Archive for the art Category

You’re invited to help save The Bing! Even if just by being there.

Posted in Activism?, art, Exhibits, Life is like Christopher Guest said it was, Mockumentaries, The Process of Art with tags , , , on December 2, 2008 by Admin

Below the invite is the story behind the story.

You’re invited to a holiday fundraiser for The Bing Arts Center!
Saturday, December 6th, 7:30 PM

at Gallery 137
137 Main Street
Indian Orchard, MA

Festive Dessert Buffet
Blue Moon Coffee

and a selection of holiday wines

The Bing's fabulous logo

The Bing, an old single screen theater in Springfield, reminds me of dollar nights as a kid when I’d ride my bike there with friends and how, under the cover of relative darkness, we’d turn around and peek at the older kids making out in the back corner row. I have no idea what movies I saw there but I remember well the ride there, for it was a long bike ride from my house. But dollar night movies were at like 5 and this was always summer and so we rode home in ample light. The background on The Bing:

“The Bing Theater at 716 Sumner Avenue in Springfield’s Forest Park neighborhood began it’s public service as Kossaboom’s Service Station in the 1930’s. In 1950 the building was converted into two storefronts, a foyer, lobby, restrooms, and an office. The 900 seat theater was built on the back. The theater was named for mega-star Bing Crosby and opened with a screening of David and Bathsheba!

Delivery Day for Dusty Make-Out Rows in the Alley. I sprayed with a hose for hours to remove all the spider webs and egg sacs and other semi-gruesome things.

Delivery Day for Dusty Make-Out Rows in the Alley. I sprayed with a hose for hours to remove all the spider webs and egg sacs and other semi-gruesome things.

The theater was essentially a second run film house primarily serving the southern areas and suburbs of Springfield. It closed in 1999 after a screening of Gus Van Sant’s remake of Psycho. The City took it for non-payment of taxes. After an aborted attempt by another group, the “X” Main Street Corporation (a 501 (c) 3) purchased it from the City in 2004 to renovate and develop as a non-profit, community arts center. The intention is to provide the neighborhood and surrounding areas with a tool to stimulate cultural and economic development. The Bing Arts Center will host visual and performing arts, in addition to cultural educational programs and meetings. Phase One of the project is nearly complete which will allow public use of the building once again!”

So I got a call about 6 months or so ago from Brian Hale, who is part of the “X” Main Street Corporation, and I got involved by commission.

See!?

See!?

Brian asked me to do a piece for permanent display and for the nostalgic enjoyment of the public and I eagerly accepted. I went to The Bing with him one day last summer and we walked around. He asked me to do a theater seat for permanent display in the lobby. But I thought a single seat would be awkward and that 3 seats would look far better. I wanted my piece to be special and forever, and forward and backward along memory lane.

We walked around the dusty old theater which had sat empty for so many years and as I walked around I got nostalgic, and then I remembered the spying and I looked and there in the farthest back row, which sort of diagonally stretched to the nether regions, was my remembered row (which I’d never actually sat in) and at that moment I named this project The Make-Out Row. But putting glass on the metal parts seemed too obvious and too easy perhaps and not likely to be so aesthetically pleasing so I decided to do the seats. Gluing a zillion little bits of hand-stained glass to the seats won’t work though unless you harden them first. I had previously used canvas as my canvas before when I made The Premier Grand Vacuum Cleaner in which I fortified the cloth bag with resin and fiberglass … Continue reading

Paul Miller, Painterly Thriller

Posted in Adventures and Interludes, art, Artists, Special People with tags , , , , on November 16, 2008 by Admin

Watch the video here–> ()

Paul Miller Self-Portrait, with Paul miller video self

Paul Miller Self-Portrait, with Paul miller video self

So I am in Salem visiting my friends Maureen and Chaos for the weekend (an old typo for Chas that I decided to keep) and yesterday they brought me to Gloucester to visit their friend Paul Miller, an amazing painter and made-for-video conversationalist/lecturer/host.

