malaurabrickerart

(SOLD) 15” x 30” collage on canvas created using Mulberry paper, Thai Mango and Momigami soft metallic papers; metallic craft papers; Japanese Ogura lace paper; Sari yarn and craft yarn; embroidery thread; dried Hibiscus and whole Peppercorns.

SOLD - This commissioned 36” x 48” collage triptych on canvas was inspired by the Sahaptin-speaking tribes of the middle course of the Columbia River. This collage depicts the abundant resources and salmon culture of the Confederated Tribes of Warm Springs, Yakama Nation, Nez Perce, and Umatilla. First Nations viewed “The Great River” as more than a resource, “…a link between mankind and Creator; a symbol of an ancient lifestyle maintained always close to Earth.” Lace papers over the coral colors of the river represent the netting used at Celilo Falls, honoring the salmon and their importance..

This work was created using Thai Mango, Unryu, Momigami, Banana leaf, Marbled and Gossamer Mulberry papers; Nepalese Lokta and Japanese Lace papers; Thai Kozo fibers; Bespoke Grape leaf, Gingko, and Sagebrush papers; embroidery thread, yarn and craft ribbon; dried Carrot, Parsley, Dill, Lentils, Corriander, Black Peppercorns, Statice, Nasturtium, Hydrangea, Leatherleaf, Tree Fern, Lemon Leaf, and Gingko leaf.

(AVAILABLE) 24” x 36” reworked collage on canvas inspired by the rising moon over a secluded garden. Artisan-made paper from egg cartons and homework; Thai Mango, metallic Momigami and Mulberry papers; metallic craft paper; Kozo fibers; yarn and embroidery thread; dried Giant Hibiscus (Midnight Marvel), Fern, Hydrangea and Heath.

(AVAILABLE) 12” x 36” collage on canvas impression of tartrates found in the bottom of a wine glass. This work was created using Lokta Tie Dye paper; Thai metallic Momigami and Chiri papers; Japanese Ogura Lace paper; yarn and embroidery thread; dried Yarrow and crushed Statice.

The following works were part of a pop-up show, “Calaveras De Flores: Celebrating Life.” Through research and speaking with those with lived experience, this artist hopes to offer a different viewpoint of Day of the Dead (Dia De Los Muertos). Using skulls of flowers (Calaveras De Flores), the artist uses botanicals and other natural elements to focus the viewer on the aspect’s of a person’s life. The symbolism of each flower and color is used in hopes of stirring a memory of someone passed. It is these memories and emotional moments in time that this artist hopes are celebrated. A family’s history continues as long as stories are retold. Rejoice in life, as no one is truly gone until they are forgotten.

(AVAILABLE) 20” x 20” reworked collage on canvas inspired by the seasonal change from summer to fall. This work was created using Thai Mulberry and Mango papers; metallic mesh craft ribbon; embroidery thread and yarn; dried Camellia, Sweet Broom Genista and Black Pepper.

(SOLD) This six-panel collection of collages on canvas was created specifically to occupy a public space while fostering public discussion regarding natural items as art. “House Specialty” was created literally using everyday pantry items from The Endive Eatery in Richland, Washington. Items were cast into succulent forms and used to build a succulent garden. Restuarant patrons are encouraged to view and touch the work, learning more about the fresh ingredients they will taste in daily menus. The garden reflects the fusion of the restaurant’s style and cuisine.

Succulents were cast using: Turmeric, dried Hibiscus, Blood Orange, Mango paper, Indian Fennel, Oregano, Chicory Root, steamed Hibiscus, Coffee, Rooibos, Chia Seeds, Fenugreek, Seaweed Seasoning, Mexican Saffron, Korean Chili Flakes and cast “leftovers.”

Other items used include: Black Cardamom, Carrot, Cinnamon Sticks, Coriander, Hibiscus, Juniper, Lentil, Mushroom, Purple Corn, Star of Anise, Tomatillo, Black Pepper, and Asparagus.

