She received her B.A. and M.F.A. from California State University at Los Angeles; a Master of Theological Studies degree from Wesley Theological Seminary; and the Ph.D. in Liturgical Studies from Drew University. Before coming to Wesley as Artist-in-Residence in 1994, she taught art, design, and computer imaging at the university level. In recent years, she has been a regular contributor to journals such as ARTS, Lectionary Homiletics, and Call to Worship, and her essays have appeared in several books on religion and the arts. Her work has been shown locally and nationally, and is represented in numerous collections.
Bread of Life, 2012, acrylic and copper on panel, 16” x 16”.
This painting is from a group of four that I did in response to a request from curator Cecilia Rossey to explore the sensory stimulation of food as the primary source of human health and well being as well as the emotional and physical impact of food in contemporary society for an invitational exhibition called Food and Form (http://www.wesleyseminary.edu/LCAR/Exhibitions/Past/FoodandForm.aspx). The titles of the other three pieces are Grain from the Earth, Fruit of the Vine, and Work of Human Hands. These phrases come from a prayer said during the offering of the gifts in one of the Roman Catholic Eucharistic liturgies. Images of the other paintings in the series may be seen at http://www.dsokolove.com/pages/2010foodandform/index.htm.
Station 12: Jesus Dies on the Cross, 2007, acrylic and copper on panel, 12” x 12”. One of 14. The others may be seen at http://www.dsokolove.com/pages/2007stations/index.htm
For an artist, it is a somewhat daunting task to create a set of Stations of the Cross. It takes a certain kind of sustained attention to create any set of fourteen panels, linked stylistically and thematically. When these panels must recount a story that has been rendered by countless artists both famous and unknown, it becomes an even more formidable task. For a long time I wondered if I was up to it. Did I have the skill? Did I have the vision? What could I add to a pictorial tradition that already stretched back hundreds of years?
Considering Incarnation: Shepherds, 2010, acrylic and copper on panel, 12” x 12”. One of 9. The others may be seen at http://www.dsokolove.com/pages/2010incarnation/index.htm.
The Considering Incarnation series is based on nine moments in the Gospel accounts surrounding the birth of Jesus. The narrative is reduced to simple relationships of hands and wings, telling the story as a series of conversations that humans have with one another and with angels. In the first moment, Zechariah spreads his hands helplessly as the angel tells him that he will remain mute until the birth of his son. Next, Mary and the angel hold their hands in gestures of mutual submission, each recognizing the importance of the task to which they are called. Then, Mary visits her relative, Elizabeth, and each greets the other with gesture of prayer. Meanwhile, Joseph hears that his betrothed is carrying the divine Child, accepting the angel’s message with hands clasped tightly together. Soon, the gestures of Zechariah and Elizabeth are repeated as they celebrate the birth of their son, John. In the sixth panel, Mary opens her hands to receive the gift of Jesus, who appears in the likeness of a lamb, while Joseph stands prayerfully by. In the seventh panel, the air is filled with beating wings as the hands of the Shepherds open in joyful astonishment. This is followed by the arrival of three praying Magi, following the star. Finally, Joseph meets the angel again, taking Mary and Jesus to find safety in Egypt, and bringing them back again when the danger is passed.
Marginalia: Nones, 2009, acrylic and copper on panel, 12” x 24”. One of 8. The others in the series may be seen at http://www.dsokolove.com/pages/2009marginalia/index.htm.
The eight paintings in the Marginalia series refer to the rich manuscript tradition of the Book of Hours, in which elaborate images fill the margins and the empty spaces around the letters, often overpowering the text of the prayers which are nominally the point of the book. Each of these paintings is conceived as a pair of facing pages, the spacing laid out using the precise geometry of a medieval scribe planning a new volume. In these paintings, however, the text is completely absent, its place taken over by a square of copper foil covered with light markings that suggest the scribe has become somewhat distracted by the visions that fill the margins. Here, mysterious plants and animals float against luminous seas and stormy skies, as the sun and moon rise and set in an orderly fashion according to the time of day.
Radiant Being, 2007, acrylic and copper on panel, 16” x 16”.
Votive, 2007, acrylic and copper on panel, 16” x 16”.
Life and Death, 2007, acrylic and copper on panel, 16” x 16”.
These works began as an extended meditation on Scripture and on the sense of eternity and the divine presence that I find in many traditional art forms – Islamic calligraphy and decorative motifs, illuminated manuscripts from Europe and North Africa, Greek and Russian icons, Moorish tile patterns, Gothic tracery, Celtic knot work, Chinese embroidery, and more – as well as in the gleam of flickering candles, or in a night sky filled with stars. Borrowing techniques and images from a variety of sources, I generally employ a limited palette of mineral pigments that might have been available to pre-industrial artists. Instead of the traditional egg tempera, however, I use a modern, acrylic medium that is somewhat more forgiving. The resulting clear, brilliant colors suggest to me a mystical world that is lit from within, defying the physical laws of gravity and optics.