Walking down Forgotthename Street in Salem, behind Chaos and Maureen

Walking down Forgotthename Street in Salem, behind Chaos and Maureen

While perusing his prolific pile of work I noted the prevalence of the color red and that most of his women seemed to have red hair. Thus began a game of blurtings like, “Redhead”, “Yep, ‘nother Redhead”, Continue reading

Goya and Cholla and the Betwixting Art Connection

Posted in Animal Stuff, art, Art & Competition, Artists, Exhibits, lessons in Art, Miracles, The meaning of life, The Process of Art with tags , , , , on October 18, 2008 by Admin

Equine artist to make international debut in Italy

By Sandra Chereb, Associated Press Writer
RENO — His artwork has been described as having the “fire of Pollock” and the “fixed gaze of Resnick.”

Now, a Reno artist will be making his international debut, having been invited to exhibit his work in a juried art competition in Italy.

He won’t be going abroad, however, to bask in the aura of great Italian masters. Instead, this artist will remain at home, contemplating his next masterpiece while gnawing on his paintbrushes — between mouthfuls of hay.
Cholla (pronounced CHOY-ah) is a mustang-quarter horse mix whose paintings have been featured in art exhibits from San Francisco to New York and now overseas.

His creation, The Big Red Buck, was selected for exhibit in the 3rd International Art Prize Arte Laguna, Oct. 18-Nov. 2, Mogliano Veneto, Italy.

Since Cholla rhymes with Goya I decided to make this an educational post. Preferably and pointedly after the plein air pony pics with palette and poserly poise. I am stuck on alliteration today.

Pensive Pony in plein air.

Pensive Pony in plein air. Cholla, the painterly pony of pleasing palettes. I think I'd not have chosen that frame for that painting however but that's just Moi. Cholla is thinking the same thing, as one can pleinly see, by his pondering pose.

Goya, at tea time. Don't be afraid - he's just playing.

Goya, at tea time. Don't be scrayed, he's just playing. I have been using 'scrayed' over 'scared' since 2000. Some typos are worth keeping. Don't go changing. But really, this is the real (ish) title - Saturn Devouring His Son, 1819. The title, like all those given to the Black Paintings, was assigned by others after Goya's death.

Cholla in his plein air studio posing for the photographer.

Cholla in his plein air studio posing for the photographer.

Amazing coincidental facts about Goya and how they relate to Cholla. It is truly inexplicable, the similarities betwixt the two artists. A true head scratcher…
Continue reading

Open Studios and such

Posted in Adventures and Interludes, art, Art & Competition, Artists, Exhibits, Life Performance Art, The meaning of life, The Process of Art with tags , , , on October 17, 2008 by Admin

Last weekend we had this amazing open studios here in DownHo – my purposely non-hip name for Lower Holyoke. I used to call it LoHo to differentiate it from HiHo because Holyoke runs downhill from the big houses on Rt 5 where the mill owners lived (BIG houses) through the suburbs (Big, and then medium houses), and down hill all the way till you can’t get much lower (80 fathoms below sea level, I tell you) to where the studio buildings are. But LoHo sounded hip and I am not hip so it did not feel like a good match. I then switched it to DownHo and UpHo so as to be clear that I am not assigning to myself, or assuming that I have, any hipness.

Me, as a semi-blur, in Pizza Alley

Me, as a semi-blur, in Pizza Alley. Photo by Rambling VanDog, who has a fabulous Blog. <---that's a poem.

