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Athena, the goddess of wisdom, is also the goddess of renouncing femininity; the goddess of integrated masculinity and femininity was at ease in the deeply patriarchal world of ancient Greece. The porch of the Caryatids faces the Parthenon, her principal temple and crown of this original ol’ boy’s club, the Acropolis, perpetually processing towards her feast. These are caryatids: columns shaped like women.
Teaching Western Art History, I have become aware of the resurgences of regressive attitudes towards women that attend periods of neo-classicism, and the silent witness of the caryatids to 2,400 years of Western history. My studies of the porch contemplate beauty, freedom, subjugation, tradition and ruin.
“I began to think of the soul as if it were a castle made of a single diamond of very clear crystal, in which there are many rooms, just as in Heaven there are many mansions.” 
Theresa of Avila
Like Teresa writing in the Castilian vernacular in her cell, my artistic discipline is part of my contemplative practice. My paintings are idiosyncratically devotional. They are the outgrowth of a contemporary contemplative exercise. I trace over the walls and doorways of Medieval rooms to re-inhabit these imaginary spaces that were so carefully prepared for the occurrence of the miraculous.
In order to give vision to my imagination of the sacred within myself, I imbibe Medieval spiritual writings while working on a series. St Teresa of Avila’s Interior Castles fit my interest in architectural archetypes. The 16th century Spanish Carmelite founded the reformed ‘Discalced’ Carmelite order. Butler’s Lives of the Saints reports that she, who was begged by her male superiors to write a treatise on prayer, was also regularly chastised for lingering in the convent parlour to converse with the society that convened there. Her affability and charm were a pleasure to her and her company, but her confessors warned that she was neglecting her prayer and not building a good foundation for an ‘interior life’. Her testimony of confidently holding these two natures within herself consoles my anxiety about having to choose between the development of my private and public selves.
Theresa says, “In speaking of the soul we must always think of it as spacious, ample and lofty; and this can be done without the least exaggeration, for the soul’s capacity is much greater than we can realize.” She says it to think of it “as comprising not just a few rooms, but millions.”  Her conception of the soul as an unimaginably vast structure inspired me to make work that challenges my sense of the possible by welcoming complexity into my construction of space.
In my work with medieval altarpieces and illuminated manuscripts I copy out the architecture from sacred scenes in an earnest but haphazard style that refers to our own Zeitgeist: my paintings give voice to the frustration of attention and dissolution of belief in our time, while nevertheless occupying the space of a faithfully copied scriptural text.
 Theresa of Avila, Interior Castles, trans. and ed. E. Allison Peers (New York: Dover, 2007), 15,
Here are some shots of what I’ve been up to lately. I had some studio time at VISA and got some large pieces done on brown paper. I’m challenging myself to stick to the source, and when I can’t anymore, I make collages.
The show opens November 5th, at the fiftyfifty gallery on Douglas at Bay.
Here is my artist’s talk for my show “…Sit like a sparrow, Solitary” last June. I graduated with a Diploma of Visual Arts that day, after four years of study at the Vancouver Island School of Art, including a 10 month residency. It is in two parts: the slide presentation, and then a tour of the show. I am 8 months pregnant with my son, who is now 8 months old.
You can see the a talk on Contemporary painting I did at VISA here (8 months pregnant with my daughter):