HARVEY - AFTERMATH

Harvey stalls and we got WATER, and lots of it. From my front door looking out across

the street to the neighbors front door was a level plane of dwater.
The depth was three inches in main house and in garage was six inches. My studio, not pictured with water standing, got about nine inches.

We prepared. Having flooded back in 2001 with Allison, we took steps to place everything of value up as high as we could. Some thing were taken to the attic.

We assumed we wouldn't flood too much higher than ankle deep as we did with Allison. Our assumption was based on the upgrades in drainage systems across Houston done by city since that disaster. But who knew? We were just hoping.

Yes. We have flood insurance. No matter. It is still difficult to see your beautiful hard woods glistening  not  from a high shine wax but reflections in the three inches of water that has moved in across the whole house.  We were lucky.

 

                                                                
I didn't get photos of much inside as the water came in. The cats were getting scared. They sit outside during rainy days watching the water fall. They don't like thunder but rain usually doesn't bother them. Water on the floor really freaked them out. Lots of loud meows and one even started shaking. I think this is Buster watching the water flow in from the back yard and garage.

We got over 30 inches of rain in four days but our home flooded before we got that much. The water actually came in and sat for a while and when the rain stopped for a bit, the water flowed back out. But the yard still had water ankle deep.

From dining room looking to back yard and studio in back.

My studio held the water well. I waded out and opened the door and water flowed into the backyard until the inside level was the same as the outside level.  But then when the next band of rain came, the flooding returned to house and studio. About an hour passed, the rain slacked or stopped and water receded again. And that was that. The floors dried and cupped. Again, we were lucky. 

Before: Looking inside my studio, you can see all the stacking I did to keep supplies and art high and dry. These photos show just the beginning of my getting everything moved up to a level I thought was safe. Everything on the lower shelves was moved.    

Lower level sheet rock (two feet up) and some of the wood floors have been removed. Same for studio except the wood floor isn't removed yet.

Mark watching over the placing storage container on our driveway. 

Now we are packing to move out for the eventual renovation of the house. The insurance pays for a certain amount of renovation and damaged contents but nothing towards repairing my studio. Luckily, hardly any art or supplies were damaged. It is now a waiting game. Waiting for information from adjuster and contractor. Plus, waiting to figure out where we will stay. We think we will renovate studio first and camp out there while home get it's face lift.  Or maybe not.

Stay tuned for the next installment.

Family Ties Brooklyn / Dallas

Family Ties   
Brooklyn | Dallas 
curated by Bonny Leibowitz | Julie Torres  

500X Gallery 
April 11th 7:00pm - 10:00pm 
exhibition continues through May 3rd
500 Exposition Ave.  Dallas TX. 75226  www.500x.org
Bonny Leibowitz  214-405-5993  bonny@bonnyleibowitz.com

My entry is below. Here you can see pics of the reception of other artist.  

FLIGHT OF FANCY

Flight of Fancy, Oil and cold wax on Arches paper for oils, 16 x 12 inches,  ©Gwendolyn Plunkett 2015

Exhibition News - Family Ties Brooklyn l Dallas

I am very pleased  to be a participant in this exhibition curated by Bonny Leibowitz and Julie Torres this April.  Hope to see you there. 

Family Ties

Brooklyn | Dallas

mostly Brooklyn Artists Commune with mostly Dallas Artists 

curated by

Bonny Leibowitz | Julie Torres

500X Gallery

opening reception

Saturday, April 11th 7:00pm - 10:00pm

exhibition continues through May 3rd

On view Saturdays & Sundays, Noon to 5 p.m. Weekdays by appointment

Brooklyn-based painter Julie Torres and artist Bonny Leibowitz of Dallas, TX have partnered to co-curate a unique exhibition of 80+ artists from Brooklyn, 40+ local Dallas artists and several like-minded artists from around the country, in "Family Ties." Torres' recent "Family Style" exhibitions in NYC are the inspiration for this community-expanding project. Leibowitz and Torres share an affinity for the participating artists' exciting work and for collaboratively organized exhibits.

"Family Ties" celebrates the limitless potential of artists supporting artists. 

Julie Torres is a painter and arts organizer in NYC and will be in attendance for the opening. 

