Fabulous is a monumental work — the largest painting the artist has created — shaped over three years of transformation, grief, and revelation. It began on the last canvas her father ever gave her, originally painted from a series of dreams about her childhood. These early layers held memory, longing, and the quiet ache of unfinished conversations.
Everything changed the night the artist and her daughter connected with her father through the ghost box. When she asked if he was okay, his response came through with unmistakable joy:
“Yeh! Same me, new body. It’s fabulous.”
This moment — clear, direct, and spiritually undeniable — became the soul of the painting. It confirmed what the artist already sensed: there is another side, and connection continues.
The painting evolved into a living archive of that truth. Acrylics, hot and cold wax, and blacklight pigments form a layered emotional terrain — textured, luminous, and alive. In daylight, the surface reveals sedimented memory and shifting landscapes. Under blacklight, a second world emerges: glowing trails, spectral forms, and radiant affirmations rising from within the paint. The dual illumination mirrors the dual reality of the message — the seen world and the one beyond it.
Fabulous sits at a powerful intersection in the artist’s body of work. It carries the emotional fracture of the Shattered series — the rawness of loss, the breaking open of the self — while stepping fully into the spiritual presence and reclamation of the I AM Here series. It is both wound and healing, both testimony and transformation.
Once this painting finds its collector, its evolution will end — sealed in the state it reached through years of becoming.
Why it sits between SHATTERED AND I AM Here:
Fabulous is the hinge.
The turning point.
The moment where grief breaks open into revelation.
It is the bridge between fracture and presence — the piece where the artist’s father speaks, and the work shifts from mourning to testimony.