Additionally, collages were made using Thai Marbled Momi paper; Thai Unryu Chiri paper; Thai Soft Metallic Momigami paper; yarn and metallic craft paper; embroidery thread, deconstructed ribbon and Thai Kozo fibers.

(SOLD) Originally created as a submission to the 2021 DrewBoy Creative Indigo Show, this 24” x 36” collage on canvas was designed to highlight the array of colors and emotions found within the color indigo. The color’s bandwidth provides a rainbow of mystical pastels and soothing skies, turbulent turquoises and foreboding blues. This work was heavily influenced by several poems and the following writing:

“Oh! ‘darkly, deeply, beautiful blue,’ As someone somewhere sings about the sky.”

-Lord Byron

This collage was created using Thai Metallic Momigami and Unryu papers; Thai Unryu Chiffon and Japanese Ogura Lace papers; Thai Mango, Mulberry, Marbled and craft metallic papers; embossed “Leaves” paper; Kozo fibers; yarn and embroidery thread; Japanese silk paper thread; Banana Silk thread; dried Delphinium.

(SOLD) Basin Blues is a 24” x 48” commissioned collage triptych on canvas. This triptych represents the Blue Mountains located in Southeastern Washington and Northeastern Oregon. The mountains border the Snake River and are so named for their bluish hue when seen from a distance. The Blue Mountains were a formidable obstacle to Oregon Trail Settlers. Its river valleys and lower range areas were home to the historic Walla Walla, Cayuse and Umatilla tribes as well as branches of Northern Pacific Paiute and Great Basin cultures.

This collage was inspired in part by a 1940 geological report entitled, “History of the Northern Blue Mountains,” written for the US Department of Agriculture by Gerald J. Tucker. The report contains scientific data for the ear and a transcribed oral legend of the Wish-Poosh; “common throughout all the tribes of the Columbia Basin, there being very little variation in the telling of it.” The legend retells the epic battle of Speel-Yi, the great Coyote god vanquishing Wish-Poosh, the evil Big Beaver god. The carnage left from their battle was responsible for the geological formation of the Columbia Basin.

This work was created using Thai metallic Momigami and Unryu papers; Thai Unryu Chiffon and Japanese Ogura Lace papers; Thai Mango, Marbled and craft metallic papers; embossed “Leaves” paper; Kozo fibers; craft ribbon; yarn and embroidery thread; Japanese silk paper thread; Banana silk thread; dried Queen Anne’s Lace, Mock Bishop Weed, and Heather.

The Legend of the Wish-Poosh as Written by Gerald J. Tucker, 1940

“Each Indian narrates the story somewhat differently, but all agree that the country was once covered by water with the exception of a few high ridges and points extending down from the Cascade Mountains. On these high points the Indians lived. Canoes were their only means of transportation and fish their main food.”

“The water gradually receded, as time passed, and more and more country became bare until all of the higher lands and ridges were dry, leaving only separated lakes. One of these lakes was in the Kittitas Valley, one in Selah, another in Mok-see and the Ahtanum. Another covered all of the country from the Pa-ho-ta-cute (Union Gap) to Tap-tat (Prosser).”

“At this time there dwelt in Lake Cle-Elum the terrible Wish-Poosh, the Big Beaver, an evil god. He had eyes of fiery red, claws that were long and sharp and a tail that was death to everything it struck.”

“The lake and its surroundings became a place of terror, for the monster devoured every living thing that passed his way. He would not allow the people or the animals to take fish from the lake, even when they were very plentiful and famine was imminent for the Indians.”

“The Speel-Yi, the great Coyote god, in his wanderings came to the spot, and found the people and the animals suffering from hunger. His heart was touched and he concluded to help them out. Having learned that many attempts had been made to destroy the monster, without avail, he went about his plans carefully. He armed himself with a long spear, having a strong handle, which he fastened securely to his wrist. Thus equipped, he started on the hunt for this destroying demon, which he soon found asleepp on the shore of the lake. He drove the spear deep into the monster’s body.”