Bonny Leibowitz is an artist and "Family Ties" co-curator living in Dallas

Family Ties artists

Albert Weaver, Alex Paik, Alexis Granwell, Ann Glazer, Anne Russinof, Ashley Garrett, Austin Thomas, Bailey K Chapman, Barbara Laube, Becky Yazdan, Ben Pritchard, Ben Terry, Bonny Leibowitz, Brett Dyer, Brian Edmonds, Caetlynn Booth, Cande Aguilar, Cecilia Salama, Chance Dunlap, Christina Tenaglia, Christopher Moss, Christopher Rose, Claudia Tienan, Daniel John Gadd, David Michael Connolly, David T Miller, Deanna Wood, Douglas Florian, Elizabeth Gourlay, Elizabeth Riley, Ellen Letcher, Emily Berger, Enrico Gomez, Eric Mavko, Erica Stephens, Fran Holstrom, Fran O’Neill, Fred Gutzeit, Georgia Elrod, Ginny Casey, Giovanni Valderas, Gwendolyn Plunkett, Helen O'Leary, Inna Babaeva, James Prez, Jamie Powell, Jason Rohlf, Jay Henderson, Jeanne Neal, Jeff Parrott, Jennifer Shepard, Jenny Leigh Jones, Jill Vasileff, Joan Mellon, John Kesling, Jonathan Cowan, Julia L Trinh, Julia Schwartz, Julie Alexander, Julie S. Graham, Julon Pinkston, Justine Frischmann, Karen Schifano, Karl Bielik, Karla Areli, Katherine Mojzsis, Kevin Andrew Curran, Kristen Biles, Ky Anderson, Kyle Gallup, Lael Marshall, Lauren Collings, Leeza Meksin, Leslie Kerby, Levi Haske Liz Ainslie, Liz Atzberger, MaDora Frey, Maria Britton, Marian Brunn Smith, Mary Judge, Matthew Neil Gehring, Maxwell Stevens, Mayra Barraza, Meg Atkinson, Melissa Capasso, Melissa Staiger, Michael Frank Blair, Nancy Ferro, Paul Behnke, Peggy Epner, Phillip J. Mellen, Polly Shindler, Rachael Gorchov, RE Cox, Rebecca Litt, Rebecca Murtaugh, Roberto Munguia, Ryan Goolsby, Ryan Michael Ford, Sally Warren, Sean Montgomery, Seth Mulvey, Stephen B. MacInnis, Suhee Wooh, Susan Carr, Susan Cheal, Teresa Ekasala, Todd Camplin, Vicki Owen, Vicki Sher, Wendy Klemperer, Will Hutnick, William Crump, William Eckhardt Kohler, William Lawler, Zak Vreeland 

500X Gallery

500 Exposition Ave.

Dallas TX. 75226

www.500x.org 

On Exhibition until March 10

The exhibition Surface Tension at Hunter Gather Project in Houston is up through March 10. Artists are Lydia Bodner Balahutrak, Jon Lee and myself. Hope you can come by the gallery for a visit before the exhibition closes.

Under My Skin I, Encaustic and oil bar on panel, 16 x 16 inches

January Exhibition Announcements- Houston and Chicago

In Houston: 

I am very pleased to announce my inclusion in the second featured exhibition SURFACE TENSION  at Hunter Gather Project here in Houston this month. The two other artists are Houston artist Lydia Bodner Balahutrak and San Antonio artist/master printmaker Jon Lee.  The reception is this Thursday evening (Jan 16) from 6-8 p.m. I hope you can come by.

 

Hunter Gather’s second featured exhibit, entitled Surface Tension, will showcase a variety of works by three different artists who each investigate layers – both visual and conceptual. Multimedia painter and collage artist LydiaBodnar-Balahutrak composes politically charged newspaper clippings on canvas, only to obscure them underneath layers of poignant acrylic imagery. Master printer Jon Lee creates subtle interactions between color, form, and surface using a traditional woodblock method on his own handmade paper.  Finally, contemporary artist Gwendolyn Plunkett investigates the depth of encaustic, working in tones and marks that are suspended in various opacities within thick slabs of wax.

The opening reception in Thursday evening, January 16, from 6 – 8 p.m. at Hunter Gather Project, 5320 Gulfton, Suite 15, Houston, TX 77081. 

