by Wal Keck A ragtag bunch of statements that between them might be relevant: Then John Renshaw taught me (and others): “You can tame a wild goose, but a tame ...
by Wal Keck
A ragtag bunch of statements that between them might be relevant:
John Renshaw taught me (and others):
“You can tame a wild goose, but a tame goose never goes wild,” he said. “Don’t be in too much of a hurry to bring it under control.”
He looked at work and said “You were coming out from under the table and ‘oooooh,’ you’ve banged your head”
and walked away.
Another time he looked and said “You’re skating, lad. Skating. Oo – Thin ice”
and walked away.
All was metaphor and all, eventually, sank home.
He took some of the students who had spent the previous two weeks in the printmaking department outside to the yard and had them build a large framework to which they were instructed to attach their previous two weeks’ work. He then set about setting fire to the frame instructing the students to grab a piece of A1 paper and to start to draw as their efforts went up in smoke. Most students grabbed their work off the frame and ran. Those that grabbed their paper and drew went on.
He talked in terms of mark making. He talked of lines. He talked of it all being about space. He packed us off to look at Velázquez.
He taught to avoid being precious, to be prepared to overwork a picture to derive more from it. The next picture was the thing.
At the end of the year he brought in some of his own work. I was surprised, given the sort of things he encouraged us to do, at how small the paintings were. I said, “I thought they would be big paintings?” He said “They are big paintings, lad, they are big paintings.”
I look at the work I produce 33 years later and wonder where, in all of the excessively tight control that an I-Pad gives me, lie the ripples of those lessons?
My involvement with the process and its impact upon me are still what interests me most.
Working digitally, it is always possible to retreat in time and to follow a different seam.
I have always in my mind, somewhere, the thought that this is all leading up to “The Picture,” the image that, for me, stands head and shoulders above all others. The product of all of it. The outcome. The result. I hope that I never produce “The Picture” as it ends there.
I’ve always been more thrilled by potential than realization.
The images are subservient to the act of looking.
I cannot look at an image as well as I look through the process of cutting, reassembling and/or erasing that image.
I recall J.G. Ballard saying that he did not want his children to read his books as it was too intimate a relationship for them to have with him.
When I erasing areas of old paintings it can also feel too intimate. I enter a room in the National Gallery and seeing one of ‘my’ renaissance paintings across the room blush slightly with the feeling that others know.
At full tilt I feel that were I to lay upon the cold wet morning grass then I would sizzle.
The loss of momentum brings the leaden drag of gravity.
The images are diary entries that trigger a recollection of an experience and/or a sequence of thoughts.
Sometimes they are markers, or signposts, of another seam of ideas, sometimes of dead ends.
Like a hunter, I track images to use. I gather them together and then mine them until I have extracted all that I can currently use.
The potential of a newly struck seam can take years off.
Inevitably the slagheaps pile up around me, making it difficult to find anything and to choose only 15 images.
N.B. No canaries were harmed in the production of the work.
It is all just the act of looking and of being engaged with a process.
It is all process and the impact of the process on the act of looking.
I am not focussed on the images. They interest me, but not as much as the process and the act of looking that they involve.
I see my work as debris, as fall out from my involvement with a process. The pictures were always subservient to the process and the act of looking.
See more of his work on Instagram: wal616.
by Thomas Donaldson
Thomas is an English figurative painter and Lecturer based in Asia. He received his Master’s degree from Newcastle University in 2000 and since then has taken part in numerous exhibitions globally. His visceral works depict the portrait/nude which has been a traditional subject within the history of painting, which is easily recognizable and has been painted over and over again. This familiarity with the subject and the ideal of beauty in an increasingly over photo-shopped media allows Thomas to develop the process of painting through abstraction, mark making and impasto and at the end of the process still have something that remains familiar although imperfect and slightly awkward.
by Christopher Hutchinson
Romare Bearden is considered one of the most important American artists of the 20th century. He depicted aspects of black culture in a Cubist style….Born in North Carolina, he landed in New York City and studied with George Grosz. His early paintings were realistic with religous themes. Later, his works depict aspects of family culture in a semiabstract collage and Cubist style. He was also a songwriter and designed sets for the Alvin Ailey Company. http://www.biography.com/people/romare-bearden-40540#synopsis
col·lage noun 1. a piece of art made by sticking various different materials such as photographs and pieces of paper or fabric onto a backing. https://www.oxforddictionaries.com/
Romare Bearden has left a significant mark on the African American art community many years after he has gone. He is the most prolific semi-abstract collage artist to be recognized in the realm of art. His influence cannot be easily dismissed. This article will attempt to do just that.
