their gender, said to showcase "smothered passion" and "dark destiny or original sin." The reduction of her work to her gender deeply bothered Shore who intended to express metaphysical themes through incorporating Eastern philosophy and Theosophy. In 1923 Shore returned to Los Angeles where she continued to work and exhibit. She opened a gallery/restaurant called Studio Inn in 1925. Meeting Ed Weston and Mexico: 1927–1930 In 1927 Shore was introduced to photographer Edward Weston. Weston was struck by his first encounter with Shore's work, saying "Shore now realizes a fusion of her own ego with a deep universality...When she paints a flower she IS that flower." They quickly became close friends. Her paintings of sea shells attracted and influenced him and he borrowed some of her shells for his photographs. Shore was his senior, 47 to his 40, and at that time a much more established artist. On Weston's urging, Shore travelled to Mexico with her friend and fellow artist Helena Dunlap. It was in Mexico that she was introduced to lithography, a medium which she continued to work in upon her return to California. Her stay in Mexico most certainly influenced Shore's work, as can be seen in paintings like Women of Oaxaca in which a line of women in traditional Tehuantepec clothing carry black water jars on their heads. Carmel: 1928–1950 Shore moved to Carmel-by-the-Sea, California in the late 1920s, then an important art colony and resort, following in the footsteps of Weston. The natural beauty of Carmel provided Shore with ample painting inspiration. During the summer of 1928 the Johan Hagemeyer Studio-Gallery in Carmel staged a solo exhibition of Shore's work, accompanied by a program of modern Norwegian music. A major retrospective of her paintings appeared in the fall of 1930 at Carmel's Denny-Watrous Gallery, which showed her art two years later at the “Portfolio Exhibition” and at the “Black & White Show” sponsored by the Carmel Art Association. In February 1934 she joined fellow Carmelite artists Stanley Wood and John O’Shea and donated her paintings to a sale of original art in support of the controversial Scottsboro Defense Fund, which was intended to free nine black men falsely accused of rape. That same year she exhibited local scenes at the Exhibition of Public Works of Art in Washington, D.C., and San Francisco. During this period she exhibited locally at the Legion of Honor and the de