The Fruit is Good Adam

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This vibrant and symbolic work draws from one of the earliest origin stories in Abrahamic tradition and in doing so depicts the moment in which human time begins. Through her intuitive style, Miss Lassie explores the themes of choice, consequence, and the birth of ancestry.

In depicting Adam and Eve in Eden, she invites viewers to consider the starting point of human lineage, where earthly and spiritual journeys first unfold. It is a meditation on the fall from paradise, of course, but also how time begins—not as a measured sequence, but as a lived experience shaped by curiosity, decision and desire.

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The Annunciation

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In this poignant scene, Miss Lassie turns to the moment when time itself tilts toward incarnation. The painting pulses with expectancy and grace. Drawing from the Gospel of Luke, The Annunciation captures a pivotal origin point in Christian time—the moment the angel Gabriel tells Mary she will bear the Son of God.

Rather than depicting the Annunciation as a moment suspended in time, Miss Lassie renders it as a luminous, intimate vision alive with spiritual presence. This is more than a retelling of biblical history. In her work the event becomes an entry point into a lineage that shapes everything that is to come. Gabriel’s appearance to Mary opens a doorway into spiritual ancestry. Time begins with a whisper and a promise, and the future unfolds through trust and surrender.

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Jacob’s Dream

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In this compelling and symbolic work, Miss Lassie brings to life Jacob’s dream of a ladder reaching from earth to heaven. It is a radiant vision that bridges the human and the divine. The ladder becomes more than a physical structure; it is a conduit for revelation, a link across realms and generations. As it ascends, it connects not only heaven and earth, but memory and prophecy, the personal and the collective, the past and what’s to come.

This piece speaks to the movement across generations, where dreams become vessels for memory, faith, inheritance and connectedness. Through it, Miss Lassie suggests that divine encounters are not isolated moments, but ripples through time—carried forward in visions.

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They Followed the Star

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This vivid painting depicts the sacred journey of the Magi. Miss Lassie portrays the three wise men following a celestial light across vast and uncertain terrain to honor the birth of Jesus, moved by prophecy and a profound feeling of something greater unfolding.

Here, the star becomes a beacon; it is a symbol of knowledge, tradition and reverence passed across time and space. In Miss Lassie’s bold, layered style, the Magi’s journey binds seekers of the past to those who still follow light in search of truth and meaning.

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The Ten Sails the Evening After the Storm

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This resonant work speaks to a foundational story in Cayman’s collective memory. In highlighting this piece, Miss Lassie presents an origin myth of sorts, where ancestral bravery is recognized as being woven into the island’s cultural DNA.

She blurs the line between history and prophecy, portraying the 1794 rescue not simply as an act of maritime heroism, but as a defining act of ancestral and communal courage. In February 1794, a convoy of British ships ran aground on the reef off Grand Cayman’s East End. Local Caymanians courageously braved the stormy sea to rescue the crew and passengers, saving over 400 lives in what became an extraordinary and pivotal event in local history.

Through swirling skies and commanding light, Miss Lassie transforms the historical moment into spiritual allegory. The ships and crew emerge radiant, guided by what feels like a divine presence and ancestral protection. A potential tragedy becomes a story of collective everlasting grace. History is not distant, but alive in memory, myth, and paint.

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History of the Cayman Islands

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In this sweeping visual chronicle, Miss Lassie distills centuries of Caymanian history into a visionary tapestry where time moves not linearly, but through memory and presence. Ships sail beside sea creatures and airplanes. Enslaved people, doves, pirates and prophets all exist under the same luminous blue sky. The past breathes. It is not fixed, but fluid.

Drawing from memory, oral tradition, and collective imagination, Miss Lassie offers more than a historical record. She creates a cultural and spiritual map of the islands. The painting becomes a portal into a Caymanian identity shaped not by a single origin story, but by the layering of survival, storytelling, and ancestral grace. Ancestry, in her hands, is not static. It lives in place, in movement, and in the stories we continue to tell.

