Ancient Openings/Aperturas Ancestrales


, , , , , , , , , ,



I went to Lima, Peru in October, where I had a solo exhibition thru November 27 as part of the Bienal Internacional de Grabado (International Biennal of Printmaking) sponsored by ICPNA ( Instituto Cultural Peruano Norteamericano). There were over 40 exhibitions as part of the Biennal over a 2 month period and represented artists from Belgium, Brazil, Chile, Spain, the U.S., Finland, France, Italy, Mexico and Peru.

In this exhibition at Galeria ICPNA San Miguel, I had the opportunity to exhibit early large-scale prints along with recent works.  I created most of these prints at KALA Institute in Berkeley, California in the early 1990’s, they represent the beginning of my exploration into symbolism as my primary artistic expression. My work continues along this line, and it was gratifying to see how seamlessly the work flowed.

All of the monotype prints draw from a universal visual language of primal forms created by early cultures and inspired by nature.  The circle speaks of unity, oneness, wholeness, the sun and the moon; the spiral reflects renewal, regeneration, evolution and growth; the oval or ‘vesical piscis’ is a symbol from sacred geometry that implies the womb, the seed, birth, and the beginning of life.  My intent over the last 20 years has been to create work that reflects the essence of these forms that can touch us on an intuitive level.

I visit sacred sites shrouded in mystery and imbued with the spirit of the ancients for inspiration. With each pilgrimage, I am drawn to the artifacts left behind by these early societies – sculptural details carved in stone, glyphs painted on cave walls, and designs found on pottery shards.  In each location, repetition is found in the form of archetypal symbols such as the circle and the spiral – universal symbols that according to Carl Jung evoke a deep and unconscious response.  Early on, I was drawn to Paleolithic and Neolithic sites where images of Mother Earth, the Divine Feminine, were revered.  (Among them: Newgrange in Ireland, The Temple of Knossos in Crete, and the caves in the south of France.)  My more recent visits to Machu Picchu, the Nazca Lines, and Sillustani in Peru also reveal a deep reverence for nature, Spirit and the cycles of life. For me, each site represents a mystical opening, a passage to something greater than ourselves, beyond the human experience.

In the studio, bold symbols emerge from the inked plate in a somewhat stream-of-conscious manner, my head and heart filled with new material.  The monotype allows me a spontaneous approach and results in a one-of-a kind image. Scratching the plate with a drypoint tool, I create a textural surface suggesting primeval walls worn down by time.  A mystical and meditative quality references the ritual of sacred space while the curvilinear forms refer to the Divine Feminine.  Symbols create openings that can connect us to the past and to the spiritual realm. As I work the surface of the plate and access these ancient forms and markings, I feel an affinity with those who have come before me.






The Ouroboros and the Eternal Return


, , , , , , , ,


Ouroboros, ancient symbol

Ouroboros, monotype print, 30″ x 22″

In my Mazatlan studio, the Ouroboros rears her head and almost bites her tail.

The Ouroboros is an ancient symbol depicting the snake or serpent eating its own tail. There are many interpretations but in general it signifies Eternity or the never ending cycle – something constantly re-creating itself. Carl Jung named it the archetype of the human psyche. It is considered a symbol for introspection.  In Alchemy, it is infinity or wholeness.


The Ouroboros has appeared in many cultures with the earliest siting in Egypt dating back to 1600BC. The Phonecians used it – then the Greeks who named the symbol, Ouroboros, which means devouring its tail. In Aztec mythology, Queztacoatl, was similarly depicted. More on the Ouroboros:


The Ouroboros is closely connected to the circle and the spiral, two universal symbols that also point to wholeness and regeneration. These two symbols have been mainstays in my work over the years – but I had never used the Ouroboros until recently.



What changed? After taking my group down to Oaxaca for the Oaxaca Art Vacation in July, I stayed for another week to soak in the city and the culture. I saw several works of art utilizing the Ouroboros symbol. I bought a watercolor by Hector Hernandez – a very simple cobalt blue rendition painted over some sheet music. I had recently done a series using sheet music as chine colle in my monoprints – so that caught my attention. I had admired this artist’s work over the years.



On a tour of printmaking workshops in Oaxaca, the Ouroboros pops up again in this gorgeous large-scale woodcut entwined with figures.

As an artist, I draw my inspiration from ancient art to contemporary works. Whose to say what and where will get the juices flowing….We all have our on voice, our own style and way of working with the imagery at hand.



Friday Art Post


, , , , , ,

A Painting Commission Ready to Fly

IMG_6656 (1)

This is a commission that I worked on last season in Mazatlan – It’s ready to hang!