Anyway, three buildings were open and showed Fine Art, (no retail thingies for shoppers here); mine (as if I own it) and the two across the canal – Paper City Studios and The Parsons Project. Paper City Studios had sculpture and installation (where I showed my Greenscreen Beamscope [named for the Beamscope screen I used in it] Floravision TV) and a very intense and impressive performance piece called, You Don’t Have to Fuck People Over to Survive by Seth Tobokman, Eric Blitz and Steve Wishnia. I have a 30s video of this I will insert here later…

…and The Parsons Project had a really great array of video pieces and painting AND… Saturday night a sculptor friend of The Parsons Project came from the Catskills area with a pickup truck loaded with bricks. He spent all day Saturday, with the help of friends, building a brick oven in the alley between the two buildings and then spent the evening making pizza and giving it away. He makes his own yeast and this batch was made from the mother yeast that he first made 4 years ago. He, Michael O’Malley, used his own tomatoes and basil and such. It was amazing – the real deal.

The Greenscreen Beamscope Floravision by Mo. Photo by Rambling VanDog.

The Greenscreen Beamscope Floravision by Mo. Photo by Rambling VanDog.

Rambling VanDog did a fabulous job of taking pictures and writing about Open Studios so here is that link. And then he posted about Day Two and here is that link. I borrowed one pic from RVD because mine are bad, and because I am in it.

I was able to be helpful during pizza times when Michael ran out of basil and I ran across the canal to pick some of mine. So the last batch had very local, fresh-picked basil and that seemed logically appropriate. I like to be helpful. Not a hero, but helpful.

This experience was a far cry from the last time I participated in Open Studios in my old space at The Arts & Industry Building in Florence… Continue reading

The presidential candidates’ positions on art

Posted in Activism?, art with tags on October 4, 2008 by Admin

Click it! yipee–a poll–>A PBS POLL – VOTE ON WHETHER OR NOT YOU THINK SARAH PALIN IS QUALIFIED TO BE VP

Here is a tidy table (with invisible lines!) outlining how the presidential candidates feel about art, as evidenced by their words and actions…

Arts Positions of the 2008 Presidential Candidates

Sen. Barack Obama
Democratic Nominee

Sen. John McCain
Republican Nominee

Campaign has met with Americans for the Arts Action Fund to discuss policy issues.

Yes
Meeting held 4/1/08

Yes
Meeting held 4/1/08

Campaign has published policy proposals on the arts and/or arts education

Yes
Read policy proposal 2/28/08

No

Candidate has made statement on federal support of the arts.

Yes
View Pennsylvania speech on 4/2/08

No

Candidate has made statement on federal support of arts education.

Yes
View Texas speech on 2/28/08

Yes
Read Statement 10/03/08

National party platform includes statement on the arts and/or arts education.

Yes
Read platform statement on page 49

No

Candidate has pro-arts Congressional record.

Yes
Co-sponsored S. 548, Artist-Museum Partnership Act, 2/25/08

No
Voted to cut funding or terminate the National Endowment for the Arts (see listing of votes*)

When you know who you are…

Posted in art, Artists, Philosophy?, The meaning of life, Thoughts with tags , , , , on August 30, 2008 by Admin

Excerpts from Dawns & Dusks, Louise Nevelson

TAPED CONVERSATIONS WITH DIANA MACKOWN

“My theory is that when we come to this earthy, many of us are ready-made. Some of use – most of us – have genes that are ready for certain performances. Nature gives you these gifts. There’s no denying that Caruso came with a voice, there’s no denying that Beethoven came with music in his soul. Picasso drew like an angel in the crib. You’re born with it.

I claim for myself that I was born this way. From earliest, earliest childhood I knew I was going to be an artist. I felt like an artist. You feel it – just like you feel you’re a singer if you have a voice. So I have that blessing, and there was never a time that I questioned it or doubted it.

Photo by Mo Ringey

Photo by Mo Ringey

Some people are here on earth and never knew what they wanted. I call them unfinished business. I had a blueprint all my life from childhood and I knew exactly what I demanded of this world. Now, some people may not demand as much as I did. But I wanted one thing that I thought belonged to me. I wanted the whole show. For me, that is living.