“Now began a trial of endurance between the two gods. The Wish-Poosh, wounded and enraged, plunged into the lake and down to the bottom. The spear handle was securely fastened to the Speel-Yi’s wrist, and he was dragged along by the infuriated monster. The two went plunging along through the lake. The battle now became fierce. They tore a gap through the mountain and came swimming through the lake that covered Kittias Valley. Then again they went breaking their way through the mountains, leaving a canyon behind, until they reached the smaller lake covering the Selah Valley. They passed through the Nah-Cheez, leaving a gap behind. Swimming through the lake that covered Mok-see and Ahtanum, then crashed through Ahtanum Ridge. Thus was Union Gap formed. In this death struggle each was doing his best as they plowed their way along, making the channel of the Yakima River. The Speel-Yi was getting the worst of it and tried to check the rush of the terrible Wish-Poosh by catching hold of trees, which were quickly torn out by the roots. He clung to the rocks, but they slipped away. Nothing could stay the maddened course of the evil god. When he reached the great icy mountains he knocked a complete hiole through, forming what we called the Cascade Falls. The Coyote became unconcious, and when he revived found himself on the shore of the Great Salt Water (mouth of the Columbia River). The Wish-Poosh was dead.”

“Weak and sore, Speel-Yi unfastened his arm from the handle of the spear, which bound him to the Beaver god, and stood victor of the fierce struggle. He now proceeded to finish Wish-Poosh beyond any possibility of resurrection by cutting him into small pieces. The pieces he threw to the four cardinal points, saying:”

“You will be the last giant of your race. Your descendants will be small and helpless, scattered all over the continent, with no power to resist. Their skins will be much sought after by the people, who will pursue them in every clime until they are wiped from the face of the earth.” Those descendants are the common beaver of today.

“Resting a few days to gather strength and after his almost fatal experience, the Speel-Yi began the return journey to his home among the big snow mountains of Lake Cle-Elum. He soon met a great stream of muddy water, and on his arrival to the present Cascade Falls of the Columbia River saw a mighty river flowing through the great tunnel which the Wish-Poosh had made on that downward struggle. Moving back, he found the waters from all sides flowing into this great channel. Land was visible everywhere as he moved on up. The lakes which had covered the valleys of the Yakima had disappeared, leaving the ground wet, while here and there were Indians wading in the mud.”

“On reaching Lake Cle-Elum the people gave him a feast, showing gratitude for their deliverance from the monster “beaver god.” They told the Speel-Yi that he should always be a wise god, from whom they would seek advice in time of distress. For untold ages the men and women of this tribe, when in severe grief, would go to the tall snow mountain to consult the old Speel-Yi, and his advice they always followed.”

“Among the many different versions of the Wish-Poosh, I have selected this one, for it has its corroboration in the legend of the Bridge of the Gods, which these two gods made when they tore through the mountains at Cascade Falls. The tearing of the hole left a natural bridge, and resulted in the drainage of a vast territory in Eastern Washington and Oregon.”

(SOLD) This 60” x 60” collage on canvas was commissioned and created during the COVID-19 experience. This piece was inspired by the client’s love of travel and the Henry Wadsworth Longfellow poem, “The Tide Rises, the Tide Falls.”

This work was created using Thai Mango and Marbled Momi papers; Thai soft Momigami and Thai Unryu Chiffon papers; Thai Ultralite Gossamer Mulberry paper and Thai Embossed “Lucky Clover” and “Leaves” papers; Thai 2-Layer Abaca Decorative paper and Amate Lace papers; Thai Kozo fibers and Japanese Ogura Lace papers; Thai Unryu Kozo and Chiri paper; yarn made from upcycled Nepalese saris; embroidery thread; yarn; Japanese Silk Paper Thread; crushed statice.

