I do not have one particular genre. I travel a lot so I am constantly inspired by what I see. Once my eyes are set on a particular sight, I instantly want to know the story behind its creation or purpose. This usually marks the beginning of a painting where I want to immerse myself in better understanding that image.

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I somehow unintentionally created a portfolio of paintings that emulates a photo album of the places I visited and the sights I have seen. As my portfolio expanded, my family, friends and work colleagues started to express an interest in my art. This was when the storytelling began. From the stories, I noticed a pattern I had not plotted but am now pleased with.

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My work tends to focus on images of objects or animals I want to preserve. As a teacher, I have taught many lessons about sustainability and the impacts people have on the environment. As population increases, pollution, erosion, and other environmental and social impacts occur. Nevertheless, I always try to illustrate positive images; recapturing devotion, expression, or beauty. Perhaps my stories and lessons can bring forth awareness.

Some of my subjects involve architecture, animals or nature. Most recently I found myself in a garden overlooking the Mediterranean, sitting in the heat with a damigiana beside me (one of those beautiful hand-blown glass vessels traditionally used for storing wine or olive oil)  trying to decide how I was going to paint it. The rosemary was drying out in the sun. I could hear tourists on the trails below and the cicadas above. I thought about how precious these moments are; the breeze, the salt in the air, the smell of herbs baking in the heat. I paint these things because I am afraid of losing them.

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My portfolio was never intentional. I always painted for myself because my heart aches for people to take better care of the treasures we have on this planet. I cannot physically be there to defend all the heritage sites and protect the critically endangered animals. As a result, I wanted to paint a snapshot of how I experienced these places or animals during my own lifetime. My explanations for individual art pieces almost always include a story of a particular society, culture, or species. It involves the way I related to that circumstance and how I wish for it to be defended and preserved. It is my intention to recreate conceptions so they are more visible in our lives.

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***A note on My Internal World.

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For many years I also painted privately; from places inside myself that were harder to reach and harder to speak about. Mental health is still considered by some to be a taboo subject, or a sign of weakness. I respectfully disagree. I believe that admitting vulnerability is one of the most courageous things a person can do. The Internal World series grew out of my own journey through periods of darkness and the long roads back to myself. I share these paintings not to make anyone uncomfortable, but because I know from experience that seeing your own pain reflected in someone else's work can make you feel less alone. If even one person looks at these paintings and feels understood, they were worth every difficult brushstroke.

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I am in a good place now. I enjoy learning about and sharing coping mechanisms. Things can get better, and asking for help is not weakness. It is the bravest thing you can do.

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Carrie-Ann Bruehlmann

Artist, Educator and Conservationist