I was once told by an art faculty member of a university, “It is obvious you haven’t jelled.” Apparently, to “jell” was to narrow one’s scope to an easily recognized style. Here I am, in my tenth decade, and I still haven’t jelled. To help you navigate this website, here is the next best thing — categories that help the viewer find some consistency in vision, and perhaps some evidence of growth.

I started the Yin-Yang series while getting my MFA from Notre Dame in 1971. These are huge, meticulously painted acrylics which I can’t imagine having the patience to do today. Back when women artists were often dismissed, this series established me as a painter to be reckoned with.

The Farm Machinery Collage series was done just because the subject seemed to lend itself to collage and I wanted to teach myself how to work in paper. Most of these works were done before 1992.

The Astronomy Series was — IS — an expression of joy at seeing the Hubble space photography. I started this series in 1994 after the death of my daughter Susan Rex, and I sometimes refer to it as the “Rex Astronomy Series” in her memory.

As for landscapes and still life, I live in the scenic state of Oregon, which abounds in mountains, trees, vistas, rivers, waterfalls and flowers. Most of these landscapes were painted in Oregon, some in Utah and along the California coast.

Some works were hard to categorize. What do you call a still life with a nebula in the background?