a monograph of the works of 


(luna arte contemporaneo) 2014




The notion of connecting, of making connections; of the realization and extrapolation of identifiable forces in time and mind; of nature,in sand and stone; of finding the personal within the general, the specific in the universal, is central to the art of multi-disciplinarian

(print maker, sculptor, painter) Glen Rogers, who, from her base in Sinaloa, Mexico has produced a document rich in feel, color and soul that travels the viewer through mazes of hidden history of the female archetype, of the tribal imperative, of human presence on the

shared planet , marked with traces of that presence into a clearing rich with implications of the necessity and persistence of the creative instinct.


Spirit of Place


ART AND SACRED SITES : CONNECTING WITH SPIRIT OF PLACE ( luna arte contemporaneo) is a monograph, a meditation; a monumental work mapping Rogers’ insights and instinctive recognition of her place, her role, as witness and practitioner of divination available to all who look both at surface and allow, by means of that surface as portal of entry to intuitive awareness through direct observation of those surfaces. The artifacts available on the planet are myriad and rich; from Crete to the streets of San Jose, from the caves of Laucaux to the graffito of North Queensland and Uluru in Australia, and whether these artifacts , these presences, are made available in-situ, through the vehicle of monographs or on designer tableware, their impact and prescience remains and transcends the carrier vessel. A truth is a truth no matter the media employed to tell the tale.


These marks are voices.

Her walls speak in metal and paper through a process that extrapolates the ancient scrawls, respecting their symbolic potency and purpose, into new magic; unique, rich and good as part of a lineage of the female, the human, the keeper of tradition and form, even as the context of that form changes and has changed.


The circle remains the same.


Suggesting wholeness.




A beginning and an end.

A starting point …a destination.

The walls speak.




“For many years, I’ve taken my inspiration from archetypal symbols and sacred sites around the world, continually drawing from a universal visual language. I’ve followed in the footsteps of these early cultures by drawing from nature’s purest forms, such as the spiral, the circle and the crescent, whose cyclical shapes suggest renewal and regeneration. I am honored to have had the opportunity to walk these ancient lands imbued with the spirit of our ancestors. I feel that these same symbols, whether inscribed on ancient stones or painted on my 21st Century canvas, can connect us as humans, connect us to nature and give hope and inspiration to future generations. As I begin a work of art inspired by this imagery, scratching the surface of the plate or layering colors of paint, I feel connected to those who have come before me.”




In circles and scrawls, the spells and impulses are immediately recognizable as distinctly human and universal.

 Impulses important enough to warrant a mark.





The power of place informs Rogers’ work. The sheer mass, distance and space of her sites is exhausting to consider, yet she has sought out guides to the spirit who shared freely, as part of their own practice, the inner workings of mythologies and beliefs associated with the caves, runes, sculptures and markings in coherent language that immediately informed her own interpretations of these traces.

The female archetype, not surprisingly, is an essential element of her investigations and output. That archetype, thousands of years the predecessor of the patriarchal hierarchy, is and remains a presence in her work from the beginning. These images emerged slowly from her nude portraits of women in a time when feminist academic thought condemned such activity as exploitative and was reduced (or expanded) by Rogers to the simplest representations of the feminine: the circle, vulva, serpent, sun, shell, moon, spiral that embody all through gesture and intention like the Japanese ENSO which includes all experience, existence and desire within the circle. A mark so complete that there is nothing outside  that circle as there is no creation or humankind outside of or without entry through the vulva; the sacred and divine.

The marks that move her are of a simplicity that transcend the idea of the feminine and the feminine role outside of the socio-political and cultural order, impositions which are enforced with varying degrees of severity globally, which is why these symbols, I think, are so eagerly embraced by those who encounter them and are inspired if not liberated by them by the potential of their application.


What indicates the creative impulse?

The necessity of expression, of the awe, wonder and reverence of the life experience and the connection to something spiritual that makes sense of it all is probably the driving force of her work as well as the source of the art and marks that inspire her.

The intention to link and bridge across time ethnicity and culture, their practices and principles, is entirely admirable and is successfully realized more times than not in her book, in the presentation of illustrative passages of prose, of informative quotes and explanations make clear the proposition that the mystery of existence might be contained in a universal visual shorthand balanced by a magic and generosity of mind buoyed by trust in a continuity that where she lands is exactly right.

She calls upon a spiritual center available to all, often overlooked and muddied by the obscuring of cultural, even philosophical constructs hell-bent on erosion, on exerting artificial materialism and self-importance that suffocates, over-stimulates, deludes and ultimately kills the procreative impulse that Rogers relies upon and celebrates in ART AND SACRED SITES.

Her circles invite a meal for the senses in a sun settled in gold, red and orange, something that soothes the soul. She becomes a vessel carrying news of a nourishment of wealth of spiritual resources rich with potential accessible to all of us.

We revisit through her work platforms where we have always been, poised for re-invention and continuance, via a re-connection to the places, spaces and symbols which ultimately allow a re-connection to our selves.

The book, through its brilliantly colored or subtle earth toned pages are evocative of the power of the markings and symbols, both original and extrapolated, onto the media of the 21st Century allowing Rogers to present where she has been, what she has seen and what she has done with these sightings with great authority, power and humility communicated through time and generations telling a truth both irresistible and undeniable:

Now is always now.











Carl Heyward

is an artist and writer living in San Francisco