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Six Fingers was created in September of 2007. Using bright yellow and black colors accentuates the oddity of the abstract hand that has six fingers. The human hand represents what a person does. The hand in this painting has six fingers, and therefore, reveals that the owner of this hand accomplishes tasks in a peculiar manner. It is that simple.

White Tree was created in October of 2009. A white tree is affronted by a stark, black background. The tree has been struck by lightning and is thus split in different directions. On its branches occurs new growth. The painting simply states that just because something is struck or wrecked does not mean that it is no longer beautiful. Disaster does not mean that the victim will not recover or grow again. Just as healing and renewal have been set in motion to occur in nature, so it can be for the human soul.

Extraterrestrial was created in October of 2009. The painting was inspired first by The Killers’ song Spaceman and reinforced by the artist’s recollection of a childhood film- the 1988 comedy Earth Girls are Easy. From these two sources, the artist was inspired to create a visual satire of romance and love. Extraterrestrial keeps in harmony with the artistic style of an earlier painting, Shadowplay. Extraterrestrial is a part of a running series in which the artist is inspired by songs created by The Killers.

To begin, the Killers’ song tells of a night when a man is ripped from his bed and becomes the victim of alien probing. He is a lonely man, but underneath his experience exist hope and renewal. He is a bit lost; he hears voices. Viewing Extraterrestrial while listening to Spaceman affords the viewer an interesting experience that harmonizes the painting’s visual details with the lyrics of the song.

The artist’s failure to find love she reduces to the notion that instead of not “falling in love,” love just hasn’t “fallen upon her.” She is amused by entertaining the fantasy that she should look beyond the terrestrial realm; perhaps, she’ll be more successful with falling in love with an alien. Earth Girls are Easy embraces the idea that aliens and humans can fall in love with one another.

Along the painting’s borders are inscribed the words, “I think I’m in love with an extraterrestrial.” This inscription summarizes the hope within the painting and the artist herself.

Wildflower was created in October of 2008. Using calm, muted colors of spring, the artist creates an abstraction of a hand carrying wildflowers. The background represents a wild field of flowers and its inhabitants, and an arm with its palm faces the viewer and holds wildflowers. The position of the hand shows that its owner is walking away from the painting’s viewer.

Wildflower is an expression of love- simple and sincere. No expensive gift is needed to reach the heart of the person that is to receive the wildflowers. Wildflower describes the artist’s own notion of love and her response to sincerity. A bit eccentric and “wild” herself, the artist receives her lover’s gift as apropos and with gratitude; she reciprocates his love.

The Shards of Lust was created in 2006. The painting is an abstract of colorful straight and curvaceous needle-like strokes. It illustrates the pain we inflict upon ourselves when we react upon superficial emotion. In the case of this painting, the emotion is lust. In the center of the painting is an obscure, black face that is contoured to express obvious pain. Falling short of real love, lust is always set to be destroyed and shattered into “shards”. At times, the victims of the shrapnel are undeserved of such a fate, but the pain exists nonetheless.

Sterling was created in 2008. Unknown to most, a smattering of dark, acrylic colors rests as its background. On a day that was overcast and cool, when a calming, white glow saturated the sky, the air and the ground, the artist began the application of white, silver, and black spray paint. Metallic beads and a small, blue acrylic swirl were added as mixed media details to soften its appearance. Sterling, as it appears now, was created within one day as a reaction to the feeling the weather induced- a feeling of peace and contentment.

Its name was decided at the end of the day. The artist took a step back and thought about what to name it. She asked herself, "Which single word can describe both its appearance and the calming quality I feel when I look at it? The word "silver" came to mind, but it proved inefficient to describe an emotion. However, "sterling" not only captures its overall "silver" look but also the genuine calmness that resulted from its creation.

Pop Mission was created in September of 2008 but modified in October of 2009. Unlike most of Rejcel’s paintings, Pop Mission began in name only. The artist wanted to create a relatively large pop art piece; it was her “mission”, and thus the name was derived- Pop Mission.

From that point, Rejcel decided upon a remix of The Killers’ song Mr. Brightside to listen to while she painted. During the painting’s creation and modification, Mr. Brightside played on “Repeat”. It is truly the only song that served as any influence upon the painting. Listening to Mr. Brightside literally moves the artist to dance but also causes the artist a sense of euphoria that results from the uncontrollable circumstances described in the song- the singer watches the girl he loves with someone else. The singer asks, “How did it end up like this? ... Now my stomach is sick.” She inscribes her favorite quote from the song on the painting’s top right corner; describing jealousy, it reads, “I just can’t look; it’s killing me.”

A couple of the painting’s details are inspired by the eccentricities of the classic cartoon Alice in Wonderland, particularly the clock and the face in the lower left corner. Alice is also a victim of things that seem beyond her control.

Combining bold lines and bright colors, Pop Mission is fun and full of energy. A bright white hand lives at the top while a withered hand lives in the painting’s center. A yellow cab plunging into flames of fire decorates the bottom. While this personal statement leaves room for each viewer’s interpretation and doesn’t describe every detail, it does at least direct one to understand some of the painting’s elements.

Gray Pebbles was created in 2007. As of September 2009, Gray Pebbles is one of Rejcel's smallest acrylic paintings. Purposefully sized at only 9" by 12", Rejcel expresses that something very small can still be packed with complexity, detail, purpose and passion. Hundreds of tiny silicon pebbles embrace red, black, white and gray acrylic paint- vibrant colors to express deep passion. The pebbles were placed upon the painting while the paint was wet to affix them. Consequently, the pebbles take on the color of the paint on which they lay atop.

Two stories coexist in Gray Pebbles. Physically smaller than the average woman, the artist herself sometimes feels very insignificant. Gray Pebbles is a self-expression that she is worthy of a closer look, as a person and as an artist. By looking closer, her complexity becomes apparent. The first story is a vision from afar zooming in for a closer view.

Philosophically, a second story emerges. In life, what first appear as small and insignificant persons, circumstances and events can have a huge impact on us. All those tiny pieces collect and form each of us into a whole, just as the gray pebbles in the painting bind together and form the whole painting. Even the small, individual parts of our whole can affect us significantly, for the good or for the bad. We choose the outcome. A tiny pebble in a horse's shoe can cause it to walk awkwardly and eventually lame it. Its removal will allow the horse to heal and gallop gallantly. We choose whether or not we will allow small things, even mistakes that we make, to lame us in life. First, we must identify the pebble. Then, we decide if the pebble will impede our walk in life or is it one we can pass underfoot. Last, we follow through. Do we allow a harmful pebble to impede us, eventually lame us or do we remove it? The second story is a vision very near zooming out for the broader view.

Restless was created in July of 2009. Restless begins a series that the artist pursues using two essential elements, the face of a female and an obscure profile with no gender specificity. The series highlights emotion, and so Restless is thus named. The female's face is feminine, distinctly shaped and glares askance. Restless is themed in red and blue and carries a futuristic feel to it. The female ignores the profile invading her space, looking away from its pursuit; she finds it irksome, and so she is restless to retreat from it, not wanting to be bothered with such triviality.

Fearless was created in September of 2009. Fearless is the second in a series that the artist pursues using two essential elements, the face of a female and an obscure profile with no gender specificity. The series highlights emotion, and so Fearless is thus named. The female's face is feminine, distinctly shaped and glares askance. Fearless is themed in orange and purple and carries a primitive feel to it. The dark profile invading her space is organic, dark, and a bit frightening. However, she does not waver; she remains fearless.