Being the most prolific semi-abstract artist means absolutely nothing in the pursuit of art. Anyone can manufacture a ton of crap, but production is not the sum of what makes a great artist. If production alone were the criteria to be successful many artists would have met and exceed Bearden’s position in the “Black canon.” This article questions his status as the major influencer he is to the African American art community.
There is an argument that Bearden is in many ways the first abstract art introduced to the African American art community. That is simply not the case. Harlem Renaissance artists like Aaron Douglas’ s cubism preceded Bearden by decades and is certainly more an artist. The collage practice period is a gross attempt at creativity. To cut and paste imagery is an ugly mode of praxis.
Any artist who likes the foundation of the arts (drawing, painting, and 3-D works) could never appreciate such a practice void of artistry. Collage as a medium is an offense to these foundations. If this is an artist’s entry point these artists eventually will need to return to those foundations. Bearden’s accomplishment is the fact that he produced this collage farce for his entire career repeatedly with little to no change. The fact that he could dredge through this monotonous cutting and gluing speaks to a kind of attrition that has not to do with art, rather a kind of masochism.
Kitsch noun 1. art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way: “the lava lamp is an example of sixties kitsch” adjective 1. considered to be in poor taste but appreciated in an ironic or knowing way: “the front room is stuffed with kitsch knickknacks, little glass and gilt ornaments”https://www.oxforddictionaries.com/
Kitsch is a more appropriate discussion for Bearden’s prolific production. Knickknacks of African American culture scrapbooked on a large rectangle for consumption. The Harlem renaissance was not Kitsch. They were interested in realism. They used analytic and synthetic cubism to access an abstract realism. Those artists used their art to literally build a vernacular of tangible African American history not to be scrapbooked, rather a present lived moment. Bearden’s work subverts and erases the very foundation the Harlem renaissance built and reduced it to a postcard.
Bearden is used as a model for many artists to aspire to, and many artists succumb to his success as the rubric of their own practice. Many “Black galleries” are saturated with this dated knickknack art that only succeeds as a poor copy of an original consumable. These artists that choose to pick up the mantle of Bearden waste their lives never developing work for themselves. Why do “Black galleries” and collectors support this obvious cliché as the pinnacle of African American contribution? Especially when Bearden himself credits European study as his major source of influence, not the “Black canon.”
By Maynard Eaton
Jerry Thomas Jr. and Alan Avery may have engineered Atlanta’s single most significant black art exhibition ever this past weekend. Their unprecedented collaboration produced an historic cultural event for dozens of the city’s Who’s Who art aristocrats to admire and purchase rare original works by Romare Bearden, America’s preeminent African American artist.
“We are the first two art dealers – regardless of color – that have collaborated,” says Alan Avery, owner of the Alan Avery Art Company in Buckhead. “It doesn’t happen in Atlanta. But, I think it is even more significant that we are from different races and that we come from different backgrounds, but that we are collaborating for the strength of Atlanta, the Atlanta art scene and the Atlanta collector base.”
“Bearden is one of the all-time great artists,” adds Jerry Thomas, the owner and highly regarded impresario of Jerry Thomas Arts. “He would not only enjoy the prices that his works are bringing but also the mixed audience of both blacks and whites. I think that would have been very important to him. What makes it ever more significant is the collaboration between me and Alan Avery. Hopefully this will not only be the beginning of such collaborations, but will set a new mold for the country in terms of blacks and whites working together to produce more shows.”
Bearden’s work now commands a hefty price tag, with the pieces on display at Alan Avery’s gallery ranging from $40,000 to $400,000. It was an uptown show for an upscale cross-section of Atlanta’s elite, and the metro area’s sophisticated art connoisseurs. They didn’t blink at the prices. Six of Bearden’s prize pieces were sold the first day, and the exhibition continues through January. http://saportareport.com/romare-bearden-exhibition-the-tipping-point-of-atlantas-black-arts-renaissance/
From a financial standpoint $400,000 is a great investment, but at what cost. To train the next generation to replicate this means of production is appalling. An artist in 2017 doing a copy of Bearden, believing it to be a true representation of the African American community is beyond delusional yet many Black artists are doing just that. The stagnation located in the African American art community can be placed squarely at the feet of these collectors and galleries that praise the romanticized kitsch element present in all of Bearden’s production. There are many artists within the “Black canon” which would be more suitable as an entry point for African American artists.
Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.
by David Feingold
Over four decades ago, at 16 years of age, I was hit by a car as a pedestrian. It was a hit-and-run which had significant neurological and emotional consequences. A closed head injury resulted in temporal lobe epilepsy and bipolar disorder.
My artwork consists of imagery that connects with thoughts and feelings born out of my lived experience with bipolar disorder. In addition to the classic difficulties associated with a mood disorder—major depression and mania, and personal, familial and social disruption, an additional level of emotional pain lies beneath the surface. I refer to this pain as the “Impaired Self,” as described in my 2013 Disability Studies doctoral dissertation.
The Impaired Self is that part of a psychiatric illness that we must deal with over and above our usual mental illness-related challenges on a daily basis. Specifically, I am referring to society’s destructive contribution of stigma, harsh judgement, discrimination, rejection, fear, avoidance, and alienation.
My images are a chronological, visual shorthand of the struggle in living with mental illness as opposed to art that is created for strictly for beauty and aesthetic appreciation. These largely dark and looming images do not need artist interpretations or to be understood or justified. Rather, they benefit from the observer having an open mind and interest in experiencing vicariously, what I and others like myself experience at a visceral level.
For the observer, these images can facilitate an expanded awareness as to the pain associated with the bipolar experience, in addition to generating greater acceptance, understanding and empathy.
Although my artwork is digital, I use rudimentary graphic editing programs to create a painterly quality that has taken me a number of years to perfect. Completion of an image can take anywhere from hours to days, to weeks, often going through numerous transformations, modifications and refinements. Quite often, the final image can bear little or no resemblance to the beginning stages.
by Margaret Lipsey
My practice began in starts and stops. In the winter of 2000 while attending culinary school, I decided one day to purchase acrylic paints, brushes, and canvases and see what happened. I played in the medium for a month or so before moving onto another creative outlet. Being a chef for the following 15 years didn’t leave much time for a hobby but acrylics would sneak back in for a couple weeks at a time throughout that period.
I began exploring two divergent paths in the summer of 2015. On one I found grace and strength; women demanding to be seen, giving pause to those who passed. They have power beyond the canvas. they delve into our being and reflect what we want to see in ourselves. This path is inspiring as an artist. These women are apart from me but they influence who I am. They take me to the realm of realistic fantasy; beyond my normal but not outside of my reach.
The other path is much more reflective. The abstracts are pieces of myself coming out into the world. These are an intuitive release that I only come to recognize upon completion of the work. My abstract pieces allow me to travel deeper into my beliefs and my thoughts. One canvas is composed of a hundred thoughts thereby becoming a novel to be read and reread. They are as varied as my thoughts but collections slowly reveal themselves the longer I participate in their creation. I see these paintings as true reflections of who I am as an artist; a constant balancing game between light and dark, heavy intentional strokes and arbitrary spots, there is movement and action.
The deeper my practice the more I realize that those two paths reference and connect in ways I could not have seen. The freedom of exploring creativity only connects me more soundly to my path of self awareness and the two paths converge to both broaden and concentrate my work.
I began to sell professionally in the fall of 2015 and painting became my full time vocation in the summer of 2016.
My studio is in my home in Saint Lambert, Quebec.
by Stephan Brenn
Artist: Stephan Brenn
Stephan Brenn is collecting, observing, exploring. He is an explorer of the unseen. There are unwanted, wasted and leftover objects, fascinating him.
His work is based on found material, shown as ready made–wire drawing, light projection on house walls and YLOP light-photography.
Stephan Brenn (1961) born in Heidelberg, lives and works in Berlin. Founder of the “museum für verwandte Kunst,” Cologne. His work was shown in the museum für konkrete Kunst – Ingolstadt, luminale – Frankfurt, raum für zeitgenössische kunst – Zürich, contemporary art ruhr – Essen, art tel aviv – Tel Aviv, museum schnütgen – Cologne, museum marta – Herford, preview berlin art fair – Berlin…..