Photo by Mo Ringey

Photo by Mo Ringey

I don’t say life was easy. For forty years, I wanted to jump out of windows. But I did feel I had the strength and the creative ability. There was never any doubt about that. No one could move me till I got what I wanted – on my terms, on earth. And I do. And it did take, maybe not the greatest mind, but it did take courage. And it did take despair. And the hardship gave me total freedom.

Photo by Mo Ringey

Photo by Mo Ringey

People have said to me, “Aren’t you glad you were born?” Well, I had no choice. I didn’t ask to be born. Just think of the burdens we have at birth. We’re born to people. We have labels. And we have to carry them. all our lives without our choice.  It’s a hell of a thing to be born, and if you’re born, you’re at least entitled to yourself.

Photo by Mo Ringey

Photo by Mo Ringey

So I saw from the beginning how one exploits another. And I recognized that the most important thing in my life was to claim yourself totally. I was always independent. That I inherited. By the time I was nine, I had thoroughly decided I would never – in principle – work for anyone as long as I lived. I was gifted and I knew it, and I wasnt going to permit anyone on earth to take my true heritage. I felt I had the equipment to fulfill living life, and I don’t think I wanted less. I anted to fulfill life. An that’s exactly what I’m doing. I claimed what I have. I still clam what  have. And youknow, as long as we’re aware, we have a right to that.

Photo by Mo Ringey

Photo by Mo Ringey

Everyone is entitled to recognize their full being. Male or female, the human being is entitled to that total heritage, no matter what. There’s a corny expression that from an acorn a big oak tree grows. You can have that: that’s your inheritance. Less than that… if you really believe in a power beyond, then you’re cheating that power. They claim that we are created in the image and likeness of God. That takes my femininity away [laughing]. So anyway… if you do think like that, then you’re cheating and selling cheap who you are created in the image and likeness of.

Photo by Mo Ringey

Photo by Mo Ringey

We underestimate what humans are, you see. When I hear people say “the common man” … I hate that phrase. You know, we hear it, writers have used it, poets have used it. I think it’s a great mistake. There’s no such thing. There’s nobody that’s common. I think that in every human being there is greatness.

Photo by Mo Ringey

Photo by Mo Ringey

The tragedy on earth is that people are born into a certain environment. Think of this. When you’re born, you have two parents, usually. Now, those parents are in a position to control every move we make, so already we’ve got a ton of this on our heads. And then as we move on, we go to school; the teacher has pets, and for some reason she may not like a student and can destroy them. You see, the human relationships are deadly. Of course there’s the other side too – otherwise we couldn’t live. But what I’m bringing out is that from birth until you’re grown, you have superiors. you’re educated all along the line, not necessarily by your parents, but by your schools, academic training and all, in the strange way that you have to be subservient to religion, subservient to the older people, subservient… God knows… down the line.

Photo by Mo Ringey

Photo by Mo Ringey

You see, sometimes you have to turn about the things you are taught. You have to stand on your two feet and claim your true heritage. What does that mean? that means you belong to yourself. The fact that we can breathe is really kind of a miracle, and so if you see that and work for that, you finally find yourself claiming who you are, and you can be a total human being and be a human being to others when you know who you are… and you have every right to that.”

~Excerpts from Dawns & Dusks, Louise Nevelson

Photo by Mo Ringey

Photo by Mo Ringey

Repartee Feministique at The Bromfield

Posted in art, Exhibits, Thoughts with tags , , , , , , , , , , , , , on August 11, 2008 by Admin

Thursday last, I went to Boston for a doctor’s appointment and then stopped by the Bromfield Gallery to see the current show I am in called, “A Woman’s Place”. I couldn’t properly see the work in the show at the opening reception because it was so mobbed. With people. Not houseplants.

From the show announcement: “Although the title phrase may still conjure up images of domesticity, this exhibition provides an antidote through artworks that inhabit and comment on self-imposed limitations.”

