Very wonderful! I love this!

Fantastic achievement Carol thanx for you incredible vision!!!

It looks amazing, very beautiful. xx

These are fabulous and the metal has worked beautifully. It is always great to try new things and I think this experiment has worked very well. The colors are gorgeous and certainly would look great in a bathroom. A super way to start the day. Outstanding work. ☺☺

Outstanding work. God bless.

I've noticed that you write about these pieces with the tone of an artist who's immersed in their art and not always realizing how much they're creating in the process. It's natural that you wouldn't see all the richness that the world sees, but you have to know there is genuine greatness in this art, as there is in your other styles as well. I can't sense what role the copper plays---I'm not as sensitive to that as I'd like to be---though I assume it at least imparts a copper-tone to the orange sections of your painting. The result is a very visceral, 3 dimensional painting---it's tactile, touchable---filled with a pop out orange-peach that has tones of red in it. Incredible color. I assume the bottom fragment is the same as the upper painting, only truncated. (They look close if not identical.) Well, the long panel is exquisite. Your oranges are, as I say, deep, almost peach oranges; and they stand out against your greens so viscerally. ANd they give an air of luminosity to this undersea scene.

But your greens are also luminous; and you have bright blue-greens---almost sandy/powdery blue-greens---which add great light to the piece. Then you have these lace-like sections, like the skeleton of a dried leaf with all the veins intact; and they're in exquisite contrast to the corpulent leaves and buds---those spheroids you have running through a number of your alcohol-based paintings. All in all, the variety of textures here is beautiful; and you have an innate sense, in these pieces, of where each shape belongs, how each shape complements or contrasts others, etc. And you place your spheres intuitively as well---I know you don't "graph this out," and one of the drawbacks of verbal explication is that it makes it sound as if you do: But I know you don't. You do these by intuition, which is as demanding and emtying. But your intuitions are acute, they're deep and "correct," and you create quite a tapestry with these shape-contrasts.

And the flow, mostly upwards, is sea-like and gentle, and yet teeming. The intensity of the right side is balanced by that caramel-y sea on the right---esp on top, where you've made a sensual lava out of the orange, and where the top stem moves up like a tongue of fire. The piece is "cropped" so we're in the middle of the flow, which brings out the movement of the piece even more. And the power of those oranges---really deep peach coppery hues---is extremely inviting: It's a great color against your greens and blues. The piece is a cornucopia, and it's great to see you do physical art: It shows without any doubt that all that you've created in the partial-digital realm was from inside you: Because one can see you've produced the same extremely complex strokes, the same rounded depth of field in each leaf and sphere, the same passionate flowing lines, the same passionate hues, the same wonderful modeling (as shading, curvature, etc; I'm using the word in its traditional sense, not in the way it's used in 3D rendering), and so on. Even the right-most 'tongue' or leaf---with bright aqua highlights---has great intuition: The spheroids are in deep greens against the aquas, as if reversing the aquas-on-greens combinations further to the left. Intuition is everywhere...This is a wonderful success, Carol, and the deep green border is perfect for the whole. Just terrific.

Thanks so much for your amazing comment, Mark. I am always thrilled with your perspective on my art. This piece I painted with inks on a thin sheet of copper was quite different and challenging for me. The orange color you see is actually the copper, but it doesn't really show the reflective tones of the shiny metal very well. I was going for a seaweed kind of feel. Most of this was done with applying ink with a brush, as well as pouring the ink, and then letting the ink flow. It is a medium that has a mind of its own, and on copper it was even crazier. But I enjoyed the experience and result. The final piece is very tactile, with much texturing, as I also used some metallic alcohol ink for the bubbles. And it will be even more tactile when I apply the actual shells to the piece. I must say I'm having fun with creating some hands-on physical, 3 dimensional pieces, because it is such a big change from my digital painting. I got very messy with this one, ink everywhere, playing like a kid and following my intuition into this wild abstract undersea world.