Der berliner künstler stephan brenn, geboren 1961 in heidelberg arbeitet aktuell an drahtinstallationen, lichtinstallationen, anweisungsprojekten und fotoprojekten.
Realisierungen: teufelsberg-berlin; preview berlin art fair-berlin; museum marta-herford; contemporary art ruhr-zeche zollverein essen; art tel aviv-tel aviv; luminale-frankfurt; museum schnütgen-köln; museum für konkrete kunst-ingolstadt; lichtturm-solingen; hörder burg-dortmund; museum schloß burgk-burgk; herz jesu kirche-köln; spichernhöfe-köln; reinraum-düsseldorf; museum für verwandte kunst-köln; kunstverein projektraum bahnhof 25-kleve; raum für zeitgenössische kunst-zürich; POSITIONS BERLIN ART FAIR-berlin; german consulate general-new york city; bedsitter art fair-wien; LAGEEGAL-berlin…….
Stephan Brenn sammelt, beobachtet, erforscht, macht Kunst. Er ist ein Entdecker und Sichtbarmacher von Dingen, die eigentlich schon für immer verschwunden waren. Seine Fundstücke erzählen Geschichten über den Ort von dem sie stammen und über eine Gesellschaft, die Wegwerfgesellschaft genannt wird. Es sind ungewollte, überflüssige und übrig gebliebene Objekte, die in ihrer ursprünglichen Gestalt deformiert wurden. Sie haben Zufallsformen angenommen, die per se jedoch auch logischen Gesetzten folgen. Im Nutzungsprozess werden ihre Gebrauchsformen umgeformt, dekonstruiert. Die Deformation löst sie aus ihrem Funktionszusammenhang und macht sie wieder zu Rohmaterialien der Industriegesellschaft. Gleichzeitig visualisieren sie die Magie ihres Verwandlungsprozesses vom funktionalen Gegenstand zum achtlos weggeworfenem und doch unbewusst gestalteten ästhetischen Objekt. Stephan Brenn öffnet die Augen für die Schönheit des Banalen, indem er minimal eingreift. Er arrangiert, ordnet an, komponiert und unterstreicht die Charakteristik der Zufallsformen, indem er sie zu einem Dialog untereinander führt. Durch die geometrischen Formen Kreis und Rechteck, zu denen er seine Fundstücke komponiert, gibt Stephan Brenn den Objekten eine neue, rein ästhetische Aura. Die Drahtzeichnungen spiegeln also einen doppelten Formprozess wider. Im ersten Schritt werden die Dinge durch ihre industrie-kulturelle Verwendung deformiert und der Aura ihrer Nützlichkeit beraubt, dann im künstlerischen Prozess der Auswahl und Kombination behutsam zu einer neuen Form zusammengeführt, sodass sie im Schutz der selbstverständlichen geometrischen Metaform ihren ganz individuellen ästhetischen Reiz entfalten können.
museumsleiter museum für konkrete kunst ingolstadt
Welcome to my surreal world. It’s not an effort, it’s a way of life. It is personal, it is intellectual, it is romantic and most of all, it is real.
All of us trying to forget someone. But I know I won’t be able to forget, I can only forgive.
Follow me down to the valley bellow. Moonlight is bleeding, out of your soul.
Please, take risks.
Fear keeps us focused on our past or worried about the future. If we can just learn to overcome our fear, we can realise that right now, we are okay.
At this moment, you can hear the voices and see the beautiful faces of our loved ones. But that’s not it. Life has much deeper meaning to itself and we must fulfil it. That can only be done by breaking the limits of human imagination, by doing the impossible. You won’t know until you try.
Never underestimate yourself. Every idea or a thought you get is worth a lot. People often think it’s not good enough and drop it but just give it some time and take it forward. You never know what’s worth what.
I will love you like I love the colour blue.
But, even if you colour them with beautiful feelings, they’ll still cry and they’ll still smile.
Yes, I’ve been failed a couple of times. There were situations where I felt this is just unreal and everything was falling apart. What do you do during these times?
Some people survive and talk about it. Some survive and go unnoticed. Some survive, heal and create.
I survived and inspired myself. Looking back tells me, I found parts of me that I thought never existed. Now, I just grow. The notion of getting better each day inspires me and I vow to help myself love life.