From the curatorial statement by Kathy Halamka: a phrase that prior to 1970’s feminism, and perhaps even today, conjures up images of domesticity and of a time when women were expected to only inhabit a limited sphere. This exhibit proves the antithesis of that belief by inhabiting and commenting on a number of realms where their only restrictions are self-imposed.”

Me at The Bromfield Gallery, 450 Harrison Ave, Boston

In the outside air pondering a wall facing The Bromfield Gallery, at 450 Harrison Ave, Boston. I don't use a purse or a wallet. Those are my credit cards and license etc in my pocket. I didn't realize how obvious and diagonal they were till I saw this picture. Having said that I guess I am practically daring people to pickpocket me, assuming pickpockets still are in practice and read this blog. Note to pickpockets--

Image by Mary Nelen

Artists have long addressed concepts or themes or politics or plights and the like. Being a group of artists together in a show spurred a lot of discussion amongst us regarding the theme of this show. Feminism has been done and is being done and will be done, as in thine will be done, perhaps. Until the sexes merge into one asexual being, there will be differences in the world that occur along gender lines. For those of us in this show, or maybe for this show, that will is/was to create work that addresses this particular theme and not still life or politics or landscape.

Like race, gender is defining and is a perspective on the world and resonates throughout our lives as a this or a that. Looking out from the vantage point of my sex is inevitably going to differ from looking out from a male vantage point. I cannot know what it is like to be a man. I cannot know what it is like to be of another race. I cannot know what it is like to be a house plant. But as long as art and literature are created and shared from that of other vantage points, I can be better equipped in an ongoing effort to comprehend and empathize with the world and my fellow everythings such as said human beings and houseplants (although I know of no works by houseplants and would love some insight on that).

These varying perspectives are of interest to me, as a student in said life. The role of women is clearly of interest to me as illustrated by my work with domestic objects and the masculine influences and applications that enable them, and because oddly enough, I identify with women. One show, one exhibit, one short story or poem, one novel, will not change the world or the people in it. By way of the multitudes and prevalence of such, we can continue to learn and comprehend, simply for the sake of understanding – that would be enough for me. I am not a “feminazi”, I am just a woman. I am ok with being a woman. I quite like it.

I do, however and admittedly, encounter some differences here and there which are influenced by and based on gender roles and perceptions – past and present, and notice how things subsequently go down as I navigate the world. I am not bitter about that. It just is. There are the perks as well. I do find this all very fascinating. Should women move on from addressing the issue of gender? Should people of other races and ethnicities and political views move on? I humbly think perhaps maybe not, and my houseplants seem to agree, as does my therapist. History is important and rife with useful information, for history has the effect and consequence of things, the present does not always have that yet. Am I making any sense, I ask my self (hourly)? If we all understood each other better perhaps there’d be more hilarity ensuing.

Reflection of me on the outside running from mary's camera, with my ironing board inside. reflections of "Obama Lincoln" on window as well.

Reflection of me on the outside of the gallery, nonchalanting my way (unsuccessfully) out of the range of my friend Mary Nelen's camera, while my ironing board reposes ironishly inside. With reflections of "Obama Lincoln" from its posted place on the outside wall of the building facing the gallery. Evidently I bend my knees when I walk.

Image by Mary Nelen

So, moving on, The closing reception for this show is Saturday, August 23 from 3-5 PM. There will be a gallery talk and poetry reading beginning at 4. So come at 3 if you want to chat and mingle (it’s ok to be on time, in some cultures it’s considered highly fashionable, but don’t ask me which ones because I haven’t made up all the details of these self-serving and make believe cultures yet), and bring your shush-able listening ability at 4 to be entertained and enlightened by Valerie Spain.

There is beautiful and thought-provoking work in the show and some of the artists have given me permission to post their work and words here as there has been that enlightening conversation amongst the artists on the discussion list. And so my will is to share the words and work below.