Jon Lee

Lydia Bodner-Balahutrak  

Gwendolyn Plunkett

In Chicago:
My painting Silence was is included in Equilibrium: Art for the Changing World, an  exhibition hosted by the Women's Caucus for Art at Woman Made Gallery in Chicago. Exhibition runs January 17 through February 27. Reception: Friday, Jan. 17 from 6-9 p.m. and WCA Artist Reception: Friday, February 14, 6-9 p.m.

Silence, encaustic on panel, 12 x 12 inches

About the exhibition: (Information below is taken from Woman Made Gallery announcement on their website.)

“Equilibrium: Art for the Changing World"  hosted by the Women’s Caucus for Art, explores the tensions, demands and challenges inherent in living in a rapidly changing world. Included are works in all genres and media to express the multiple expressions of balance or its absence, ranging from abstract to representational, psychological to social, whimsical and poetic to political commentary. Entries were juried by Mary Stoppert and Beate Minkovski, WMG’s Co-founder and Executive Director. commentary. 

Exhibiting Artists: Click HERE to see artist's work in the exhibition and read their statements regarding their entries.  

Lynn Arnold, Carol Brookes, Cat Del Buono, Rene Culler, Lynn Dau, Sherri Denault, Hope Esser, Jean Fernandes, Helen Geglio, Laurie Hall, Beth Holmes, Martha Markline Hopkins, Hilla Hueber, Lisa Knoop, Beth Lakamp, Judy Langston, Lee Lee, Chandrika Marla, Hildy Maze, Penny McElroy, Sandra Mueller, Jennifer Murray, Brenda Oelbaum, Joann Perry, Corinne D. Peterson, Laura Petrovich-Cheney, Gwendolyn Plunkett, Margee Bright Ragland, Laura Phelps Rogers, Ann Rowles, Ellen Schillace, Carol Scott, Gail Stouffer, Patricia Terrell-O'Neal, Cynthia Tom, Jeane Vogel. Janet Frazee Wade, Elizabeth Wallace, Nancy Youdelman.

Beneath the Eroding Surface Exhibition in Austin up through Dec. 8

See some of my work along with William Ruller's in Austin this month at Austin Art Co. Title of show: Beneath the Eroding Surface. Contact information to see exhibition is below. Must call for appointment. Ask for Julie. For more information click here for website. Gallery hours by appointment. Questions?  Email Julie at julie@austinartco.com or 512-786-8721. Up through Dec. 8. 

Palimpsest for DW, 14 x 11 inches, Encaustic, oil bar and collaged papers

River of Dreams, 16 x 16 inches, Encaustic and oil bar on panel

See My Work at East Austin Studio Tour

Mostly Small Works Show

East Austin Studio Tour at Pump Project Art Complex

702 Shady Lane, Austin, TX 78702 (Studio L)

Austin Art Connections 

Collusion, Ink and Gouache on Watercolor paper, 16 x 20 frame size

The artists: Sabra Booth (San Antonio), Debbie Buie (Austin), 

Valerie Fowler (Austin), Jean Griffith (Rockdale),  Chrys Grummert (Austin)

Virginia Headley Maserang (Georgetown),  Mike Krone (Austin), 

Gwendolyn Plunkett (Houston), Stacey Smith (Houston), Kim Schaefer (Abilene), 

Brianna Sutton (Mineola) 

Right Down the Line - New Work in Studio

Booked              New Language                    Linear A                   Right Down the Line
The two sets or grids below are all ink drawings on pages from an old French text. I don't read or speak French so my drawings relate only with the pattern of the text on the page. If I did, the drawings would probably be sea faring vessels instead of the abstract drawings they are. The book is about French Maritime Law in the late 19th century.

Working title for this series is New Language but that may change as I move forward. Often, it is near the end of a series that I fully understand what I am pursuing with the imagery.

Booked I and II below are the first twenty four. Plans are to have another two sets.

Booked I, Ink on book pages on panel with oil bar and encaustic medium
Panels are 12 x 9 inches

Booked II,  Ink on book pages on panel with oil bar and encaustic medium
Panels are 12x9inches

The painting below is the first of a 'mini-series within a series' that includes ink drawings on thick handmade paper that I glued to the panel after the drawing was made. Collaged around the edges are parts of book pages from the same book used above. Oil bar in red, orange and black are rubbed into the wax and then wiped away leaving residue. The wax medium is yellow or natural color and changes the white paper to a more natural color.  This piece also makes reference to the artist Gego. 

