This was a period in which Glenda’s spiritual ideals and insights would be expressed more directly through writing, teaching, and public speaking, allowing her painting endeavors to resume their unique creative and poetic impetus as in years before.
There would be obvious continuity with the 90s through her use of spiritual imagery, such as angels, although now there would be a change of emphasis. Rekindling her artistic orientation of the seventies and eighties she would select classic images of women that allow her to focus on composition, brushwork, meticulous rendering, and human sensibility of the sort that had served her so well in past decades. However, after a decade of exploring the height and depth on human consciousness in the 90s, these new paintings would be even more sensitive and evocative than the ones before. The contrasts would be more intense, the colors bolder, and the state of mind more contemplative.
There would be components of psychology, and most especially spatial organization, that could not have been achieved earlier. At first glance this would seem to be a relatively conservative period focused on technical finesse, poetic feelings, and traditional subjects. However, there were seeds of innovation that would spring forward into a whole new epoch in 2008.
By spending the previous decade largely disconnected from the material world, immersed in a larger field of consciousness, engaged in a sophisticated study of mind, Glenda was able to grasp and express our human aptitude for actually creating one’s perception of the spaces seemingly wrapped around us. Similar beliefs were primary to the drive of the post impressionists painters, although science did not yet exist to confirm their devote expressions of both diverse and strangely discordant perspectives.
Glenda’s research and objective confirmation of it could be seen in two small landscapes of this period. Though small in physical size, their power would launch new artistic creations once she had completed this important interval of reclaiming the artistic power and passion of past decades including her revolutionary theory of color developed in the sixties and seventies.