Raven Scratchboard, Attempt #2

I've been experimenting more with scratchboard lately and just finished a more challenging composition. I used a linocut tool again, which meant hours of carving and a sore neck and hands by the end of it. For my next piece — a moth composition — I finally ordered the proper scratchboard tools from Dick Blick. (Much easier. I’ll share more about that in a separate post.)

Working in Scratchboard for an Art Exhibit Submission

I love the rich black and white of scratchboard, so I wanted to try it again for an upcoming art exhibition submission.

I’m still winging it (no pun intended), but I enjoy the process and the look of the medium.

I haven’t been accepted yet, but if I am, I’ll post more details about the show. Stay tuned!

Woman With Barrette at the Local Color 2025 Show

My etching Woman With Barrette (with chiné collé) is part of Local Color 2025, the annual members’ fine art show and sale hosted by the Croton Council on the Arts. She’s available for $120, beautifully framed, and hanging now at Symphony Knoll in Croton-on-Hudson.

This is one of my favorite local shows—it brings together artists from around the area in a relaxed, welcoming setting. There’s always a great mix of work, from painting and printmaking to sculpture and photography.

Show details:
📍 Symphony Knoll, 15 Mt. Airy Road S, Croton-on-Hudson
🗓️ November 8–9 and 15–16, 12–6 PM
🎉 Opening reception: Sunday, November 9, 3–6 PM

Chickadees at Ghost Gallery: Small Original Monoprints in the 19th Annual Holiday Mini Art Exhibit

My Chickadees pieces for the 19th Annual Holiday Mini Art Exhibit at Ghost Gallery sold within minutes of the preview going live—and I’m stoked.

This is my fourth year showing with Ghost, and I always love working with them. They curate such a strong mix—so much cool, original work from artists all over the country.

Both Chickadee I and Chickadee II are monoprints on archival paper, each created using a 3×5 Gelli plate. Each print is a one-of-a-kind original, framed to 5×7 and ready to hang.

You don’t have to be in Seattle to check it out—the full show is online and keeps updating throughout the week. The exhibit runs from November 14 through early January, with receptions on Nov. 14 and Dec. 12, both from 5–9 pm.

View the full exhibit ›

I’m Scared Too at Bethany Arts Community

My piece, “Stitch” (shown above), is included in I’m Scared Too, a juried exhibition at Bethany Arts Community in Ossining, NY. The show runs from October 4 through November 1, 2025, with an opening reception on Friday, October 10, from 6–8 PM.

Bethany Arts Community
40 Somerstown Road
Ossining, NY 10562

The exhibition asks a simple question—what does it truly mean to be scared? It brings together 2D and 3D works, sculpture, film, and soundscapes that explore what we try to hide in the dark: the strange, the bleak, the freaky, and the weird.

My work in this show turns that question inward. The stitched mouth and skeletal collar suggest the ways fear can manifest as control—how we contain what threatens to spill out. It’s part of my ongoing exploration of transformation, fragility, and the uneasy beauty of what lies just beneath the surface.

For more information or visiting hours, see Bethany Arts Community – I’m Scared Too

New Etchings from Printmaking Class

I just wrapped up another printmaking class at the Garrison Art Center with Ezra Heller. This session, I focused on etching with soft ground, drypoint, aquatint, and chine collé.

These are two of my favorite pieces from the class.

I used pages from a local phone book as the collage element, layering text over the images to create an interesting contrast between the structured lines of print and the organic quality of the drawn portrait. Both are printed on archival Fabriano paper. The paper size is 7x10 inches, and the image size is 4x6 inches. I love how the delicate etching lines interact with the printed text, creating a sense of history and layering.

Both prints are available for sale at $65 each + S&H. Please email me or click here for more info.

Show Prep & The Process Behind My Collage Portraits

With my upcoming show approaching, I’ve been focused on framing, organizing, and making final decisions on what will be included. It’s always a mix of logistics and reflection—figuring out what fits together and seeing how the work holds up as a whole.

For both BEFORE AFTER BETWEEN and TRANSFORMATIONS, I’ve built each collage portrait from antique and vintage imagery sourced from Flickr’s extensive royalty-free archives. Old book illustrations, forgotten photographs, scraps of text—things that once had meaning to someone but have since been untethered from their original context.

None of these images were ever meant to be together, but now they form faces, expressions, and identities that feel whole. It’s a lot like memory—disjointed details coming together into a story, even when they don’t quite belong.

By searching, choosing, and assembling these pieces, I create new connections between them. Each fragment carries its own history, but together, they become something else. In a way, the work is about giving them a second life—letting these forgotten images take on new meaning now.

More soon as the show gets closer.

New Mini Art Portraits For Sale

I recently completed a few mini portraits that had been sitting in progress, and this one stands out as a favorite. She came to life with pencils, ink, and a pop of hot pink from a Crayola marker. While the vibrant pink isn’t lightfast and will inevitably fade over time, I’ve applied a light coat of UV protective spray to help preserve it. How it will evolve remains to be seen, but that unpredictability feels like part of her story.
She is available for purchase here: https://kendrashedenhelm.bigcartel.com/. I’ve placed her in a charming little frame (optional but included in the price), which you can see featured below.

Mockup of the mini art portrait in a little ornate frame.

Mini portrait of a woman in hot pink. She is approximately 2.5 inches by 3.5 inches.