Linear A-1, Ink on paper on panel with book pages, oil bar and Encaustic
Size 16 x 20 inches 

In the four  paintings below I have used the same linear element as the focal point but each is worked  in a different medium. The one just below this text was the first and you can see it up in  Booked I, bottom row, 2nd painting.

from Booked I, 3rd row, 2nd painting, Ink drawing on book page on panel with encaustic medium and oil bar,
12 x 9 inches

Below in the 2nd version, I adhered book pages from the same book as the Booked Series to the canvas with acrylic gel. Later the pages were stained with walnut ink mixed with the gel. An acrylic black ink was used for the round marks and acrylic paint for the line.  This painting was really made as an experiment. The plans are for larger acrylic/collaged paintings with the book pages gridded across the canvas. You can see two of those larger paintings on my web site.

Giocometti Line, Acrylic, book pages and ink on canvas, 14 x 11 inches,
2012

The lithograph below was done at Burning Bones Press in June and July for our exhibition at Cactus Records July 14. Images were to be poster size-18 x 24 inches, and thematically related to a song lyric. 

My choice was Bonnie Raitt's "Right Down the Line." This is the 4th version and it is after the one above but without text. 

Right Down the Line II,  Lithograph on Rives BFK,  Image size 11.5x15.5 inches, paper size: 24 x 18 inches
2012

The version below is the 3rd version of the "line." It is mostly encaustic and oil bar. The shellac and mica flakes were there in a previous painting. In the reworking, I melted and scraped away most of the shellac and mica but you can still see some of it shining though. 

Right Down the Line I,  Mixed media Encaustic, 16x16 inches on panel
2012

Currently Showing

In Austin, I have several paintings in the Goldilock Exhibition showing March 3 – 11, 2012 at Lytle Pressley Contemporary, 1214 W. 6th St, Austin, TX 78703.  Big Red and The Shimmering I are two of the four paintings of mine included in this exhibition. This exhibition is a collaborative effort between Julie Ziegelman of Austin Art Connections and Lytle Pressley Contemporary Gallery.

At Lytle Pressley Contemporary - Big Red, Encaustic and oil bar on panel, 48 x 40 inches

At Lytle Pressley Contemporary - The Shimmering I,  24 x 36 inches

Also,  I am very pleased to have my painting Under My Skin/The Dreaming III included the 7th Annual Encaustic Invitational at Conrad Wilde Gallery in Tucson. This exhibition is up through March.

If you are in the area of either of these galleries, please stop in for a visit. 

At Conrad Wilde Gallery - Under My Skin/The Dreaming III, Encaustic and Oil bar on panel, 16 x 16 inches 

New Dates for Encaustic Workshop at LoneStar

The Encaustic Workshop planned at LoneStar College, CyFair has been rescheduled with a new start date. 

There are still three seats available. Below is the information you need to register. 

On LoneStar's home page, you will log into MYLonestar. To do that you must create a user name and password. When you get to the home page of MyLonestar, scroll down to CE and CE Registration and click there. Should take you the right spot for registration. 

Encaustic Painting

ARTSC*3800059*5002   REG# 17553   2/18/12 – 4/21/12   SA   10AM-2PM    ARTS 116    No class on 3/17 or 4/7.

Ink Paper Wax, my exhibition is on view at the Pearl Fincher MFA through the 20th of this month in the Marilyn Morgan Hillery Community Gallery.  My thanks go to both The Pearl Fincher MFA and Lone Star College for their combined efforts in sponsoring this event once a year and to my fellow faculty members, Suzanne Shield-Polk and Laura Fisher at the CyFair campus of Lone Star for offering this year's exhibition to me.  To Rosemary Hickman, Education Director at the Pearl, a huge thank you for all her work and support from curating the work for the show, the lovely presentation to all the behind-the-scenes work that is required to achieve this seamless presentation.  

Below are some images of my exhibition.

Center of wall looking back into the main gallery,  (center )New Language/Booked,  grid of twelve  ink drawing on book pages with oil bar & encaustic medium on 12 x 9 inch panels.
L. Slow Burn 

Grid of twelve book pages with ink drawings and encaustic medium on panels. 

