What Sets My Soul On Fire
Sunlight dancing on an adobe wall
Autumn in the Rocky Mountains
Scent of green chiles roasting
Hand-dyed fibers from Earth Guild
Embroidered textiles from India
C. G. Jung’s Red Book
Santa Fe sunsets
Smell of pinon smoke on a crisp winter night
Krishna Das chanting the Hanuman Chalisa
Spicy Santa Fe Mochas at The Teahouse
Printmaker: Kiki Smith
Sculptor: Christina Chalmers
Painter: Hilma af Klint
Fiber Artist: Sheila Hicks
Ceramicist: Beatrice Hicks
Street Artist: Swoon
Collage Artist: Nancy Scheinman
Photographer: Diane Arbus
Textile Artist: Lesley Richmond
Art Movement: Surrealism
Folk Art: traditional embroideries of the Rabaris
Art-related Fiction: Seek My Face by John Updike
Black Mountain College: Experiment in Art
Ninth Street Women: Five Painters and the Movement That Changed Modern Art
Louise Nevelson: Light and Shadow
Art Documentary: Our City Dreams
Art Fair: Art Basel Miami
Art Festival: International Folk Art Market | Santa Fe
Art Museum: Museum of International Folk Art
On the Road to Shambhala
School of the Museum of Fine Arts, Boston
The artist’s story is crucial when selling a piece of art.
TransCultural Exchange - Board of Directors
6 years. Creating a greater understanding of world cultures through art exhibitions, cultural exchanges, and educational programs.
International Folk Art Market | Santa Fe - Mentor in the Mentor-to-Market Artist Training Program, Volunteer Chair for New Artist Training, Volunteer Chair for the Artist Conference, and Volunteer Chair for Pop-Up Markets
10 years. IFAM’s M2M program develops leadership through trainings and workshops that equip artists with the knowledge, skills, and tools they need to improve their livelihoods, grow their businesses, and participate more effectively in the global marketplace.
25+ years. I buy from artists who are passionate about their work. My collection includes textiles and embroidery from India, Zuni fetishes, paintings (oils, watercolors, pastels, encaustics, mixed media), prints (etchings, monoprints, collagraphs), collage, spirit dolls, and Japanese Satsuma pottery.
Surface Design Association, International Polymer Clay Association
Finding a place in the art community, building and maintaining strong relationships, and giving back are the foundations for success.
I’m the founder of Gypsy Wolf Marketing, a boutique marketing consultancy dedicated to working with art galleries, artists, and international artisans.
Committed to the growth and empowerment of my clients, I provide them with the innovative, “out-of-the-box” marketing techniques and business strategies necessary to approach their business development and marketing challenges creatively in order to thrive in the changing art world.
I began my journey with Human Design 7 years ago. It showed me how to navigate my life perfectly aligned with who I really am. It detailed my talents, skills, and potential, and gave me a blueprint for actualizing them. It shed light on my emotional, psychological, and energetic makeup, giving me the self-awareness and tools to align with my nature and step into my highest potential in every aspect of my life. As I continued my studies, I began to understand how Human Design could help my clients learn to operate in alignment with their individual needs and make correct choices leading to improved health and well-being, better relationships, and fulfillment in their personal and professional life.
In addition to my consulting work, over the past 25 years I’ve leveraged my experience in business development, marketing, and the arts in a variety of positions in the art world including
Gallery director for an art gallery specializing in Native American arts in Scottsdale, AZ and Santa Fe, NM
Mentor at the Arts and Business Council of Greater Boston
Member of the Board of Directors for TransCultural Exchange, a 501c3 non-profit organization dedicated to promoting international art and the understanding of world cultures through art exhibitions, cultural exchanges, and educational programs
Volunteer in the museum collections department at the Museum of International Folk Art
Mentor in the Mentor-to-Market Artist Training Program, artist assistant, and volunteer chair for New Artist Training and the Artist Conference at the International Folk Art Market | Santa Fe
I also maintains a presence in the corporate world where I’m the vice president of marketing for a technology company headquartered in Boston, MA.
I studied art at the School of the Museum of Fine Arts in Boston, MA.
I live and work in Santa Fe, NM.
Bonnie Clark, who exhibits her artwork under the name Dakini Dreams, is a fiber and mixed media abstract artist who has spent the last 15 years exploring cultural themes relating to the search for home and community, personal empowerment, and transformation.
Inspired by ancient artifacts, tribal adornments, and traditional textiles, Bonnie’s paintings and contemporary narrative weavings are meditations on the mysteries of life and the beauty that surrounds us every day.