“Two in Flight”, A triptych, oil on canvas, 20″ x 60″.

A commission is always a challenge – with certain parameters such as size, colors and imagery – which of course I wouldn’t take on if it didn’t fit into my already established style.  I enjoyed this one, and expect it to look fantastic in the intended home. Gracias, amiga for the opportunity! See you back in Mazatlan when we will hang your new work of art.

Uxmal – Visiting a Mayan Treasure in the Yucatan


, , , , ,

Uxmal pyramd

Pyramid of the Magician

I had the good fortune to visit the the ancient Mayan city of Uxmal last February.  Excaping the craziness of Mazatlan’s Carnaval was a prime motivation, but landing in the Yucatan wasn’t a bad choice.  Uxmal is located outside the city of Merida, Mexico and doesn’t get near the number of visitors that Chichen Itza receives each day, 2000 vs 20,000 I was told. (I had visited Chichen Itza many years before.)  Plus, the day we visited it was overcast and rainy which also kept the numbers down and so a very pleasant experience.

Walking the site was a visual delight. My eyes filled with this ancient architecture, my feet following in the footsteps of the ancestors. I crept inside a hidden space and sat for a moment, alone, soaking up the silence, overcome by the spirit of place. I was particularly drawn to the stone carvings, the circles, spirals, etc., the same universal symbols found in ancient sites around the world. Looking through an artist’s eyes, I relish the forms and shapes, the details.  This is what makes an ancient civilization come alive for me.

Some say Uxmal dates to around 6th century AD, others claim it is much older. I’m not much for retaining the history, remembering the names of kings, who ruled when, etc. so if you would like to learn more, you can visit this site:

Back in my Mazatlan studio, I play around with the shapes, creating a series of small 7″ x 5″ monotypes (one of a kind prints) – Uxmal I, II, & III. I layer texture and color to achieve the look of an aged document. As an artist, I am open to letting things happen on the plate, synchronicity in the studio, stacking the glyphs, letting them order themselves, and in this case, pairing them with a vertical column.

Notes from Uxmal I smNotes from Uxmal II sm

Notes from Uxmal III sm

Contact me if you are interested in my work or process.

10 Guidelines for Visiting a Sacred Site


, , , , ,


Ollantaytambo Ruins, Sacred Valley, Peru

  1. Ask permission to enter from the Ancestors, Mother Earth, Spirit of Place and give gratitude for the opportunity.
  2. Enter quietly, with reverence and respect.
  3. Allow yourself to be in the moment and feel the essence of this sacred site.
  4. Be aware of the organization of space and its connection to nature.
  5. Try to imagine the daily lives and rituals of the people who inhabited this ancient place and picture yourself among them. Let your imagination flow….
  6. Connect with the mystery and spirit hidden within these walls. “If these stones could speak…”
  7. Remember the sounds, colors, textures, structures, and feelings you experienced.
  8. Choose a comfortable place off the beaten path and sit quietly.
  9. Do a silent meditation, some yoga or tai chi.
  10. Write down your observations in a journal, or sketch with pencil or watercolor.

Glen at Ollantaytambo Ruins

Inspired by Travel: Peru


, , , , , , ,


Machu Picchu

As an artist, I have been traveling for over 25 years to gather inspiration for my art. (Thus my book, Art & Sacred Sites: Connecting with Spirit of Place). And now I realize – I am also inspired as a person, as a human on this planet. To go out in the world and meet people from other cultures, to see how they dress, how they live, how they make their money, how they spend their creative and leisure time – that is inspiring! Language is not always relevant – it is what we take in with our eyes and with our heart. To record the differences and the similarities – to acknowledge that we are all one.


The group at Saqsayhuaman


On my recent trip to Peru I took a group of mainly artists on my first Peru Art Vacation.  We visited sites in the Sacred Valley where we walked in the footsteps of the ancients – sites such as Saqsayhuaman, Moray, Ollantaytambo, and ofcourse – the jewel in the crown – Machu Picchu. Each day we were awed with a new site.

We finished up with 5 days in Lima, a wonderful metropolitan city bustling with art and culture.  We funneled our new inspiration into creating monotype prints at Taller TRESS, one of a kind images painted with ink on an acrylic plate and transferred to paper with the use of the etching press. Thank you Lara, Sue, Lorraine, Sissel, Synnøve, Dan, Veronica, Carol and Judy for your love of adventure and great spirits!


