I recently read an interview with Lasse Antonsen on Making the Art Seen which coincided with Antonsen’s exhibit, The Continuous Translation, at the Artists’ Foundation Gallery.  I was intrigued by Antonsen’s discussion of his work, particularly his ideas about “bringing two or more objects or realities together” in one piece. He says that combining objects, possibly dissimilar or unrelated objects and possibly altered in some way, “represents a rupture, but also a fulfillment: an expression of languages that were already embedded in their structures. These languages are not only visual, but also dramatic and poetic. Indeed, it is to the extent that these new objects can establish their disruptive element – which we, for lack of better words label poetic or dramatic – that they succeed in re-awakening, or accessing, new levels of memory and awareness.”

I love the words rupture and fulfillment. To me, words and images are most alive (fulfilling) when they are separated (the rupture) from their usual meanings and re-contextualized through artistic transformation or creative juxtapositions.

Antonsen referred to the white-painted flowers in his piece as funerary objects. When I was once attempting to translate grief into a painting, I put a mostly white, paper mache flower in the belly of a torso. When I see the flower in my painting and the flowers in Antonsen’s work, I see: the fragility of old, wrinkled skin, thin, bleached bones, the passing of time, and the visceral absence that inhabits our bodies in grief, the absence like a constant shiver passing through the body, or a quiet hum.

This is my translation, my re-awakening and it is this kind of continuous cross-pollination and artistic dialogue that I love so much.

Why would a person become an artist if self-expression doesn’t come easily? Is the driving motivation the struggle to communicate a deep, almost inexpressible yearning? Ease of expression is not my talent. With age, I’ve learned to see and accept what my strengths and weaknesses are as an artist. I recognize when I’m channeling the Giacometti-like tendencies, being tormented by a sense of failure, being unable to perceive the beauty before me. But, somehow I always find enough love in the practice of creation and I can recognize the magic of lines intersecting in just the right way, so that shadows falling across a face suddenly form a narrative. The narrative may be darkening thoughts, puffing up like a storm cloud, but in the act of creation, the cloud exists in the vast, openness of expression, with room to breathe and the space to become something else, no longer trapped inside a single person’s head…like a cloud bursting out of the darkness, it floats to find another soul.

I recently participated in two exhibits, Balance: Mothers Who Create and Important Things at a wonderful gallery, TLGUTS (the little gallery under the stairs) in Lynn, MA.  As director, Jocelyn Almy-Testa is so supportive of her exhibiting artists and it is clear that she is very dedicated to building a nurturing environment for the arts.  She has completed some new gallery projects that are very exciting:  a monthly Mothers' Art Salon; a resource room where artists can utilize library materials and useful tools like a slide projector, sewing machine, etc.; a mini exhibit space in the resource room for small solo shows; and a small gift shop for "high quality, low cost, small originals".   I'm so glad I responded to the TLGUTS calls for work because I've found more than just exhibit opportunities.  I've found a vibrant community and a director who is working hard to nurture artists.  Thanks, Jocelyn!

Learning to promote myself is like learning to crawl. My knees are sore, but I love the thrill of discovery. I recently completed a quick study with artist, Sand T.   We spent some time talking in her Malden studio about everything she has learned over the years. Not only is Sand an accomplished artist, she is also very savvy about the business of art.

Sand described her process of promoting her shows: including how to find the right publications and the right people to view the art; how to time your emails and press release mailings so that they get to the right people at the right time; how to cultivate and nurture relationships in the art world; and how to maintain a positive attitude. Sand is brimming with energy and excitement about art. As I listened to her advice I was hoping some of her energy might magically transfer to me.

Some of what I learned from that conversation I might have found on an artists’ resource page. For artists in New England, the Artists’ Foundation is an excellent resource. But the personal connection, artists supporting artists, is so useful. The fact is, when I sit staring at one of those long texts or lists of things I should be doing, I can easily put off the necessary tasks. But, to witness another artists’ positive energy and to take in supportive advice is another thing altogether. I left Sand’s studio feeling re-energized and ready to follow her mantra, “keep up the hard work, keep up the hard work!”