Remember, the pain you suffer is never wasted.
Everyone’s talking about escaping. Always thinking. Always dreaming.
So close, yet so far.
You can be the ocean, I’ll be the shore.
The burden is real, isn’t it?
Home? What does it mean? It’s different for different people.It might be a place, a thing, a moment to re-live, a feeling.
For me, it is a person.
they sat down near a window
face against the glass
He exhaled. She knew it was him.
Never knew the names
only the eyes.
He was a clown, she had cancer,
she never cried around him
he never wore a mask.
They stared at each other
infinity in the eyes
they both saw a never-ending path
they both found destiny.
Then came the day
he was left alone but in abundance
like a shattered piece of glass
with a less comforting silence.
Rest of the life he wrote his heart out
on a paper in his diary.
It was his imagination
and her love.
And every time it rained
each conversation a paperboat
floated away with a secret tale.
The worst thing is watching someone drown and not being able to convince them that they can save themselves by just standing up.
It then turns to one of those upsetting moments when you lose respect for someone you really cared.
One of the things I recently realised is that, people ruin beautiful things.
Travel, love, inspire, experience and tell nobody.
People kill happiness.
Talk to each other.
Look in the eyes instead of looking at the texts and mails.
Hold hands instead of holding phones.
Gather more moments and less pictures of those moments that you just wasted taking a picture.
Use the digital generation for what they are supposed to but don’t let it consume you.
Don’t forget that we live in a physical world where people, emotions and feelings matter.
Embrace them. Would you?
The planet is fine.
The people are fucked.
Can you see your days blighted by darkness?
Is it true you beat your fists on the floor?
Stuck in a world of isolation
While the ivy grows over the door – Pink Floyd( Lost for words)
Let’s celebrate the light and the space. We often underestimate them.
I’m a Digital Artist from India, currently studying Architecture at Oxford School of Architecture. I make surreal collages to communicate ideas and emotions and I think that I’ve found a way for my brain to have orgasms.
Society 6: https://society6.com/pasticheart
by Laura Silvestre Bataller
I am from Castellón Spain,but I live in Benicssim. I’m a ceramist, a commercial ceramic designer, and also a mother. What I like the most is creative design and the Fine Arts, so in my free time I love to create works that are magical with touches of innocence and mystery. A simple photograph in a room, edited in a Venetian style with textures…creates a dream world of yesteryear…
by David Feingold and Michael Quaintance
“Flux” is the third in the collaboration series “Teeth is Tears,” created by artists David Feingold and Michael Quaintance. Michael writes poetry in response to David’s images. As Michael says in his bio, “Feingold’s images act as doorways, as pathways to those avenues of thought and feeling that have been sequestered in the corners of my efforts to belong and be seen… as.” Both artists’ works are informed by their lived experience of disability.
Nothing is initiated
No points of origin
That aren’t reflections
That aren’t responses
The need to please
That rests at the core of I in absentia.
The pieces move to satisfy
The predisposition toward
And the relegation of person
To the ownership of the itinerant
To the ownership of the dispenser that determines design.
There is no
And the relevancy of pieces
At the time that the puzzle
Is aligned to confirm the presumption and assumption.
There is no need to know
Nothing to know
It moves to confirm
To confine itself to the affirmation of confirmation
So that they
To rub the head of the dying and the dead
In celebration of their insight.
Faces within faces
Faces upon faces
Without the complexity of identity
Without the confusion of consciousness
Or the need to be conscious
That this might not be as simple as
As simple as its allowed—as it required to be.
The red is essential
Pulsations promising continuity
Promising the continuance of continuity
Of the passage of time
And the gentrification
Of the periodically human landscape.
The neck is essential
The pedestal and the pivot
The pillar of vulnerability
Should the illusion need to be terminated
On which replacements can be made If
Too much time is taken
And history takes purchase and infects the moment.
The mouth is vaginal
Receptacle and deliverance of
Raped—ravaged and reviled
Should the “ists” fail to convulse
Rapt in the afterglow
Of their urgent need to impose their hungers
Into gaping mouths before they forget to remain silent.
Freedom through depression and repression
The careful calculation of denied
Yet essential balances
The careful writing of the fading promises of truce.
