As a psychologist, my work is often inspired by themes of struggle, personal growth, and transformation. I'm especially responsive to the life stories and works of women painters, poets, and writers--as well as other disenfranchised artists.

Mary Bast        Fine Art

Until 2015 I painted representational art with oils. Since then, I've been experimenting with acrylics, abstracts, and mixed media.

I've studied with Lissa Friedman and attended workshops with Linda Blondheim, Vicki Damon Johnson, Richard Lundgren, Annie Pais, Linda Pence, Jane Slivka, Sherry O'Neill, and Nika Zackharov, plus online learning from Hiroshi Matsumoto, Jane Davies, and others. See "Mark Making in Abstract Art"

I'm also a poet, writer, and editor of Bacopa Literary Review

The mixed media pieces for the Ekphrasia exhibit were the result of deep reflection on each artist’s or poet’s work and personal history. My process was entirely intuitive, fueled by the desire to embody and transform their stories and works in a way that would draw new attention to them.
For the tributes to artists, I downloaded small images of their paintings onto 22-pound printer paper and cut them into various abstract shapes unrelated to the original. For each, after preparing a canvas with gesso, I put on disposable vinyl gloves and sat down on the floor with the pile of cut shapes, a jug of M. Graham Acrylic Gloss Medium & Varnish, a brush--and just let things happen. Sometimes I was drawn to fitting shapes as in a puzzle, sometimes I played with juxtaposition of colors. Once I was happy with the placement of colors/shapes, I let it dry, then drew lines, circles, and outlines with a Sharpie fine point pen to create new patterns.
Media for “Unearthing the Sky” and “Map to the Next World” included anything that resonated for me with each poem’s intent. The “litany with blood all over” piece includes torn-up lines from the poem of that name, along with mixed-up words from the title of the book that includes the poem (Don’t Call us Dead), and modified images from the cover, glued onto the canvas with gloss varnish, then covered with Iridescent Bright Gold and drops of “blood” in Naphthol Red.