Bhutan 2016

I want to speak of Bhutan. I want to share my experience with anyone who wants to listen.


We were met at the airport by our guide, Ratu Drupka, and our driver, Mr. Wangdi. Ratu was very highly recommended to us by two friends who have traveled with him before. It is already clear that he is an intelligent, knowledgeable, sincere, and kind person. Though he is a worldly man who has traveled outside Bhutan, and is currently writing a book on the oral tradition of his village, he is also a profoundly Buddhist man, as are the vast majority of Bhutanese. What it means to be a Buddhist in Bhutan is the main topic of our conversations with him throughout this trip. 


There are about 20 dzongs spread across the major valleys in Bhutan. First built in the 1600’s when Guru Rimpoche unified the country, they were part fortress, part regional government center, and part monastery. Though the fortress function is no longer necessary, the dzongs remain today the seat of regional government and active monasteries.





Buddhism in Bhutan is intertwined with an ancient indigenous religion called Bon. Deities live in the mountains and rivers and the monks perform rituals in every village and deal with the spirit realm. It’s quite a mix of the Buddhist teachings I know and indigenous cultural beliefs.

Here is Ratu sharing some of his extensive knowledge.



For Bhutanese, the high peaks of the Himalaya are sacred, and that is why those peaks in their territory have never been climbed. Two Japanese climbers tried to climb one of them a few decades ago but, we are told, they were lost. Years later some of their equipment was found near the mountain’s base, but never their bodies. Our guide, Ratu, suggested that the accident that befell them was no accident. The mountain diety will have her way. 60 % of Bhutan’s forests are virgin, and the government has committed to keeping them uncut.

When I asked Ratu if the word Shangri-La meant anything to him, he answered yes. Shangri-La, he told us, is a Sanskrit name for a place in the unexplored high mountains where hidden treasures lay. When asked the nature of these hidden treasures, he told us there were sacred writings in those high mountains, and these writings will emerge only at some time in the future when the people of Bhutan have lost touch with Buddhism and need to be reinvigorated. So Shangi-La could be said to be the unexplored peaks that hold these sacred writings. 

Bhutan’s first road connection to the outside world did not come until the 1960s when a road was established from India on the south to western Bhutan. And then it was not until the early 1980s that the slow and windy, one-lane, east-west national highway was constructed. Before these recent dates, the only way to get to Bhutan or to travel through its relentlessly mountainous gorges was to walk or ride horseback. Television and the internet did not arrive until 1998 upon the decree of the revered 4th King, who spoke to his people of the potential benefits and dangers that this new form of contact would entail.

So I share this story of Shangri-La as told to us today in an attempt to provide some context as we got our first look at those unclimbable sacred peaks. In the spirit of our time here, they seemed to me more than merely beautiful. And, as a bonus, we came across our first yak at the same time at a road summit of about 11,000 feet. It turns out that yak owners bring them down to this “lower” elevation to graze for the winter. 


If by chance you’ve ever seen a photo of Bhutan, it was probably one like this of the Tiger’s Nest ( Taksang in Bhutanese) built crazily high on a cliff face 500 years ago. For marketing purposes it’s Bhutan’s  Eiffel Tower or Great Pyramid. What makes Taksang special, besides its astounding location, is what makes all the “tourist sites” in Bhutan special. That is, they are not dead museum pieces; they are fully alive religious and historical spaces that have deep significance to most people who live here whether they are traditional villagers or up and coming city folk.


I cried when leaving Bhutan. When it was time to say good bye to our guide, Ratu, and our driver, Wangdi, I felt such a welling up of emotion. It was inexplicable as I did not need to stay longer, nor did I want to move to Bhutan. So what was it that I felt? I eventually came to the realization that I was mourning for us, here in the States. Our election of Mr Trump had just taken place, and I was aware of all the hatefulness taking place at home between people of different political beliefs. The contrast was too much for me, and I felt so sad. I think that if the planet is alive, then Bhutan is its heart. The heartbeat of the world is here, and it is being well cared for by these lovely people in their amazing land.