David Feingold was born in Chicago, Illinois in 1951. Feingold works in the medium of digital art. Much of his art is used in conjunction with his anti-stigma awareness campaigns to the lay public as well as professionals and academicians.
Feingold has a varied education and professional background, which along with his personal experience with bipolar disorder, influence much of his art: Bachelors in Art Education; Masters in Visual Design; Masters in Social Work; and a Doctorate in Disability Studies.
His work has been represented both nationally and internationally in both brick and mortar and online galleries. His ultimate purpose in creating “bipolar art” is to present the inner struggles of those with psychiatric disorders and through understanding and acceptance, reduce the stigma and prejudice associated with all mental illness.
Feingold worked for 15 years as a visual designer and 15 years as a school social worker, when he had to take early retirement, due to advancing cognitive impairments stemming from a closed head injury from a hit-and-run accident in his teens. The closed head injury was the genesis of Feingold’s temporal lobe epilepsy and bipolar disorder. He resides in rural Michigan in a simple, one room dwelling, complete with a wood burning stove and a pond in the back yard. Feingold states that his home provides a perfect environment in which to produce his artwork as well as a harmonious balance and stability in light of the unpredictable challenges associated with his diagnoses of bipolar and seizure disorders.
This is Feingold’s second art collaboration. His first collaboration was with a musician/composer, whose music was informed by his own seizure activity as well as Feingold’s art imagery.
How long has “depression” been a central part of your life experience? Before answering, I need to respond to the assumptions and preconceptions that haven’t be voiced, but have proven to be inherent in this kind of question. “Depression” (for me) is a region of sight and insight that exists outside of the constraints of belonging and the constructs of being used to set the terms and conditions of normalcy. I also need to add that I use the term “depression” for the sake of convenience, so that you and I can begin our conversation from a shared point, even though our interpretations will differ at the outset.
So, what is depression… for you? Depression is not—depression does not—depression will not. Is, does and will, belong to form, formality and functionality; the need to assert, discern and determine. What you call depression, I call imposition and the limitation of the unique by mandates of compliance that have little to no tolerance for difference, or that which cannot/will not be defined.
My work, my writing is motivated by this unfinished—recently began—lifelong discussion. Feingold’s images act as doorways, as pathways to those avenues of thought and feeling that have been sequestered in the corners of my efforts to belong and be seen… as. The gift of isolation and aloneness over the past few years, has opened doorways and pathways that I’ve only begun to discover; and in word, design.
Ex-Dancer—Actor, Bachelors in Philosophy and Performing Arts, Masters in Education, presently completing a Doctorate in Disability Studies
by Jenny Schultz
Four years ago I was living a great life as an artist, mom, wife and fun, energetic friend. My art was just gaining ground and was featured in several galleries across the southeast. My painting style was happy, bright and colorful. Then I was diagnosed with late stage, neurological Lyme disease.
Joyous creation was essential to my psyche pre-illness, and work would really just evolve on my easel. The action of painting and interacting with the canvas and mediums truly made me happy. Angst did not figure into my work. I just never experienced it. This showed in the end result.
I could no longer feel those joyful emotions after the illnesses took hold. The ease of creation was lost to me. My actual vision and depth perception had changed. Hand tremors made the actual movement of representational painting difficult. I could no longer see or feel or experience the synergy that was once there.
My Lyme Doctor is located in New York, which gave me the opportunity to finally visit the various museums that I had always dreamed about. I would schedule time after each appointment to sit and soak in the work of the art masters.
I became obsessed with the mid century modernists. Pollack, de Kooning, Hoffman, Klein, Krasner, Freud, and Klee all spoke to me. I understood what they were saying but try as I might, I couldn’t make the jump from my happy, Impressionism to a dialogue via abstraction.
Finally, after four years of healing, I was able to start that conversation with my art. I understood what I needed to say. After four years of fighting to get my brain back, I sure had a lot to say. I began, slowly, to rebuild my life and my art career, with the help of many doctors, friends and two amazing gallery owners.
I actually write about my journey onto my canvas. I write about love and frustrations and the joy of being alive. I then use paint to communicate more, either over or under my words. I sand and scrape and carve, depending on the emotions and thoughts that are trying to reach the canvas. Some days the creation comes easily and I feel the past peek through a bit. Other days, more frequently than not, the bacteria in my body take charge and I have to wait for the healing to happen again.
Artist: Jenny Schultz