, splitting an iconic image of the Capitol Building in two…..and the “light” spilling out, four protest movements that shine in the darkness: Occupy, Black Lives Matter, # Me Too and March For Our Lives.They give me hope.