Diane Bellisario
Artist Statement
I am driven by the natural beauty of the Pacific Northwest. The forests, water, and shifting light shape how I see and create. Working with wood feels like a direct connection to that landscape—a material rich with history, variation, and presence.
Wood offers endless diversity in color, tone, texture, and grain. Even within the same species, patterns shift depending on how it was cut and where it was sourced. By mixing species and cuts, I build layered compositions that function like a tapestry, revealing movement and depth from a distance and intricate detail up close. I am continually inspired by exploring new combinations to create dynamic, expressive images.
I source my veneers from bundled off-cuts that might otherwise be discarded, giving new life to overlooked fragments. My process often begins with an idea, but the available woods guide the final composition. This dialogue between concept and material shapes each piece. My work continues to evolve, grounded in the inherent beauty and quiet power of the wood itself.
Artist Bio
I moved to the Pacific Northwest from the East Coast at nineteen and immediately felt at home, surrounded by water, trees, and a quiet sense of depth. Although I was always drawn to making things, I never considered myself an artist. Like many, I grew up believing art was a hobby rather than a viable path. Over the years, I explored creative outlets—from tile mosaics to sewing—without finding a medium that fully resonated.
After a career in the high-tech industry, I stepped away in 2019 to consider what might come next. In 2021, I discovered marquetry through an online class—an art form I had never imagined pursuing. Working with wood veneer, without the need for a full woodshop, immediately appealed to me. I was hooked, spending hours at my kitchen island cutting, fitting, and assembling pieces.
Though I’ve since moved beyond that first workspace, the excitement remains. Working with veneers allows me to explore texture, depth, and movement through shifting grains and tones. The process feels like assembling a puzzle without a reference image—guided by intuition. I am drawn to reinterpreting this traditional craft into a contemporary, expressive form