If you ever go to Bhutan, just know that it matters who your guide is. You will be with him all day every day and he will be the voice of Bhutan for you. Ratu Drukpa. We love Ratu.

Coming this Spring, Eros and The Three Graces


We are still enjoying Greek Mythology and will continue to add to that line. Casey and I have some big ideas which will be ready for showing this Spring. Pictured here are the original pieces in clay. Eros is finished, The Three Graces are unfinished.

On a recent trip to Eastern Europe I found myself surrounded by classical sculpture. It was everywhere – in the city square, on the facades of most buildings and almost around every corner. I wonder what my art would look like had I grown up in Europe? My sculpture education was by apprenticeship and my visual aids were anatomy books and an occasional live model. There was no internet, therefore there was no plethora of visual stimulation. I had only a handful of books about sculpture. I had no idea, 30 years ago, how much sculpture there was in the Western world.

In my life as a sculptor I fell in love with the human form yet I did not want to be strictly classical and representational. I did not want to do what had already been done, yet here I was doing just that. It is tricky and challenging for an artist to find a truly original expression. The following photos, “The Three Graces” and “Eros” show my current work in process. Once they are finished I will make a mold and then the fun and the challenge will start. Check back in March to see where I take these pieces. Will they be cast in cement or ceramic clay? What will the surface and color be? Will they be fragments of the original or the whole? Will they be wall hanging pieces or free-standing? I don’t even know myself , yet.

Eros (finished)




The Three Graces (unfinished)




Sacred Stone – a bit of history


This is where we started 14 years ago. So much evolution of the work has happened since then. So many pieces have come and gone in the line, but the Buddha has remained at the core, albeit, Casey’s version of the Buddha remains the foundation. I am a proud Mama, to be teamed up with my son.

My Encaustic Paintings at THE ALEXANDER GALLERY

I have been having so much fun exploring my artistic vision through Encaustic paintings. Since that journey started 4 years ago I have been dedicating some time and attention to this beautiful art form. Today, I am so pleased to announce that my encaustic paintings are now represented by Alexander Gallery in Nevada City and welcome you to drop by if you are in the neighborhood.

Alexander Gallery
225 Broad Street,
Nevada City, CA 95959
(530) 265-4682

20 inch x 20 inch – available at the gallery


20 inch x 20 inch SOLD


20 inch x 20 inch – available at the gallery


Fun with Ceramic Clay

I am excited to share some of the finished pieces from a workshop I attended last month with Michelle Gregor and Lisa Reinertson at Sierra Nevada College, Lake Tahoe, CA. For me and my artistic process, it is very important to get out of my comfort zone. Its always fun to explore with quick sketches in clay to be used for glaze and finish testing, something that is never ending for me when i work with ceramic clay.




Sometimes I am teaching and sometimes I am learning

Last month as part of my continual search for ceramic technique (which feels as though it could be infinite). I spent a week with Michelle Gregor and Lisa Reinertson at a ceramic sculpture workshop in Lake Tahoe,  CA. Below are some photos of this fabulous experience. Michelle and Lisa were both so generous in sharing the “how” of what they do.

If you are a ceramic sculptor I highly recommend these two artists as teachers. Lisa’s work in large scale and Michelle’s use of slips and color has filled me with new vision. The first two photos are of pieces I did in the week-long workshop. They are intended to be used as tests for color application.

Check back next month to see what I do with them.


deborah_bridges_study for color






Candid shots from Studio Bridges

There are so many little pieces that never get seen by anyone other than myself and my students. So many studies of faces, hands, bodies, and so many trials and failed experiments especially in the glaze and color testing. I hope you enjoy this little peak at the goings-on in my studio.









New Sacred Stone garden art

New pieces added to Sacred Stone 2015, fragments of angel and Persephone.

[fancy_link link=”” variation=”red”]Persephone[/fancy_link]

[fancy_link link=”” variation=”red”]Angel Fragment[/fancy_link]

[fancy_link link=”” variation=”red”]View Sacred Stone Garden Art[/fancy_link]