(AVAILABLE) This 24” x 48” triptych on canvas was created during the COVID-19 experience, inspired by the history of the Horse Heaven Hills in Washington State and the following quote:

“There is one spectacle grander than the sea, that is the sky: there is one spectacle grader than the sky, that is the interior of the soul.” - Victor Hugo, ‘Les Miserable’

The Lewis & Clark Expedition knew October 16, 1805 of “…a range of High Country which runs from SW and NE and is on opposite side two miles distant from the Columbia.” Pioneer James Gordon Kinney knew in 1881 that the knee-high grass that fed large bands of feral horses “…offers excellent forage and comparative isolation…this is indeed a Horse Heaven!”

First Nations people already knew the high rolling hills along the Columbia River were boundaries between the Umatilla, Yakama and Walla Walla tribes. They already knew the arid land shaped by ice age floods was grazing land for pronghorn, bison, elk, deer, and big horn sheep. As stewards of the land they knew the treeless range was filled with native medicinal plants and beneficial grasses.

It is the hope of this artist that this work brings a spectacle of awe and appreciation for whatever the high country is in the viewer’s life.

This work was created using Thai Unryu and Thai soft metallic papers; Thai Mango and Marbled Mulberry papers; Thai Kozo and Japanese Ogura Lace papers; Bamboo and Metallic Craft papers; Banana Silk and embroidery threads; yarn and craft ribbon; dried Queen Anne’s Lace; statice; moss; yarrow; Scarlett feather flower.

(SOLD) 8” x 8” collage on board quadriptych commissioned during the COVID-19 experience and inspired by the trillium flower and a William Blake poem:

“…as I wandered the forest, the green leaves among, I heard a wildflower singing a song…”

Each of the four panels features a trillium bloom. The solitary typically spring-blooming flower sits erect above a whorl of leaves. In many forests, trillium cannot be picked, only admired. Its three petals and leaves in perfect symmetry can take five to seven years to bloom once germinated. It is said trillium often symbolizes purity, beauty or recovery. It can also symbolize consciousness, embodiment and mutuality.

This work was created using Thai Unryu and Thai soft metallic papers; Thai Mango and Marbled Mulberry papers; Thai Kozo and Thai embossed “Leaves & Branches” papers; Banana and Japapense Paper Silk threads; yarn, embroidery thread and craft ribbon; dried daffodil, Tinted Bishop Weed and Andromeda.

(SOLD) Originally submitted as part of the COVID-19 cancelled DrewBoy Creative 2020 “Blue Show,” this 12” x 16” collage on canvas was inspired by the detail and craftsmanship of the art of Japanese papers.

This work was created using Thai Mulberry marbled paper; Japanese decorative and Ogura lace papers; Thai Momigami soft metallic paper; pressed pink geraniums and delphinium; embroidery thread.

(SOLD) Originally submitted as part of the COVID-19 cancelled DrewBoy Creative 2020 “Blue Show,” this 20” x 20” collage on canvas illustrates the harmonious relationship of contrasting colors.

This work was created using Thai Marbled and Mulberry papers; Japanes Ogura Lace papers; Thai Unryu papers; crushed Statice.

(SOLD) Originally submitted as part of the COVID-19 cancelled DrewBoy Creative 2020 “Blue Show,” this 30” x 30” collage on upcycled canvas was inspired by the ink works of Irma Blank.

Irma Blank’s works are made moving handfuls of ballpoint pens in tandem around a canvas until the center is so covered with markings that the lines become indistinguishable. Her marks represent a feeling, an idea, or the experience of time. She is deeply poetic and prolific.

This work was created using Thai Mulberry and Rice papers; Thai Momigami soft metallic paper; Japanese Ogura Lace paper; feathered lace and banana fiber yarns.