Far right- Skin Tight, paper, cotton cloth, oil bar with encaustic on panel. 42 x 24 inches.
Center- Paint Your Skin /704B6, Encaustic/oil bar on panel, 30 x 36 inches
Right-New Language/Booked 

L. River of Dreams,  Encaustic/paper and Ink on two panels.
Diptych 

L-R,  Slow Burn, New Language, Paint Your Skin, Skin Tight

L-R, Paint Your Skin and Skin Tight

Little boxes 

Suzanne, Matthew and another guest. 

Houston Summer 2011 - In and Around My Studio

I spent a lot of time away from my studio in the early part of the summer. Between family visits and the Encaustic Conference I managed to be away about 6 weeks and only got seriously working in July. 

Considering how hot and dry it got here the rest of the summer, I should have just waited til the heat got too intense and then left.

Before I left Houston in May, I spent a day down in Galveston with artist Marie Laterme at her studio participating in a monoprint workshop she held. I think there were 8 of us there. Her studio  had been  torn up and flooded by Ike and she and her husband had just gotten it back into a condition so that she can work there.

L - Marie Laterme with workshop participants in her studio in Galveston.

It was great fun and everyone was full of creative energy. For me, it was great to get back into a printmaking studio again. I decided to use some of the imagery below (ink drawings on old book pages) along with some earlier ink drawings as possible points of departure for my some of my prints.

  

 

I spread them out on the floor in my dining room to get this picture. Various inks were used; Sumi, India, and some Doc Martin colored inks. Tools were twigs, bamboo pens and brushes. 

This one is done with ink pad and stamp.

 Here are images of some of my monoprints. Not wonderful but made me want to get back there and so more.

Mine are the green one on top right and dark blue just underneath it.

My images on right side. Point of departure for these is from an earlier series of ink drawings.

This is the little ink drawing mentioned above.

At home in my studio, I continued with my plan to use the ink drawings on book pages with encaustic medium. Onto white gessoed  9 x 12 inch panels I edged the border corners with black oil bar and let it dry to touch. At this point I could adhere the page to the panel with encaustic medium. I have to say that the fun part was the drawing part with the ink. The rest was mostly rote work. However, I like the finished product and plan to complete the mission with all the drawings.
 

Wall of twelve. Title for this series hasn't been chosen yet.

Below are individual photos of two of the images.
 

 

Here is a wall of my studio with some of my oil paintings, and a new painting in progress with book pages and acrylic. 60 x 48 inches on canvas.
Below is another view with smaller oils along with a few Encaustic pieces.

Last but not least, below is my new shelf for storing encaustic paints thanks to my generous husband and his handy work.

This series of the 12 ink drawings on book pages along with some other Encaustic paintings and Organic Compounds (little boxes) will be exhibited beginning Oct 27 through November at the Pearl Fincher MFA located just north of Houston in Spring. Opening reception is October 27.
The oil paintings in the studio photos will be on exhibit at Buchanan Gallery in Galveston. Opening reception for that is Oct 8.

Tide Pool, Oil on canvas, 20 x 20 inches

Make It Red in Tucson and Other Adventures

Part One: Before the Opening

No, the image below isn't red nor was it part of the Make It Red exhibition. But those large cacti do reside in Tucson. Sure---we have cactus here in Texas too, but you have to admit these cacti are pretty spectacular.

Side-of-road pictures on my way back into town from Desert Museum. 

Dec. 4th, (last Saturday) was the was the reception for the Make It Red Exhibition at Conrad Wilde Gallery in Tucson.  Some of my paintings were selected for Make It Red, so while lots of folks were in Miami,  (Art Basel Miami) I decided to make the trek to Arizona. Below is the gallery.

Conrad Wilde Gallery (the one with the white sign above the window)

I arrived into Tucson mid-afternoon on Friday and with some time on my hands I was looking for something to do.  On the way to the hotel's little restaurant to get a bite to eat, I noticed a lot of activity around the entrance to the ball room. Hmm. What? A Cat Show? After my Quesadilla and margarita,  I stopped in at the ballroom  to see what a Cat Show was all about. It was the TICA Cat Show sponsored by the Coatimondi Cat Club and it was going on the whole weekend. Would cost me five bucks to get in.

This is one of the more elegant breeds of cats at the show. All were pretty spectacular.