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It is I; Be Not Afraid

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In this powerful work, Miss Lassie draws on the Gospel of Matthew, where Jesus walks across stormy waters to reach his frightened disciples. As Peter steps from the boat and begins to sink, he cries, “Lord, save me,” and Jesus answers with the words: “It is I; be not afraid.”

Miss Lassie transposes this sacred moment onto Caymanian waters, grounding the biblical narrative in the lived realities of her home, an island shaped by the sea. The figures she paints become timeless symbols of human fragility, trust, and surrender to faith.

In a place where generations have endured hurricanes, shipwrecks, and the vastness of the sea, the phrase “Be not afraid” carries deep ancestral weight. It becomes the island’s cultural wisdom, a shared inheritance of courage and spiritual reassurance echoed across time.

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Sunrise After the Great Flood

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In this revelatory painting, Miss Lassie presents a striking metaphor for survival, transformation, and the eternal return of hope. While the imagery evokes the biblical flood from Genesis, it also resonates with the 1932 hurricane in the Cayman Islands which was locally remembered as a “tidal wave” or “great flood.” It was a defining event in Cayman’s collective memory.

Nature, here, becomes both destroyer and healer. The rising sun over receding floodwaters marks more than a new day. It signals renewal: of faith, of community, of life itself. The flood is both literal and symbolic, it is a reckoning that gives way to restoration and promise.

The painting is a hymn to ancestral endurance. For Miss Lassie, floods—whether biblical or historical—are not endings, but thresholds. They carry wisdom of survival and even a quiet resolute certainty that, even after tremendous loss, the world always begins again.

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Through the Valley

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In Through the Valley, Miss Lassie reflects on mortality with serenity and spiritual trust. A reclining figure lies peacefully in repose beneath the bold green text that references Psalm 23: “Though I walk through the valley of the shadow of death, I will fear no evil.”

An angelic guide rendered in glowing haze hovers near the bed, its golden light a gentle presence. The surrounding forms and colors are subdued but symbolic: abstract halos of green and blue suggest protection, while a curtain of darkness behind the angel marks the boundary between worlds. Death, in this work, is not an ending, but rather a passage. It is a quiet, sacred crossing into ancestral embrace.

As in so many of Miss Lassie’s works, scripture and personal vision merge on the canvas. The piece deepens her meditation on ancestral movement, portraying death not as a break from life, but as part of a sacred cycle where memory, spirit and grace continue their journey across time.

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A Sight in the Sky in the 1970s

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In this arresting work, Miss Lassie captures a vision of Jesus appearing in the sky over Grand Cayman. For her, this was not metaphor or dream, but revelation. It was a real, remembered experience. With bold strokes and radiant color, she shares that vision, collapsing the boundary between sacred time and contemporary life. The result is a powerful, visionary landscape.

By placing the divine directly in Caymanian skies, Miss Lassie asserts that revelation is ongoing, and that ancestry includes not only those who lived long ago, but those gifted with spiritual insight. God’s presence, for her, is not confined to scripture. The golden figure becomes a heavenly messenger, appearing, witnessing, experiencing and guiding, just as her ancestors once did. The painting becomes a canvas of memory and faith, as well as cultural and national identity.

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Jesus is Coming Again

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With vivid clarity and unwavering faith, Miss Lassie proclaims a vision of the Second Coming not with fear, but with joy and spiritual anticipation. Miss Lassie presents Christ’s return not as distant prophecy, but as a lived certainty. Christ appears at the center, arms raised, flanked by companions in white robes whose gestures suggest praise and welcome. A golden rope connects them; it itself a striking symbol of unity, shared belief, and divine promise.

Miss Lassie often experienced her visions as direct messages, blending scripture with personal revelation. In her hands, the mystical becomes everyday; the sacred weaves into the rhythms of ordinary life.

Yet this work is not only about return. It speaks to memory as a force that carries us forward. It reminds us that spiritual time is circular. Return and remembrance merge in devotion. Faith, in her world, does not sit still. It moves. And the divine stays close. It is passed on through visions, symbols, and rituals. It is reinterpreted, relived, and carried on across generations.