She Defies Gravity
She Defies Gravity
American Woman
American Woman
Rilasciare
Rilasciare
Every Child My Own,Oil on Canvas 42" Round
Every Child My Own,Oil on Canvas 42" Round
Ubi Caritas
Ubi Caritas
Brin de Nostalgie, Oil on Belgian Linen, 60"x48", 2016
Brin de Nostalgie, Oil on Belgian Linen, 60"x48", 2016
Ghost Dance
Ghost Dance
Broken Treaties, Oil on Belgan Linen 48" x 36"
Broken Treaties, Oil on Belgan Linen 48" x 36"
Voigt_BrokenTreaties_48x36_OilonLinen_2016_detailrt.jpg
Procession of 172 Souls to Heaven (Oil on Masterpiece Elite Belgian Linen) 48"x36" 2015
Procession of 172 Souls to Heaven (Oil on Masterpiece Elite Belgian Linen) 48"x36" 2015
Yeshua Oil on Belgian Linen 48"x36"
Yeshua Oil on Belgian Linen 48"x36"
l'ame de la femme
l'ame de la femme
O Thus She Stood, Oil on Belgian Linen, 72"x48"
O Thus She Stood, Oil on Belgian Linen, 72"x48"
Voigt_BrokenTreaties_48x36_OilonLinen_2016_detaillft.jpg
Fait Accompli, Oil on Canvas, 36"x36"
Fait Accompli, Oil on Canvas, 36"x36"
2pi r/t, Oil on Belgian Linen, 30"x40" 2014
2pi r/t, Oil on Belgian Linen, 30"x40" 2014
Broken Treaties Detail
Broken Treaties Detail
premiere en rouge, Oil, Charcoal, on Belgian Linen, 48"x36" 2014
premiere en rouge, Oil, Charcoal, on Belgian Linen, 48"x36" 2014
Sinu Ina Ruth's Revision, Oil on Belgian Linen, 40"x40"2014
Sinu Ina Ruth's Revision, Oil on Belgian Linen, 40"x40"2014
Chatelaine, Pastel, Charcoal, Gesso on Canvas, 70"x58" 2013
Chatelaine, Pastel, Charcoal, Gesso on Canvas, 70"x58" 2013
Azadi, Oil on Canvas, 55"x55" 2013
Azadi, Oil on Canvas, 55"x55" 2013
Margins 0.5 (Oil on Belgian Linen) 48"x72" 2015
Margins 0.5 (Oil on Belgian Linen) 48"x72" 2015
Broken TreatiesDetail
Broken TreatiesDetail
She Defies Gravity
She Defies GravityShe Defies Gravity Oil on Belgian Linen 48"x36"
American Woman
American Woman American Woman Oil on Canvas 60"x48"  
Rilasciare
Rilasciare Oil on Belgian Linen 30 x 40
Every Child My Own,Oil on Canvas 42" Round
Every Child My Own,Oil on Canvas 42" Round
Ubi Caritas
Ubi CaritasWhere there is love and true acts of charity, God is ever present.
