Blog Archives

Q: Foreign travel has long been a significant aspect of your work. What are your views on cultural appropriation?

On Lake Titicaca, Bolivia

A: For more than three decades my inspiration and subject matter have come mainly from international travel to remote parts of the globe. I daresay there is no better education than travel. The result is that I possess a deep love and reverence for people and cultures all over the world. We are all connected by our shared humanity.

I wholeheartedly agree with what Henry Louis Gates eloquently expressed in the NY Times Book Review of October 12, 2021. Additions are mine.

Any teacher, any student, any writer, [any artist] sufficiently attentive and motivated, must be able to engage freely with subjects of their choice. That is not only the essence of learning; it’s the essence of being human.

And

What I owe to my teachers – and to my students – is a shared sense of wonder and awe as we contemplate works of the human imagination across space and time, works created by people who don’t look like us and who, in so many cases, would be astonished that we know their work and their names. Social identities can connect us in multiple and overlapping ways; they are not protected but betrayed when we turn them into silos with sentries. The freedom to write [and make art] can thrive only if we protect the freedom to read – and to learn. And perhaps the first thing to learn, in these storm-battered days, is that we could all do with more humility, and more humanity.

Comments are welcome!

Q: How important are the titles of your pastel paintings?

"Provocateur," soft pastel on sandpaper, 26" x 20"

“Provocateur,” soft pastel on sandpaper, 26″ x 20″

A:  I’d say they are important.  Titles serve mainly as “a way in” for viewers, giving some clues about my thought processes while I am making a painting.  Usually titles emerge only after I have been working on a painting for weeks or months.  For me they are very much like mementos after a very interesting journey.       

Comments are welcome!

Q: Why do you prefer not to explain your titles and imagery?

"Truth Betrayed by Innocence," soft pastel on sandpaper, 58" x 38"

“Truth Betrayed by Innocence,” soft pastel on sandpaper, 58″ x 38″

A:  It’s mainly because answers close down imagination and creativity.  I enjoy hearing alternative interpretations of my pastel paintings.  People are wildly imaginative and each person brings unique insights to their art viewing.  By leaving meanings open, conversation is generated.  Most artists want viewers to talk about their work.

Once at a public artist’s talk that I attended, I was told by an artist that my interpretation of her title was completely wrong.  First of all, how can an interpretation honestly expressed by your audience be “wrong?”  Art is as open to interpretation as a Rorschach test (art IS a kind of Rorshach test).  Then she explained the thinking behind her title and succeeded in cutting off all further conversation.  I felt belittled.  Later several people told me that my interpretation was much more compelling.  Still, the experience was mortifying and I hope to never do that to anyone.

Comments are welcome!  

Q: Another interesting series of yours that has impressed me is your recent “Black Paintings.” The pieces in this series are darker than the ones in “Domestic Threats.” You create an effective mix between the dark background and the few bright tones, which establish such a synergy rather than a contrast, and all the dark creates a prelude to light. It seems to reveal such a struggle, a deep tension, and intense emotions. Any comments on your choice of palette and how it has changed over time?

West 29th Street studio

West 29th Street studio

A:  That is a great question!  

You are correct that my palette has darkened. It’s partly from having lived in New York for so long. This is a generally dark city. We famously dress in black and the city in winter is mainly greys and browns.  

Also, the “Black Paintings” are definitely post-9/11 work. My husband, Bryan, was tragically killed onboard the plane that crashed into the Pentagon. Losing Bryan was the biggest shock I ever have had to endure, made even harder because it came just 87 days after we had married. We had been together for 14 ½ years and in September 2001 were happier than we had ever been. He was killed so horribly and so senselessly. Post 9/11 was an extremely difficult, dark, and lonely time.  

In the summer of 2002 I resumed making art, continuing to make “Domestic Threats” paintings. That series ran its course and ended in 2007. Around then I was feeling happier and had come to better terms with losing Bryan (it’s something I will never get over but dealing with loss does get easier with time). When I created the first “Black Paintings” I consciously viewed the background as literally, the very dark place that I was emerging from, exactly like the figures emerging in these paintings. The figures themselves are wildly colorful and full of life, so to speak, but that black background is always there.       

Comments are welcome!     

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