These works are from my Storm Series, which explores the ability of light to alter our external and internal landscapes. Light is the subject and acts as a vehicle for emotional expression.

I’m currently investigating the elements that create a storm. I record video footage of storms and reference them to create paintings that combine multiple moments of one storm into one image. I use my travels to record and respond, painting the storms I observed over New York, Texas, Joshua Tree, and Ireland.

Storms Series

These monotypes are from my series “Eventide” based on memories of my residency at Cill Rialaig Artist Retreat in Co. Kerry, Ireland. Envisioning a moonlit return to nearby ruins, I used a reduced palette of colors available to the Irish monks of the 8th century. This series is a contemplation on those who have come before and the space that is found in their wake.
Some prints are available

Ireland Ruins

Cleared

While spending time with my family in Austin during this pandemic, I have been studying the landscape in my childhood greenbelt trail. These plein air paintings investigate the light, color, and spaces reflective of long Texas summers. These prices reflect this strange time, with the intention to bring the landscape into more homes during quarantine.

Plein Air Paintings by Colleen Blackard of Austin, TX, Summer 2020-2022

Reflections on my recent travels and the past year in isolation, from traversing the bizarre Texas blizzards to memories of Cill Rialaig Artist Retreat in Co Kerry, Ireland. 

All drawings are created with continuous circular intersecting lines of archival ink. I build up masses of ballpoint pen circles to create patterns of shadow and light.  

These prices reflect this strange time, with the intention to bring the landscape into more homes.

Recent Ballpoint Drawings

Abandoned Series Monotypes

Abandoned Series Watercolors

The Abandoned Series

The Nature of Ballpoint


My art is meant to share my experience of the universe. I’m creating the absence of light in order to form light. I use materials and forms that are familiar, like ballpoint pen, circles and infinity symbols. My hand moves intuitively when applying marks, but I keep my eye open to forms I wish to convey. Through this process, I create an active relationship between the infinitely small world of details, the infinitely large world of detail-created forms, and you, the viewer.