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Alice’s paintings, rich in color and texture, are inspired by her extensive travels and her experience of diverse landscapes and peoples. Images from cultures as widely spread as Japan, Africa and the Native American Pueblo appear on her canvases. Earth tones – yellows, rusts, oranges, reds, ocher, sage and teal – are among her signature marks.

Alice mixes sand and earth with her medium and applies the mix to her surface. As the application proceeds she says, “Marks emerge.” The painting renders itself as blocks of luminous soft-edged color, or broad bands of pigment birthing contrast-design; or as horses standing against wind, warrior women in pose, trees fronted by field and lake, bushmen walking expansive land, geishas at gathering, fruit on ground, pueblo wall with ladder and opening.

Many of her abstracts are recollective of Mark Rothko’s large, soft-bodied blocks of color, completely absent of well-defined line. Like Rothko, her paintings have within them somewhere, a glow interior to color.  Her abstract paintings that do utilize well-defined line, soften that line as weather softens sandstone. Her figurative paintings – portraits, still lifes and landscapes – borrow this “weathering” of line and edge.

     As a result, Alice’s self-described process of painting mirrors the very image she renders, abstract or figurative. While she experiences painting as “marks emerging from surface,” the viewer experiences image as form emerging from color-fundament. Color illumines form and form quiesces to weathered edge.

           Illumination and quiescence are the emotive effect of her technique.

The conceptual effect is the idea that within the world everything emerges, exists, and passes away. The strata through which form travels from the fundament are suggested by the evocation of the figure in her abstract compositions and the evocation of the abstract in her figurative compositions. This nesting of one idea within the other is apparent throughout her work. The figurative emerges from the constancy of fundamental color. And the abstract echoes its presence throughout the images of the figurative. The two are integral. This, perhaps, is the significant conceptual revelation of Alice’s work.