Her latest series of contemporary narrative weavings, Magic in the Desert: Santa Fe Reflections, is a love letter to the rich history and culture of New Mexico, the Land of Enchantment. The mystique of Santa Fe is captured in the rich colors and each weaving tells a story of life in the City Different.
a sensory experience in color, texture and design
Fiber art, especially weaving, has been my passion since I first sat down at a loom many, many years ago in art school. There’s something about the meditative process of weaving that speaks directly to my soul. I love the way fibers and beads play off each other to form intricate designs that pull you in and tell you a story. I love unusual shapes and fluid contours that tease the eye, textures I can’t resist touching, and vibrant colors that remind me of my life, experiences, and travels… the embroideries of Rajasthan, the temples of Kathmandu, the markets of San Miguel de Allende, the architecture of Barcelona, the castles of Ireland, and closer to home… the sunsets of Santa Fe, autumn in the Rocky Mountains, the canyons of Utah, the ocean at Big Sur, fashion week in New York City.
Expanding on traditional tapestry weaving techniques, I work on a loom small enough to carry with me when I travel. Beads and other perforated components are incorporated into each Soul Artifact by stringing them directly onto the warp threads as I’m weaving and the weft threads are woven around the beads using a tapestry needle. I create with a wide range of rich fibers of varying textures and vibrant colors, many hand-dyed and sourced from local fiber artists.
Over the years, I’ve expanded my search for unusual beads and components – glass, metal, stone, ceramic, organic materials – whose shape, size, or color make them visually interesting. I often create one-of-a-kind elements in polymer clay, metal clay, or in the pottery studio to bring my artistic vision to life. These focal pieces range from whimsical to elegant, but in the Soul Artifacts, they’re always imbued with symbolism. I’ve always collected beads and my weavings are a place where I can showcase them, surrounding them in a fully-designed artwork.
While I continually experiment with new techniques and designs, my inspiration remains firmly rooted in the richness of the past. Ancient artifacts, tribal adornments, traditional textiles, beads, and amulets – these are what spark my creativity and drive my creative process. My Soul Artifacts expand on age-old cultural themes, incorporating traditional motifs, materials, and colors in exciting new ways. Each weaving evokes the art of a culture in which I’ve immersed myself and from which I emerge with inspiration for a new series of weavings. Rich in symbolism and meaning, my Soul Artifacts are true conversation pieces, each with a story to tell.
Mask making has been an integral part of my artistic process for more than 20 years.
The masks that have evolved into the Soul Ancestors came to me in a series of dreams many, many years ago when I was living in Colorado and just beginning my artistic and spiritual journey. In the dreams I was walking through an aspen grove when I came to a clearing filled with women, each wearing a mask. Each mask was like a tiny universe, woven and feathered and embellished with its own headdress. As I joined the women, one of them slid a mask over my face as she explained why she had created it for me. She said "Never give away your power or hide your gifts from the world. This mask will open a window into your soul where you can discover your own personal mythology. Your tribe is waiting for you but you will have to journey far to find them."
And journey far I have through both my internal and external landscapes since I first had those dreams. One thing has remained constant throughout the years though and that is the power of the masks to draw me back home.
Each Soul Ancestor explores the importance of change and the need to release our past in order to experience personal growth, empowerment, and transformation. Imagery borrowed from indigenous cultures, mythology, fairytales, Tarot, and the use of archetypal themes allows me to explore letting go of the familiar, safe, and secure in order to travel to the dark, often frightening, places of the soul that hide beneath the surface of each of us... hidden beneath the mask each of us wears every day. The imagery requires a level of introspection… an inward journey and willingness to face both the positive and negative aspects of life. As a result, the process of creation becomes an excavation of self. What should remain visible? What should be hidden from view? How do our experiences and cultures control our perceptions? What impact do these perceptions have on our views of reality and illusion? Through my art I want the viewer to question, explore, and ultimately discover their own truth.
Ritual is an integral part of the creative process for each Soul Ancestor. I begin by selecting a Tarot card to use as the focal point for my meditation session. The card selected may represent a single work of art or an entire series. Out of the session comes the theme, imagery, colors, textures, focal objects, and embellishments that provide my starting point. And sometimes inspiration comes from simple everyday experiences... the patches of color seen on the side of a mountain in the autumn... the smell of roasting chilis at the local farmers' market... a visit by a friendly dragonfly bringing me a message.
Great care is taken in selecting the objects to be used in creating each Soul Ancestor. Vintage wooden clock cases, handmade paper, fibers and yarns, hand-dyed fabrics, dichroic glass, digital images, monoprints, collagraphs, etchings, vintage postcards and photographs, ephemera, weavings, embroidery, beads, bones, crystals and stones, found objects, and feathers are just a few of the objects that have found their way home to their Soul Ancestor after singing their song to me. Some objects remain visible while others become fragmented, distorted, veiled, or buried. The resulting piece is complex and multi-layered in the same way life is complex and multi-layered. True understanding comes with the ability and willingness to envision what is below the surface.
Profile: 5/1 (Heretic/Investigator)
Inner Authority: Emotional - Solar Plexus
Strategy: To Respond
Non-Self Theme: Frustration
Definition: Triple Split
Incarnation Cross: Left Angle Cross of Masks