I'm not necessarily proud of this but I have four cats of my own so I was curious.  Long story-won't bore you about how I happen to have four cats, but suffice it to say that I know my cats would hate a cat show.  However, I thought it wouldn't hurt for me to kill a bit of time learning what well behaved, beautiful cats do in a cat show.  I bought a ticket.
Stay with me just a bit longer. The Short Haired cats were interesting to look at but kind of skinny. Even skinnier and stranger were the Hairless cats. They were very pink. I thought they might be embarrassed. I would give the Sphinx cats the blue ribbon for being the strangest looking. Spinx supposedly are of Egyptian origin but I think they are really from Mars.

The Sphinx cats at the show looked stranger than this one I found on Wikipedia.

Seriously though, the cats were beautiful and exotic and they didn't seem to mind at all being handled and prodded by strangers.
Also, I am sure the Hairless and Short Hair have more exotic names than just Hairless or Short Hair.
                         ***********
Next day, I met up with artist Catherine Nash in her large and lovely Tucson studio. Her studio (shared with her husband, Robert Renfrow) is large enough for her to hold classes for about 10 or more students. Among other things, Catherine makes paper for her projects like handmade books, sculptural pieces or mixed media collage with Encaustic. The studio can be turned into a dark room for her husband's use.Click here to see one of Robert's and Catherine's collaborative pieces.

Catherine Nash in her Tucson studio with some of her paintings against the wall behind her.

Studio from the back of the room looking toward front door.

Paper making flats on shelf high on the wall. Her pulp beater and felts were in a large closet for when she needs it.

One of Catherine's paintings and sorry, Catherine for the blurry photo and not remembering the title.

Catherine is a collector of things, many of which wind up in her paintings, assemblages or collages. She had many treasures tucked on shelves and in boxes all around the studio.

Boxes holding some of Catherine's collections.

I was curious about how she develops her ideas when combining found objects in her Encaustic paintings. She told me she works with a print makers sensibility in initial stages of developing ideas, having done print making for many years.  The sketchbook image in the picture below is a demo for one the classes she teaches.

Part II: Make It Red

Visiting the gallery was next. The shot below was taken earlier in the day on Saturday. As you can see,
all the lights haven't been turned on. My photo suffered a bit from that. Here is am near the back of the gallery looking toward the street. My monotypes, Queen's Cape I and II are on the half wall in front of the window. Mari Marks four paintings are next. My painting, Tan My Hide is next then Margaret Suchland's paintings.

Inside Conrad Wilde Gallery-Make It Red Exhibition

One of Mari Mark's paintings-Spectrum Series

Paintings by Mari Marks

Above and below: Paintings by Margaret Suchland.

Beata Wehr had three pieces in this exhibition. Two pieces were books. Below is one of Beata Wehr's books. The red metal box holds the book. Book pages are made from pieces of linen Beata purchased in Poland. The lightly primed linen has been torn to shape and stitched to make a codex type book. Pages are decorated with found rusty metal objects that have been stitched onto them. Beata said she finds these objects all over.

Red Toolbox Story, Beata Wehr

Beata's Encaustic painting

A Very Long Story by Beata Wehr

Left: A Story Line, Gwendolyn Plunkett, Encaustic and oil bar on panel, 24 x 24 inches

Guston,  Elizabeth Sheppell, Oil on Panel, 48 x 48 inches

There was a good crowd at the reception. Artists in attendance besides me were David Clark who flew in from Palm Springs, and Beata Wehr, who lives in Austin. David is pictured on the right side of the photo below.

Reception

Reception

Reception: L-R Ryan, Beata, Gwen, David

Reception

Tucson artist, Sherrie Pasternak, here in this photo talking about her recent stay in Mexico.

L -R Beata, Sherrie, Gwen

Queen's Cape I and II, Encaustic Monotypes on panel, 19 x 15.5 inchees

Larraine Seiden

Larraine's painting above, and Carrie's below literally glow. They are wonderful to look at.

Carrie Seid

Skin Game, Gwendolyn Plunkett, Encaustic, 24 x 24 inches

David A. Clark, Monotypes

Tan My Hide, Gwendolyn Plunkett, Encaustic/Lokta paper/Oil bar, 30 x 24 inches

Many thanks to Miles and Ryan, to Elizabeth, Nicola and all who participated in this exhibition. It is always exciting to see your own work on the wall in a fine gallery like Conrad Wilde Gallery along with other fine artists' works. I very much enjoyed my visit to Tucson and hope I get to return again soon.