Brin de Nostalgie, Oil on Belgian Linen, 60"x48", 2016
Brin de Nostalgie, Oil on Belgian Linen, 60"x48", 2016
Ghost Dance
Ghost Dance 72" x 48" Oil on Belgian Linen 2016
Broken Treaties, Oil on Belgan Linen 48" x 36"
Broken Treaties, Oil on Belgan Linen 48" x 36"Broken Treaties is historic and modern-day.For centuries treaties have defined the relationship between Native American people, their nations and the United States. Over 500 treaties were made with American Indian Tribes, primarily for land acquisitions, and 500 treaties were also broken, changed, or nullified when it served the government’s interest.This work depicts the land runs that revoked Native American territory given to them by the U.S. government after they were forced from their ancestral homelands. The “land rush” opened tribal lands for settlers to homestead based on a first arrival basis.The composition of Broken Treaties contains six horses charging and four figures invaded. They are splintered by themselves, the stampede and one another. The work’s four figures embody a Witness, a Refugee, a Demonstrator and a Deity.The Witness arises in the upper left corner perched above the incident; shoulder to hand elevated.  The Refugee evacuates mid composition looking back at her intruder as she sprints forward. The Demonstrator; a male figure, squats at the bottom of the work. Eyes up, he extends one arm and hand with pointer finger ascending. His other hand treads downward to fist. Potently he proclaims the injustice.The Deity; their Great Spirit, surges from the scene in serenity and grace. Her face identifiable and lovely. She envelops the pilfering and enfolds the chaos within her limbs.Broken Treaties is pertinent now. Modern nations are calling for the elimination and restriction of immigration and refugees. At this same moment political groups, movements and governments are coming to cause the flight of populations from their native and ancestral lands.  Broken Treaties recounts the first immigrants and refugees in the United States; the “colonists”, whom themselves escaped tyranny and religious persecution crudely to impose it on Native American tribes and nations. Repeatedly posing and rescinding treaties usurping native’s land, destroying their lives, resources and culture.  
Voigt_BrokenTreaties_48x36_OilonLinen_2016_detailrt.jpg
Procession of 172 Souls to Heaven (Oil on Masterpiece Elite Belgian Linen) 48"x36" 2015
Procession of 172 Souls to Heaven (Oil on Masterpiece Elite Belgian Linen) 48"x36" 2015The “Procession of 172 Souls to Heaven” is my visualization of the energy and atmosphere as innocent souls pass after the loss of lives due to acts of terrorism and atrocities.This is my second work attempting to memorialize the innocent lives tragically taken as a result of the bombing of the federal Murrah Building in Oklahoma City. In this version I strive to capture the energy and movement of the loss of life minutes after the explosion. I imagine the sky filled with light as 168 souls are released from their bodies and the physical world. I have added additional souls of significant people in remembrance of their tragic deaths as they join the massive procession.   Michele A. Utley VoigtOil on Belgian Linen Masterpiece Elite Canvas
Yeshua Oil on Belgian Linen 48"x36"
Yeshua Oil on Belgian Linen 48"x36"Yeshua; Birth to Resurrection is historic and modern as it calls to question the modern day persecution of Jews and Christians alike. The composition contains two boys, five men, a mother and an infant. The boys of varying ages depict the young Yeshua. One is on his knees at temple and the other steps forward, arms extended, he is proclaiming and teaching. In the middle, a muscular Yeshua lifts and carries another man whom is week or lifeless, back facing and in the form of the cross. To their side is a mature Yeshua whom raises his hand to heaven. At the top of the work, light and bright, a large head of the mother Mary leans in to nestle the baby Yeshua in her arms. Her hand cradles the baby’s tender head as her nose leans in to rest on his.  In the midst of these two faces the resurrection occurs. Yeshua rises up into the sky, both arms extended out like a bird as he takes flight.  