(SOLD) “Hope From My Window” was commissioned and created during the COVID-19 experience. This 20” x 40” collage on canvas was inspired by a client photograph taken through a window of Telegraph Cove, Vancouver Island, BC. Also influencing this work was the DrewBoy Creative exhibit “Something Hopeful, Please” and images and anecdotes from a FaceBook group, “View From My Window.”

Much like the hopeful return of hundreds of Orcas arriving at Robson Bight (Michael Biggs) Ecological Reserve each summer to rub on the barnacle-encrusted rocks at the mouth of the Tsitika River, this collage depicts a sense of hopefulness during a time of social distancing, disruptions and anxiety. Just as the waters of Johnstone Strait welcomes salmon runs and a myriad of marine life to a place of calm and protection, it is the hope of this artist that this work portrays a sense of new beginnings for the viewer.

This work was created using Thai Unryu and Thai soft metallic papers; Thai Mango and Marbled Mulberry papers; Thai Kozo and Japanese Ogura Lace papers; Thai Banana and Metallic Craft papers; Banana and Japanese Paper Silk threads; artisan-made grape leaf, wild asparagus and rosemary paper; yarn and craft ribbon; dried Heather, Grape Hyacinth, Hydrangea, and Andromeda.

(SOLD) 24” x 48” quadriptych on canvas inspired by the Columbia, snake and Yakima rivers, as well as the miles of canals which make Washington’s Columbia Basin bloom, it was best written by Edward Abbey in Desert Solitaire: A Season in the Wilderness:

“Water, water, water….There is no shortage of water in the desert but exactly the right amount. A perfect ratio of water to rock, water to sand, insuring that wide free open generous spacing among plants and animals, homes and towns and cities, which makes the arid West so different from any other part of the nation. There is no lack of water here unless you try to establish a city where no city should be.”

Although Mr. Abbey was not directly referring to Eastern Washington, in this artist’s mind, the quote reflects the personality and dependency on water for our way of life in the Columbia Basin.

A unifying element of the quadriptych, running left to right, is the blue of the Columbia, Snake and Yakima Rivers. Anchoring the top of each panel is the bronze of the Snake Mountains. Green flows across each panel symbolizing the water’s effect on the blooming desert. Dried foliage highlights the thriving desert.

Work created using Thai Mango and Marbled Mulberry papers; Thai Momigami metallic paper; Japanese Ogura lace and Kozo fibers; Banana silk thread; Tinted Bishop Weed; Crushed Stattice; Japanese linen paper yarn; Holiday ribbon; deconstructed yarn.

(SOLD) 24” x 48” collage on canvas inspired by quote from Frances Hodgson Burnett’s book, The Secret Garden:

“And the secret garden bloomed and bloomed and every morning revealed new miracles.”

Work created using Thai Mango, Unryu, Banana and Marbled papers; Thai Metallic Momigami and Kozo fiber papers; Thai embossed “Lucky Clover” Kozo paper; Pink Texas Tea Roses; Tomatillos; Globe Mallow; Hydrangea; White Bishop Weed; embroidery thread and yarn.

(AVAILABLE) 24” x 12” collage on canvas inspired by wintry hills after a summer wildfire along Hwy 397 and Olympia in Kennewick, Washington. Created with Mulberry and Thai Mango papers; metallic craft paper; Amate Lace Bark paper; Nepalese marbled Lokta paper; Thai Kozo paper; embroidery thread and yarn.

(SOLD) At first glance, the Columbia Basin is just, “the east side of the state.” At second glance, the arid desert is clusters of vegetation, geology and habitations, delicately intertwined on an otherwise inhospitable landscape. Truly, the Columbia Basin is an illusion of “just a desert.”

This triptych represents the three Eastern Washington sister cities of Richland, Kennewick and Pasco. Like the city it represents, each 24”x 48” panel is its own entity; yet when placed alongside the other two, the three panels present a much greater perspective of the Columbia Basin region.

