These collages consist of fragments of ink drawings, printed imagery, canceled stamps, bits and pieces of magazines and unusual papers. Some are floral and some are variations on the landscape. They show a bit of the exterior world and that of the interior as well.

Papers are adhered with Lineco or Bookbinders archival glue to cotton rag paper and sealed with UV varnish.

This is a collection of 9 x 12 inch monotypes inspired by pastoral landscapes in Virginia, Maryland, Pennsylvania and Oregon. Each composition focuses on the primary shapes within any given scene, describing the essence of the place in black, white and shades of gray.

Each image is unique, one of one, and printed with oil based ink on BFK Reeves white cotton rag paper 15 x 22. All images can be viewed at Second River Studio by calling 703-791-3615

The road of life has taken me from the volcanic deserts and farms of southern Idaho, through the rolling Kansas hills, into the northern Virginia suburbs where hardwood forests and small farms compete with shopping malls, homes and superhighways.

Once my paintings were about wild landscapes whose pristine beauty stopped me in my tracks. As I observed the land changing radically over the years, I began to draw and sculpt a different scene. Everywhere I see connections between an altered terrain and the often absent people who transform it.

Inspiration also comes from 17th century Dutch paintings of wealthy sea merchants (profiled largely above the horizon line), surrealists, and the figures of Italian artist Arcimboldo (1526-1593) composed of fruits and vegetables, the very foods that sustain humankind.

Likewise my drawings and collages are metaphors for American culture and commerce. Figures dominate some drawings and hide within others, becoming a composite of the world around me, and revealing associations that a viewer might not have seen before. I pair nooses with mega-coal-mining equipment, cross grave markers with a parking lot, and rubber duckies with live ducks.

I am sustained by the natural world,
It inspires my work and teaches me:

that everything and everyone are connected in a wonderful web of life
that all things in the physical world originate in the spiritual world
that these two worlds are closely entwined
that the current of energy flowing out of Earth’s soil, air, and water
sustains the circular stream of life as it passes through all beings.

Most works include at least one bird.
Some images also reflect my concern about humanity’s unceasing destruction
of the river of life that supports our own.

The ink, watercolor and collage pictures reveal a reality that goes beyond the
usual world we perceive,
because of the atypical juxtapositions of elements within each composition.
Altars and animals, for instance, or a tree made from a little book.
The fun is in trying out unusual combinations of forms
and solving the mysteries of the links between them.
The sculptural birds are invented species.
They grew out of odd fragments and wood.
The tables on which they stand are puzzles that I fit together from wood scraps.

Rosemary Luckett juxtaposes sculpture and mixed media drawings in her solo show “This Land, Our Land,” a lively interplay between 2-D and 3-D expression. Continuing with themes from recent Nature House collages, she pairs the unexpected: light bulbs with bones, forks with purses, and Christmas lights with asthma inhalers. Each piece is built around a single real or symbolic object or group of items that seem unrelated to each other. The fun for her is in trying out unusual combinations of forms and solving the mysteries of the links between them. Finely honed technique and a strong concern for the environment pair up with a personality characterized by a questioning bent and a sense of humor to form these surreal landscapes; stories of the American landscape and our connections to it.

Series of sculptures made of scraps of wood, metal, bone, fur and plastic. My goal was to show the impact of humankind upon the land, so I limited myself to materials which lent themselves to that idea.

Inspiration for this work comes from the changing landscape around me and from surreal paintings of Rene Magritte and Frida Kahlo. My drawings and collages are metaphors for American culture and commerce. The elements I put together in a composition reveal associations that a viewer might not have thought of before. I pair baby pacifiers with an elephant, forks with the earth, and rubber duckies with live ducks or frogs.

Sculptures in the exhibit reflect the effect of humans upon the land and its wild creatures. They are made from cast off detritus: wood, metal, glass, plastic and remains of animals: fur, bone, feathers.

Textures, aging patinas and tool shapes recall a landscape that has come and gone. Remaining for centuries, however, will be the bits of plastic. They are truly archival and unable to decompose into recyclable elements.

Inspiration is found on the road of life, which has taken me from the volcanic deserts and farms of southern Idaho, through the rolling Kansas hills, and into the northern Virginia suburbs where hardwood forests and small farms compete with shopping malls, houses and superhighways. Everywhere I see connections between an altered terrain and the people who transform it, sometimes mindlessly. Inspiration also comes American photographer William Eggleston, whose straightforward images of the 1970's have a unique ability to find beauty, and striking displays of color, in ordinary and worn down scenes. Dadaists of the early 20th century teach me how to combine seemingly unlikely images to tell as story. Some of these photo landscapes are straightforward shots. Others are computer manipulated composites of the world around me. Both reveal associations that a viewer might not have seen before I pair maps with parking lots, animals with junk piles, clothing with mountains and animals with truck tires. I document how we've junked up the world and diminished the diversity of sacred life. Look for semi-hidden creatures or objects named in the titles.