Rays of light crown the painting and pronounce the King and Messiah. The lower background is geometrically divided representational of the many stages of Yeshua’s life.I was compelled to create a portrait of Yeshua, the Jewish Jesus Christ from birth to resurrection in one composition. In particular I was very influenced by depictions of Jesus throughout art history and the number of Jewish artists that painted Jesus.Medieval and Renaissance artworks commonly Christianized Jesus, his family and close followers while omitting their Jewish identities. This phenomenon contributed significantly to the historic rift between Christianity and Judaism by picturing Jesus and Jews as separate in religion and ethnicity.Recently, there have been efforts to explore the distortions and misrepresentation in artworks. The 2011-2012 exhibit Rembrandt and the Images of Jesus, curated by the Louvre, the Philadelphia Museum of Art and the Detroit Institute of Arts featured Rembrandt’s paintings of a Jewish Jesus. For Rembrandt, working from a Jewish model would have been a means of returning to a historical truth, or portraying Jesus unadulterated, as the Jew that he was — a form of realism scoffing at tradition. — the Louvre commented.My interest begins in the paintings of Jewish artist Marc Chagall, and his surprising trove of paintings of Jesus as Jew and Christian, bonded by the theme of suffering. The past Chagall exhibit at the Jewish Museum in New York City, Love, War and Exile included 24 paintings that focus on the crucifixion, often showing Jesus with a prayer shawl rather than a loin cloth, in a context of Holocaust persecutions. Almost half of the works in the Jewish Museum exhibit center around the crucifixion — and many more of Chagall’s Jesus and crucifixion paintings were not included in the exhibit including his most famous crucifixion painting, “White Crucifixion”. Chagall was not alone among 19- and 20th-century Jewish artists to create artworks of Jesus, and sometimes of a Jewish Jesus. Art scholar Ziva Amishai-Maisels explains that artists sought to address anti-Semitism:“Faced with rising anti-Semitism throughout Europe and pogroms in Russia from 1871 on, Jewish writers and artists tried to explain to Christians that in persecuting Jews they were attacking the brothers of their Christ rather than emulating his example of humility and charity. The first Jewish artist to express these ideas was Mark Antokolsky, a Russian working in Rome, who in 1873 sculpted Jesus before his judges, stressing his Jewish facial features — a slightly hooked nose and side-curls — and depicting him in a skullcap and a costume that recalls a prayer shawl. He stated explicitly in his letters to his Russian Christian patrons that his purpose in doing so was to warn Christians that they were not abiding by Jesus’ doctrines, and that in attacking Jews they were persecuting Jesus himself.German artist Max Liebermann painted the 12-year-old Jesus in the Temple. But faced with public criticism that his image of young Jesus was too Jewish, Liebermann capitulated and redid it, removing Semitic features and giving Jesus blond curls.Later Jewish artists addressed the horrors of the Holocaust. In addition to the works of Marc Chagall, most frequently cited is the 1942 exhibit “Modern Christs” at the Puma Gallery in New York City. Of the 26 artists who contributed to the exhibit, 17 were Jewish. Aside from a few of the most prominent artists in this show like Adolph Gottlieb, Louise Nevelson, Max Weber and Max Beckmann, many of the others are less known and are rarely if ever mentioned in references to the exhibit.
l'ame de la femme
l'ame de la femme
O Thus She Stood, Oil on Belgian Linen, 72"x48"
O Thus She Stood, Oil on Belgian Linen, 72"x48"O Thus She Stood depicts five figures rising from face down crouch to stand up tall. The multiple figures are actually a single figure in the stages of being knocked to the ground and gathering herself to stand back up.Physical, internal, eternal, and or societal peace is never static. O Thus She Stood depicts the constant movement toward the resurrection of peace. It demonstrates the rise and fall of peace, tranquility and non-violence through the movement of a singular female figure pushing herself up from the ground, rising to her feet, obtaining her balance, standing in grace and lifting herself as if she herself experiences resurrection.The masking of the figure(s) allows anonymity and universality by detaching the viewer from real physical representation or recognition of the individual. The background is comprised of many planes divided. Chilled abstracted geometric shapes and shading demonstrate the energy, emotion, and intangibles of the peace making. A flat shadow grounds the progressive figures providing a realm of reality.The composition of the life size figures and electric bursts of shading are such that the viewers’ eyes are drawn up from the bottom of the canvas to the top and down again further expressing the continuum of the peace process Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;}
Voigt_BrokenTreaties_48x36_OilonLinen_2016_detaillft.jpg
Fait Accompli, Oil on Canvas, 36"x36"
Fait Accompli, Oil on Canvas, 36"x36" Fait Accompli: An accomplished, presumably irreversible deed or factA thing or act accomplished and presumably irreversibleAn action which has already been done and which cannot be changedFait Accompli depicts two figures one crouched and one extending, in the middle an infant. The crouched figure covers her heavy head while passing the child to the receiving figure. The background is divide and fragmented as the transaction is without comprehension.
