Blog Archives

Q: How do you think living in New York affects your work?

Lower Manhattan

Lower Manhattan

A:  Arguably, life in New York provides an artist with direct access to some of the best international art of the past, the present, and probably the future.  It is possible to see more art here – both good and bad – than in any other American city.  

Just pick up any local magazine and scan the art listings!  Our problem is never that there isn’t anything interesting to see or do.  It’s “how do we zero in on the most significant local cultural activities, ones that might contribute to making us better artists?”   

Certainly a visual artist’s work is consciously and unconsciously influenced not only by what she sees in museums and galleries, but by walking around the city.  That’s partly why I am an inveterate walker.  I never know what amazing things I am going to see when I leave my apartment.

Although living in New York City is a rich and heady mix for anyone, it is more so for sensitive artists.  Artists are virtual sponges, soaking up experiences, processing them, and mysteriously expressing them in our work. 

New York lets an artist ponder excellence as we see and experience firsthand what is possible.  The best of the best manages to make its way here.    

Undoubtedly, my own work is richer for having spent the last eighteen years in this fascinating, wild, and crazy city.  For a visual artist New York is an infinitely fascinating place to live.

Comments are welcome! 

Q: Would you speak about your first trip to Mexico?

 

With an amate tree at Chalcatzingo

With an amate tree at Chalcatzingo

A:  In the early 90’s my late husband, Bryan, and I made our first trip to Oaxaca and to Mexico City.  At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand.  Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns.  The indigenous people tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs.  From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  On that first trip to Mexico we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican civilizations  (it is still one of my favorite museums in the world); the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of Western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. This first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times, most recently this past March to study Olmec art and culture.

Comments are welcome!

Q: Why do people need art in their daily lives?

 

With Ida Bagus Anom, Mas, Bali; Photo:  Donna Tang

With Ida Bagus Anom, Mas, Bali; Photo: Donna Tang

A:  That is for each person to decide, but as someone who devotes every waking moment to my work and to becoming a better artist, I cannot imagine my life without art.  

I will tell you a little about what art has done for me.  In my younger days boredom was a strong motivator.  I left the active duty Navy out of boredom.  I couldn’t bear not being intellectually challenged (most of my jobs consisted of paper-pushing), not using my flying skills (at 27 I was a licensed commercial pilot and Boeing-727 flight engineer), and not developing my artistic talents.  In what surely must be a first, the Navy turned me into a hard-working and disciplined artist.  And once I left the Navy there was no plan B.  There was no time to waste.  It was “full speed ahead.” 

Art is a calling.  You do not need to be told this if you are among those who are called.  It’s all about “the work,” that all-consuming focus of an artist’s life.  If a particular activity doesn’t seem likely to make me a better artist, I tend to avoid it.  I work hard to nourish and protect my  gifts.  As artists we invent our own tasks, learn whatever we need in order to progress, and complete projects in our own time.  It is life lived at its freest. 

My art-making has led me to fascinating places:  Mexico, Guatemala, Brazil, Argentina, Uruguay, France, England, Italy, Bali, Java, Sri Lanka, and more; and to in-depth studies of intriguing subjects:  drawing, color, composition, art and art history, the art business, film and film history, photography, mythology, literature, music, jazz and jazz history, and archaeology, particularly that of ancient Mesoamerica (Olmec, Zapotec, Mixtec, Aztec, Maya, etc.).  And this rich mixture continually grows!  For anyone wanting to spend their time on earth learning and meeting new challenges, there is no better life! 

Comments are welcome!

Q: What have you learned about the people of Mexico through your travels, reading, and research?

A corner of the studio

A corner of the studio

A:  It didn’t take long to become smitten with these beautiful people.  It happened on my first trip there in 1992 when Bryan and I, along with busloads of other tourists, were visiting the Oaxacan cemeteries on The Day of the Dead.  The Oaxaquenos tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with them and with their beliefs.  My studies since that time have given me a deeper appreciation for the art, architecture, history, mythology, etc. that comprise the extremely rich and complex story of Mexico as a cradle of civilization in the West.  It is a wonderfully heady mix and hopefully some of it comes through in my work as a painter and a photographer.

By the way I often wonder why the narrative of Mexico’s fascinating history was not taught in American public schools, at least not where I went to public school in suburban New Jersey.  Mexico is our neighbor, for goodness sake, but when I speak to many Americans about Mexico they have never learned anything about the place!  It’s shocking, but many people think only “Spring Break” and/or “Drug Wars,” when they hear the word “Mexico.”  As a kid I remember learning about Egypt, Mesopotamia, Greece, and other early civilizations in the Middle East, Europe, and Asia, but very little about Mexico.  We learned about the Maya, when it was still believed that they were a peaceful people who devoted their lives to scientific and religious pursuits, but that story was debunked years ago.  And I am fairly sure that not many Americans even know that Maya still exist in the world … in Mexico and in Guatemala.   There are a few remote places that were not completely destroyed by Spanish Conquistadores in the 16th century and later.  I’ve been to Mayan villages in Guatemala and seen shamans performing ancient rituals.  For an artist from a place as rooted in the present moment as New York, it’s an astounding thing to witness!  

Comments are welcome!

Q: What first intrigued you about Mexico?

"Myth Meets Dream," 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

“Myth Meets Dream,” 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

A:  In the early 90’s my husband, Bryan, and I made our first trip to Oaxaca and to Mexico City.  At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand.  Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns.  The indigenous people tending their ancestor’s graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs.  From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  On our first trip we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Meso-American civilizations  (it is still one of my favorite museums in the world); the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. This first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times.

Comments are welcome!

Q: When you set up your figures to photograph, do you create a story?

"He Just Stood There Grinning," soft pastel on sandpaper, " 58" x 38"

“He Just Stood There Grinning,” soft pastel on sandpaper, ” 58″ x 38″

A:  I always did so with my “Domestic Threats” paintings, but not with my current work.  As I set up a group of figures to photograph, I would make up a story about what was happening between them:  what the Day of the Dead skeleton I bought in Mexico City was saying to the frog/fish/human mask from Guerrero, for example.  I was a big kid playing with my favorite toys!  The stories were the spark to get me started on a new project, but I usually forgot about them afterwards.  They were necessary, yet incidental to my creative process, which is probably why I have never written them down.

Years ago I had the experience of being at one of my solo shows when a group of elementary school children came along with their teacher.  The teacher asked them to act out one of the stories in a particular painting.  Ever curious about how people relate to my work, I didn’t introduce myself as the creator of the pieces hanging on the walls.  I no longer remember the details, but their interpretations soon had me laughing.  It is a constant surprise to hear from people encountering my work for the first time what they see in it, especially when those people are young kids with wild imaginations!

Comments are welcome!