At Taller TRESS, Lima

What a fabulous trip! Truly life changing! I loved the places that we stayed and Second Home Peru (in Lima) was so special. Christina and Rueben of Taller Tress were very welcoming and the studio well equipped.  Thank you for a great experience.  And thanks to everyone in the group for being such wonderful traveling companions. I can highly recommend this trip.                                               Sue Gilchrist, Santa Cruz, CA

It was a pleasure and thank you so much for let me be a part of this adventure<3
Feeling happy and inspired back in my routine life:-) My head is full of ideas, and all I want is to print! 
Synnøve Krokstad, Norway

What an amazing trip! Thank you Glen Rogers for making this trip happen, for the printmaking at wonderful Cristina’s studio, for Machu Picchu, Cuzco, the Sacred Valley, Pisaq, and all the lovely people who came together to make this such a great experience. Lara Speyer, San Francisco Bay Area

I will be organizing another Peru Art Vacation for May 2017. Contact me if you are interested. Space is limited to 10 people.


Inspired by Music and Letters


, , , , , , , ,

A passage in scripture, a piece of music –a phrase or melody held in the moment to savor.

Scritture I sm

Scritture I, monotype w chine colle over letters, 7″ x 5″

Beautiful hand-written letters I found in a flea market in Lecce, Italy, a lost artform, personal, now public for all to see. Leaving an essence of the person who wrote them – heartfelt intentions – inspired the series, “Scrittures”.


Musical notes dance on the page, a visual feast for the artist – black and white ovals, dots and lines break up the space. For the aficionado, the abstract shapes coalesce into a meaningful tune. Music triggers childhood memories and others through each chapter of my life, marking the passage of time.

Cadenza II sm

Cadenza I, Monotype w Chine colle over sheet music, 22″ x 17″

Chine-collé is a technique in printmaking in which an image is printed on a thinner paper and glued to the base paper at the same time. In this case, I have printed over old letters and sheet music which is bonded to the base paper, Rives BFK. These are unique, one of a kind prints. This work was begun at Scuola Internationale de Grafica, Venice, Italy during my artist in residence  September 2015 and completed in my Mazatlan studio.


The Lotus – timeless image of the Spirit


, , , , , , ,

Floating Lotus III

Floating Lotus III, Oil on Canvas w gold leaf, 27″ x 27″

The lotus, a metaphor for the unfolding of life and spirit, a timeless passage. As in all forms of nature, I begin as a seed and emerge gradually seeking light, my spirit rejoicing upon glimpsing something greater than myself – God, Goddess, All That Is – The Source. In my daily life, with heart, hand and spirit in alignment, I am at my best. Through creativity, meditation, and communing with nature, I seek divine clarity, and with luck, tap into the Collective Unconscious – source of inspiration.

I have used the Lotus as image for many years, and keep returning to it again and again. This timeless symbol finds its way into my prints, paintings and drawings creating a spiritual space for meditation.This simple floral shape associated with Buddha nature transcends its earthly role.


Sacred Space I sm

Lotus, 36″ x 27″, Monotype on Handmade Paper

Golden Lotus sm

Lotus, 42″ x 42″, monotype

Lotus III_monotype_42 x 53

Lotus, 42″ x 53″, monotype

Mitla, A Place of Ritual and Ceremony


, , , , ,


Mitla, an archelogical site in the Oaxaca Valley, inspired me with its running spirals, zig-zags and chevrons created with stone mosaics throughout the site. These intricate, geometrically designed patterns are what sets it apart from other pyramids in Mexico. Walking among these temples was a spiritual journey in itself, visioning what rites and rituals occurred within these ancient walls. One named, House of the Vital Force, really piqued my imagination. Mitla was a major Zapotec religious center that reached its zenith between 750 and 1521 and now a UNESCO World Heritage Site.

A - Mitla

Here are a few artworks created in the studio after visiting this site. I’m always trying to capture the mystery, the essence of a sacred space, rather than illustrate the site.





A Symbol of Renewal for the New Year


, ,

strip of spirals

The Spiral been carved on cave walls, rocks faces and used as decoration on pottery for milennia. It is a universal symbol found around the world from the Americas, to Old Europe, Australia to Africa dating back to atleast 6000 BC.  No doubt this ancient symbol was observed in nature by early humans in plant life, water flow, the wind, the heavens, and more. It signifies the universal life force and implies the underlying energy in all of life. According to Marija Gimbutas, the spiral speaks of renewal as it mimics the snake in its coiled form, eventually shedding its skin and regenerating.

The spiral is an image that continues to find its way into my work and continues to inspire me. It is an uplifting image that implies flow and change – a reminder that nothing stays the same, but continues to rejuvenate. A good message for the New Year!

Page 31 Double Spiral

Glen Rogers, Double Spiral, 52″ x 52″, Oil on Canvas, Private Collection

Reference: The Language of the Goddess, Marija Gimbutas, Harper & Row, 1989