2pi r/t, Oil on Belgian Linen, 30"x40" 2014
2pi r/t, Oil on Belgian Linen, 30"x40" 20142pi r/t = diminished potency, the loss of power and control, a realized deception due to differences in power, all capitulated through the ravages of illness.  2pir/t = demonstrates circular velocity by a singular male figure whose three heads pictorially express a state of inner division and turmoil. His six arms and hands extend, to thrash and flail besieged for balance. Despite casualty within the equation his limbs exhibit remaining strength as if to contact composure of the past. The background is composed of planes divided.  Chilled spheres depict the starkness of the centrifugal force that has taken him. Defined shadows of his own form, overcome the motion in three shapes of varying hue and color representational of his past, future and his present reality. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;}
Broken Treaties Detail
Broken Treaties Detail
premiere en rouge, Oil, Charcoal, on Belgian Linen, 48"x36" 2014
premiere en rouge, Oil, Charcoal, on Belgian Linen, 48"x36" 2014 A female figure walks a shadow of herself. A red carpet shaped in her own image. The red carpet she walks may be any stage or event in her life; a premier for her. The plane is divided and the shadows are painted flat. The shadow is what grounds the figure to a real and tangible situation. Her shadow is red to express the importance of the walk she is taking. The background is divided into an expressive explosion of figures, faces and energy that surround the situation; currently present or passed prior. The division is an expression of everything that is happening around her.
Sinu Ina Ruth's Revision, Oil on Belgian Linen, 40"x40"2014
Sinu Ina Ruth's Revision, Oil on Belgian Linen, 40"x40"2014“Sinu Ina (Nigerian – Yoruba translation: Into the Light) shows three figures, sit to stand, one behind the other, cloaked in gradations of shadows. The center figure sits in a puddle of darkness, face veiled. The second begins to rise out of shadow and the third transcends into great light. The dark to light process of this painting represents the process of becoming educated. The simple act of educating girls has been under attack for years. And not just in Nigeria. This work seeks global educational equality for girls.  Sinu Ina was created in support of “Smart Girls” and the Half the Sky Movement. For more information – please visit http://www.halftheskymovement.org/ “ Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;}
Chatelaine, Pastel, Charcoal, Gesso on Canvas, 70"x58" 2013
Chatelaine, Pastel, Charcoal, Gesso on Canvas, 70"x58" 2013Châtelaine (French châtelaine, wife of the lord of a castle) has the following meanings:Châtelaine, a woman who owns or controls a large house (a feminine form of Châtelain).Chatelaine, a set of short chains on a belt worn by women and men for carrying keys, thimble and/or sewing kit, etc.Chatelaine embraces the beauty and the challenges of the female from owned to ownership. From lady to landowner, this work acknowledges the puppetry of a male society that controls the “strings” in an economy that dances upon the beauty, grace, and power of independent women.
Azadi, Oil on Canvas, 55"x55" 2013
Azadi, Oil on Canvas, 55"x55" 2013اfreedom and liberty, Iranian Azadiآزادی: freedom and liberty, IranianAzadi expresses the joy and freedom of global liberation for women. This painting tells the story of a woman’s great and fearless leap, from the repressed, dark, and hard captivation of her world. She throws open the windows to bound almost nude; yet somehow sheathed from her vulnerability, into a bright, divided, and complex world. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;}
Margins 0.5 (Oil on Belgian Linen) 48"x72" 2015
Margins 0.5 (Oil on Belgian Linen) 48"x72" 2015A portrait of motherhood;  restricted to her existence inside the red lines. She is placed in a position of marginal importance, influence, or power. Marginalized in society she is "held down" yet simultaneously grounded by the little hands that up-reach for her. Our heroine releases. The blank page beyond her confines divide unto a gallery of onlookers and energy. Her shadow; painted flat, ties her to this tangible moment and act.
Broken TreatiesDetail
Broken TreatiesDetail
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