"UY WORTH OF GIFT CARDS AND GET A #OMPLIMENTARY GIFT CARD FOR YOURSELF ful images of still lifes, landscapes and abstractions, which Goldman drew and Stewart screen printed in different colors on layers for each set of multiple-piece editions. Her work has been shown around the country; it’s also in the per- manent collections of the Bibliotheque Nationale (Paris), Boston Museum of Fine Arts, Detroit Institute of Arts, the Library of Congress and more. This year, Goldman turns her attention to primar- ily painting large watercolors. “In Flint, there will be a focus on my ‘Audubon Suite,’ which holds 13 prints so far,” Goldman says. “They are still lifes incorporating bird prints as part of the whole design. “I have, for many years, been mak- ing art of what I think of as ‘the world observed’ — landscapes and still lifes from direct observation and then some free association. They are occasions for considering the marvel of existence. “A still life for me, where objects are set up in relation to each other and bathed in light and shadow, feels meta- physical or philosophical and is a real occasion for meditation. I feel like the pieces from my ‘Parsing the Universe’ series — painted from Hubble telescope viewings — remind me of the Old Testament as it describes the glory of creation and existence.” Goldman says she has been an art- ist and a singer her entire life. “These days, I’m mostly a full-time artist in the studio,” she adds. Her mother, who was active in the Texas Jewish community, “wrote in a baby book, under the head- ing ‘Observing Your Child at Work’ when I was 3 or 4, ‘Jane sings happily to self while drawing,’” recalls Goldman, 65, who has turned her attention to art as an expression of spiritual feelings. Between 1993 and 2003, the artist sang with the Jane Gang, a seven-piece Western swing band performing around Boston. In other bands on and off, she eventually decided to hang up her microphone professionally although still making music with friends. “I’m a morning person,” says Goldman. “I think I would have had a rock career if that hadn’t been the case. I had some great opportunities as a singer, but I wake up early and use the studio. “I have had a propensity for the graphic arts since the time I was a student in Paris for my junior year in college and saw my first print show. I started taking printmaking classes in my senior year, and that was it. I knew it was my true love. I tend to work in series and come back to them cyclically. Over the last 20 years, I’ve been going to Ireland and painting tidal pools.” Goldman sometimes detours from the real world into a sphere where there is no natural existence. She did a series taken from the Tibetan Wheel of Life, using color and form to represent realms of existence that creatures are thought to go through until they get some understanding of their situations and figure out how to improve their states of being. Goldman, married to therapist and painter Chris Gill and having a blended family of four grown children, lives in an artist co-op building where her studio is considered an extension of her home. She owns and shares a printmak- ing studio, Mixit Print Studio, with two partners and rents out the facilities. In Flint, her work will be joined with projects completed by business partner Catherine Kernan, who introduced Goldman to Stewart. Kernan paints on wood used as a nexus for painting and printmaking. “Some print works technically could have been done 500 years ago, and some only could have been done in the last five years because of tech- nological advances,” says Goldman, who teaches her skills at workshops. “There are digital images that only could have been creat- ed off a computer and then printed in some way. I have some of those in the show; they are pigment prints, reproductions of paintings that have been printed with more painting on each impression of the edition. That’s a way of printing that didn’t exist when I started ABOVE: Mervin Jules (1912-1994) lived in New York and working with Norm was very active in silkscreen printmaking. 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