Liz Pozen, Being a Wife and Mother

Liz Pozen, Being a Wife and Mother

Liz Pozen, Being a Wife and Mother

LaDawna Whiteside, I Shall Not Want

LaDawna Whiteside, I Shall Not Want

LaDawna Whiteside, I Shall Not Want

Jeanne Williamson, Skeletal Fence Series

http://www.jeannewilliamson.com – art
http://jeannewilliamson.blogspot.com – blog
http://www.theuncommonquilter.com – book
Jeanne Williamson, Skeletal Fence Series #5" (9" x 40.5")

Jeanne Williamson, Skeletal Fence Series #5" (9" x 40.5")


Comments about the conceptual intent of the exhibit and the work, and more images…

“If women’s issues are still relevant, than why not focus on them? Why not devote an exhibit to them? Yes, they were addressed in the past and have been addressed over the past 20 years (because they were and are still relevant!) – our exhibit addresses them now, where we are at now. And those very images that are most “redundant” show how very relevant women’s issues still are… Some things haven’t changed – not even in the enlightened West.”
~Heather Meri Stewart
HMS Studio


“All this is thought-provoking, deserving a wider conversation about the control of the arts in Boston, mentoring, and the role of women. I am en route to Liberia, returning on 27 August. As 1 of 3 editors for “Women,War, and Violence:Personal Perspectives and Global Activism”, I will be interviewing gender ministry and GBV victims for my chapter/bk. I am also carrying school scholarships for girls donated by friends, colleagues and family at $ 100. pop per child per yr.. which will relieve post-war families from the stress of how to keep their kids in school. These kinds of activities occur because women care/intervene about women and their lives everywhere!!
Anyone in the “fourth estate” who disdains ‘where women are now’-east and west-is out of touch with a huge transanationalism that is deeply affecting us all, including the art world.”
~Robin Chandler

“I have noticed that women in their 40’s and up, tend to remember and care about women’s “issues” because we couldn’t participate in many sports, take shop in school, and etc as we were growing up. I think younger women have not had many of the same experiences.
Just a thought.”
~Anonymous

“[sic – in response to comments on the show] I currently have work in a group show at the Bromfield Gallery, entitled “A Woman’s Place”. The show features female artists whose work addresses the notion of “a woman’s place”: psychologically, physically, sexually, politically… you get it. This show holds the unique distinction (for me personally) of being the first group show in which I am proud to be showing with ALL of the included artists. Overall, the included work is of a high quality, both technically and conceptually. Of course, these are my *personal* opinions.A slight detour: I have a complex relationship with Feminism (as i believe anyone who claims to be a “Feminist” should). I try to curb knee-jerk feminist reactions to a variety of things without first doing my research. That said, I do make art focused on media portrayals of women and young girls. And I do so, not because I am a rabid feminazi looking for the next testicle to rip off, but because I perceive my chosen subject to be both resonant and kaleidoscopic in it’s ramifications. I make art about women and young girls because I personally have something to say about it. And, at the risk of sounding self-congratulatory: my work seems to provoke thought in a number of people, so the topic must resonate with others the way that it resonates with me.”
~Sydney Hardin

if women’s issues are redundant in this time in the west, why are one in four little girls still victims of sexual abuse in the U.S.? The women who were victims of clergy abuse were hardly mentioned during the entire scandal. It was considered a male problem. The only people with post-traumatic stress disorder that are talked about are soldiers, but what about the millions of women who walk around with it all their lives as victims of rape and incest? Nothing is mentioned about them. In this society, the problems of women are still invisible and meant to stay that way.
~Elaine Alibrandi

One For the Book, Edie Bresler

One For the Book, Edie Bresler

Images on my screen, 2007-2008, Chantal Zakari

Images on my screen, 2007-2008, Chantal Zakari

Images on my screen, 2007-2008, Chantal Zakari

Images on my screen, 2007-2008, Chantal Zakari

Images on my screen, 2007-2008, Chantal Zakari

Lyla Buyaro, Pretty jew, Dirty Jew

Lyla Buyaro, Pretty jew, Dirty Jew

Lyza Bayard, Pretty jew, Dirty Jew

The “Pretty Jew, Dirty Jew” Series uses color, text and the Star of David to illustrate how being a Jew, even a pretty Jew, still has looming negative implications in our modern highly prejudiced culture. While the tone of the text presents as anti-Semitic initially, the words have mixed messages. The series is as much about an intense, and somewhat destructive attraction to beauty as it is about any religious identity, racial stereotype or gender bias.