A unifying element of the triptych, running right to left, is the blue confluence of the Columbia and Snake Rivers. Running left to right are the rolling Rattlesnake Hills. Multicolored feather yarn endures across each panel, a reminder of the area’s tribal heritage. Handmade paper using two types of local sage challenges the viewer to take note of the desert’s own beauty. The use of handmade grape leaf paper with swaths of burgundy, orange and purple papers acknowledges the area’s burgeoning viticulture and established agricultural history. Metallic papers throughout highlight the Basin’s geological significance. Dried foliage such as Mock Bishop Weed and Scarlet Feather highlight thriving life in the desert.

This work currently hangs in the Alaska Terminal near Gate 2 at the Tri-Cities Airport in Pasco, WA.

(SOLD) A setting sun. A rising sun. A valley of paths and roads, of twists and turns, of choices and feelings and reflections. This is “My Sunshine,” a 24” x 48” commissioned collage on canvas.

The gradient colors represent a process, a progression from start, to middle, to end. Metallic papers and fibers highlight the evolution of colors. Threads and ribbon meander across the panel like a journey, each color a destination to visit and explore. Pink Texas Tea Roses dot the landscape, a reminder that every path has surprising moments of unexpected happiness. The Amate Tree Bark sphere represents centering; of self,of focus, of direction, of health and mental peace.

(SOLD) 24” x 48” collage on canvas of the Columbia Basin Valley created from Thai mango and Momi papers; artisan-made paper of grape leaves, wild asparagus and rosemary; artisan-made paper of garden herbs marjoram, thyme and oregano; Amate marble lace paper: Kozo fibers; embroidery thread, holiday ribbon and yarn.

(SOLD) 36” x 36” collage on canvas inspired by a cold winter’s night. metallic mulberry and Unryu chiri papers; Thai soft metallic papers; sphere of Amate Tree Bark paper; embroidery thread and yarn.

(SOLD) Inspired by the multicolored iris in my front yard, this 12” x 24” collage on canvas was created using Thai marbled mulberry and mango papers; metallic craft papers; yarn created from upcycled saris; craft ribbons, embroidery thread and yarn.

(SOLD) This 30” x 15” collage on canvas was created in the aftermath of a wildland fire close to my home using artisan-made paper of rosemary, grape leaf and wild asparagus; metallic craft and holiday wrap; Thai marbled and mango papers’ Amate Bark lace fibers; craft ribbon scrap, embroidery thread and yarn.

5” x 5” canvas block collage inspired by daughter’s photography using artisan-made paper of sage brush; Thai mulberry paper’ Kozo fibers; dried purple Delphinium. Block one of three.

(AVAILABLE) 12” x 24” collage on canvas inspired by my love of frogs and new beginnings. Mulberry and Beehive papers; Thai Mango papers; Texas Tea Roses, Purple-dyed Bishop Weed, Tined Bishop Weed; holiday ribbon and embroidery thread.

(AVAILABLE) 24” x 36” collage on canvas created using scrap papers from my studio floor. Varying Thai Mango, Mulberry and marbled papers; Thai soft Momigami papers; Thai Banana papers; tissue paper.

(AVAILABLE) 8” x 8” collage on canvas board inspired by changing season. Created with Thai marbled Mulberry paper; mango paper, Unryu chiri paper; leaves from floral shop; craft holiday ribbon.

(SOLD) 10” x 10” collage on canvas framed, inspired by leaves from my sister’s house. Created with Thai Mango papers; natural leaves from Chehalis, WA; Thai Unryu Chiri paper; artisan-made paper of grape leaves, wild asparagus amd roemary; metallic craft papers; embroidery thread and yarn.

Made-to-order blank notecards available. Sizes 5” x 7” and 4.25” x 5.5” available. Each card comes with a matching envelope and protective sleeve. All card stock is acid free, lignin free and archive quality. Individual or card sets available. Please contact for pricing.