16 × 20"
 Acrylic on canvas 2023 Bell Road depicts a familiar stretch of road outside Newberg, Oregon, one that holds both some of Mitch’s sweetest memories and some of her more bitter ones. The rolling fields and hills became a reflection of that contradiction: beautiful and difficult, sometimes within the same view. The road continues toward the horizon beneath a setting sun, a reminder that neither the sweetness nor the bitterness stays forever. Like the sunset, everything passes. Collection: Sunday @ 6
 South: Realism / South East: Impressionist

18 x 24" Charcoal on tone paper 2017 There are some things we can only understand by standing in them ourselves. 5280 takes something as simple as a pair of bare feet and asks us to look at the distance between another person's experience and our own. Someone can walk a mile in your shoes, but not a single foot of that mile in your bare feet. Art offers a way to show someone a small section of your experience, but they will never see it quite from your perspective. Maybe that is part of what makes looking at another person's world so interesting. We can get close, but we can never quite stand where they stood. Collection: Sunday @6 South: Realism

24 × 36" Acrylic on canvas 2025 There is something about looking up at the clouds that makes time feel slower. Cotton Candy Clouds is about those soft, slow seconds when the world feels light and airy, and the sky seems brighter than it does now. It remembers being a kid and finding shapes in the clouds, when something as simple as looking up could become an entire afternoon. Somewhere along the way, we get too busy to stop and watch them move. Somewhere along the way, we get too busy to stop and watch them move. Cotton Candy Clouds is an invitation to return to those soft, slow seconds, to look up again and remember the simple wonder of watching the sky. Collection: Studio Seven South: Realism / South East: Impressionist

11x14" acrylic on canvas 2026 Brick is piece 2 of 18 in the LOOK collection and belongs to the Pleasantries cluster alongside Sidewalk and Mud. The first pieces in LOOK are deliberately simple: familiar materials and surfaces that make up the places we move through every day. Brick is ordinary, dependable, and built to last, but there is something more to it than the wall itself. Its repeated pattern is a record of human labor, one block placed beside another until something larger takes shape. Within LOOK, Brick becomes part of a larger language of value, labor, and the things we build around ourselves. What looks like a simple wall can hold the work of many hands, the weight of time, and the quiet promise that something built carefully might outlast us. Collection: LOOK South: Realism

11x14” Acrylic and found objects 2026 Dip is piece 11 of 18 in the LOOK collection and holds the center position in the Move cluster alongside Slide and Dive. Made from art materials and discarded objects, the surface begins to resemble a footprint pressed into mud. There are rocks, scraps, and small pieces hidden throughout it, waiting to be noticed. If the collection had a rock bottom this piece would be it. The longer you look, the more there is to find in the dirt. What first appears to be a simple footprint becomes something else entirely, playing with the line between what we recognize and what we assume we see. Sometimes taking the time to look is enough to change what is right in front of you. Collection: LOOK 
South: Realism / South East: Found Art

11 × 14"
Acrylic on canvas 2025 Sidewalk is piece 1 of 18 in the LOOK collection and belongs to the Pleasantries cluster alongside Brick and Mud. Like the two other in the cluster, it takes something so familiar that we rarely stop to notice it and asks us to look a little closer. The texture of a sidewalk is shaped by thousands of small marks, cracks, stones, and imperfections, each one becoming part of the surface we walk across every day. Something ordinary becomes worth looking at when we slow down enough to see it. This is a close of the piece, not the full canvas. Collection: LOOK
 South: Realism

18 x 24" Charcoal on paper 2017 Sometimes the best model is the one who doesn't move, doesn't breathe too heavily, and certainly doesn't say too much. Unsaid Words plays with the quiet tension of a stone figure, drawing a connection between the stillness of the subject and the familiar human habit of turning to stone during an argument. We stop responding, tune out, or simply walk away, leaving everything we didn't say sitting between us. Perhaps there is something fitting about giving all those unspoken words to a figure made of stone. Collection: Sunday @6 South: Realism