Although self-identity may seem to coincide with a particular human being, identities are actually much wider than that – they are also collective – identities extend to countries and ethnic communities. An interesting thing about identities is that they work in a couple of directions. ~ Lyza Bayard

“Apparently there are many of us that still confront issues about what “A Woman’s Place” is. With current events worldwide as they are, victimization and struggles as they have been for years, it’s still a vital topic and a serious concern. Most women as they maneuver through their life, grapple with their role and their place at various points, if not continually throughout their growth and maturation. Those of us who are honest about it and fortunate to be able to express ourselves, know it well.

It’s been a great opportunity to have such a vital discussion initiated and maintained amongst this diverse group of women artists, many of whom don’t know each other, all currently sharing the walls at Bromfield Gallery. I met only one of you before this show and didn’t even know she was an artist. When dropping off my paintings, I saw several of the artists coming in and out as well. I noticed our different ages, styles, races and religions. I also noticed that every single piece in the show was well-executed and professional. And, I saw how hard Kathy the curator was working to give each artist good representation of their art. This level of commitment and respect alone is welcoming. ”
~Lyza Bayard

Valerie Spain

Valerie Spain, The happy mother of children

Female Series
I sketched and thought about this female form for many years but in the summer of 2006 I focused on it.
The figures–armless, sometimes eye-less, often big hipped and full-breasted with electrified strands of hair–appeared again and again when I allowed myself to draw spontaneously. It was an intense and powerful experience to draw and finally exhibit these figures.

Initially they stood alone, but I soon began drawing and painting them with or over printed text sometimes taken from Catholic devotional books and the Bible, written in English and Latin. I’m interested in Latin as the basis of my own language but also as the language of faith.
The series is concerned with the juxtaposition of reality and stated ideals or dogma; it is concerned with how the religious veneration–particularly in Catholicism–of saints and martyrs, conflicts with the reality of how real women are treated, women who are supposedly the mortal representation of this feminine ideal. The sharp, graphic, contained but energetic figures both illustrate the words as well as act against them. The figures strive to break bonds and boundaries. They are still potent despite their restrictions, or because of them.

I did not intend to draw “traditional goddess” images but I’m aware how closely they resemble ancient figurative art. I compulsively drew – literally and figuratively – these forms from a powerful unconscious place. I’m an avid reader of myths, faery tales and legends, and at 53, the feminist movement has contributed to my personal and artistic growth. I’m sure my figures spring from these influences and from others I’m not even aware of.
~Valerie Spain
(who will be speaking at the closing reception)

Cheryl Murphy, She Is

Cheryl Murphy, She Is

Cheryl Murphy, She Is

“She Is” began in 2005. my idea was to create a portrait of women by filling the cups of bras with the artifacts of our life. I hand stitched netting over the cups to keep the items in place, this method of securing the items seemed more directly associated with how a bra is constructed.
This project soon became a community effort, as women not only donated bras and items but ideas. I feel as though they are giving me pieces of their lives. I have learned that there is little to nothing to indicate race but much to indicate life choices, interests and personal experience.
There are serious issues like the breast cancer bra and the bra cut in half by an emergency team, marriage and mother hood and whimsical bras like the chocolate bra.
Viewed together though it is apparent that we are many things. I took away the sense that i was more than I realized, i am many things and ever changing and i am connected to the infinate because “She Is”.

~Cheryl Murphy

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