Category Archives: Uncategorized

Painting Exhibit Opening at Argenta Library, North Little Rock, AR

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Thank you to all who came out Friday night for the exhibit opening! To learn more about these paintings and the sources of inspiration, search this blog using key words “Harbour Island.” You can also visit http://arttalkkabf.blogspot.com or click here to listen to artist, curator and radio host, Rachel Trusty, interview Laura about her work and about the current exhibit.

The inspiration and ideas behind upcoming exhibit,”Island Dreams and Memories”

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Island Dreams, 2016, oil on wood panel, 24×32″

I think often of an island that fills my childhood memories. My mind goes straight to certain places there: a sweaty dance floor at Sea Grapes before it was rebuilt and then after, the overturned beached dingy with a litter of puppies underneath, a horse named Francis in the living room of a house, Sunday breakfast at Pink Sands before Hurricane Andrew hit, the old Greek magnet’s burned down yet palatial ruins. I remember certain people and realize they are frozen in my memory untouched by time. Larry Cleary singing Night Shift, Dawson kindly walking me home, Gus behind the bar and at the pool table, Carol and Roger in their library, Angela barking orders. Sometimes we presume the people and places in our memories to be accurate accounts in the present. But time does not reach and alter places or people in our memories. They are frozen there until our minds can no longer play that slide show.

Mistakingly, I thought I was a part of this place. But it was and is a place of its own – I was just a shadow passing through. Now, after many years, I look back and ask, how can a place be so important to me, yet I am not important to that place? This is a question to ask ourselves as visitors when we do not contribute to a community with long term commitment, when we are not there through the good and bad, through the reality of living. When we visit a place, we are experiencing an alternate realm, that of a tourist. There is a closed door to the real life there. Considering the local people, their history, lives, families, work, personal struggles and celebrations, we realize how inconsequential we are as visitors. Fondness does not equal belonging.

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“Looking Back,” 2016, image transfer, collage and acrylic on paper, 14 1/4 x 21

Despite my fleeting time there, I started a group of paintings about a year and a half ago after visiting Harbour Island for the first time in over 20 years. Returning to a place after many years can be jarring because the present can show us the flaws in our memories, how we romanticize or selectively choose to store certain details and discard others. How we recreate the truth, rewriting our past to fit a script we want to believe. Even when our memories are relatively clear, the passage of time changes a place so we realize what we remember does not really exist anymore, except in our minds.

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Entry Point, 2016, oil on wood panel, 21×24 1/4″

In some ways, I started working on this group of paintings when I was 8 years old…I remember being obsessed as a child with the disheveled graveyards sprinkled around the island, with their cracked headstones, and overgrown wildness. Some of my first drawings and paintings were of those headstones, entangled in vines and home to flocks of chickens.dsc_0415

Using memories, photos and sketches from the island has become a vehicle to articulate ideas I’ve tried to convey for years through painting: that everything we see is a partial image altered by individual perception, that all things fade as time passes, and that our memories are altered by our minds plus the passage of time. This group of work is also influenced by the writings of Dr. Alan Lightman. Lightman is unique in that he has dual tenureship at MIT, in the Writing and in the Physics departments. Perhaps he is able to so eloquently write about memory and time because he understands it, not like most of us, in a vague and abstract way, but from a scientific perspective.

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Childhood Escape, 2016, oil on canvas, 36×24″

In the NYT article, “Ghost House of My Childhood,” Lightman writes, “Some philosophers claim that we know nothing of the external world outside our minds – nothing compared to what sways in our minds, in the long, twisting corridors of memory, the vast mental rooms with half-open doors, the ghosts chattering beneath the chandeliers of imagination.”

Some of the pieces in this exhibit are snapshots, like a frozen moment captured that can never be seen again in just that way. Some of the paintings reference nature overtaking a manmade structure, which alludes to the passage of time. And some of the paintings combine images like our memories smooshing together poignant moments into one illogical snapshot that we accept as a true moment in the past. For example:

Thank you for reading and I hope you enjoy the paintings and the ideas that inspired this group of work. Laura dsc_0781

 

 

 

 

 

Coping with American Politics through Visual Art

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Regardless of my political, social, and economic beliefs, I felt utterly aghast at the language used during our recent Presidential election. There are countless troubling components surrounding our political processes, why is language during the election disturbing me so? Words are our basic tool to understand each other, words change actions, completely influence belief systems, they make up our laws and our histories, words bond us and divide us. While political slandering is certainly a part of American politics, how is it that we came to accept such a lewd, false, cruel use of language?

With so much deceit and and hatefulness expressed through language, the ever-elusive truth disappears completely and we are left with a bunch a stumbling characters from the depressing movie Idiocracy. If there ever was a level of decorum, a line that politicians refrained from crossing, it is now erased. The willingness to say or do anything, ANYTHING, dsc_0888whether it is true or pure fiction, whether it is innocuous opinion or powerful persuasion that incites hate crimes, has reached a level I did not know could exist in the United States. Our entire reality is created by words and the ones we chose to believe. People in public positions have a responsibility to our entire nation to use words wisely, to consider the consequences of what they say, to really understand how their words impact all people, and how words incite action.

As a way of coping with election language, I created a group of paintings – small mixed media pieces that explore and deconstruct language. The pieces are currently part of an art auction on Instagram (follow lauraraborn) benefitting Planned Parenthood. To read more about the group, please see the press release below.

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FOR IMMEDIATE RELEASE
November 15, 2016
Local Artist Uses “Election” Paintings as
Fundraising Tool for Planned Parenthood

LITTLE ROCK, AR – During the weeks before the Nov. 8th Presidential election, artist Laura Raborn found herself retreating to her studio for longer hours than usual. Instead of her figurative oil paintings, she was compelled to create small collages referencing Donald Trump quotes that left her feeling shocked, insulted and sad. “He has made many hateful, racist, insensitive, inciteful statements…I just didn’t know how to cope. I had to find a way to express my shock…my anger…that someone in a public position was not only getting away with saying these lewd things, but was actually becoming POPULAR for it.”

When a collector saw one of the paintings and asked about buying it, Laura hatched plan to auction the paintings on Instagram and donate half the proceeds to Planned Parenthood. “If I were to make a donation right now, it would have to be small. But if I can sell these paintings, I could write a much bigger check to Planned Parenthood.” So far, she has about 15 pieces which means the Planned Parenthood campaign will last 45 days. If the pieces sell well, Laura will continue this body of work and direct the funds to organizations in need.

“I will never forget hearing Blake Mycoskie, the founder of Tom’s Shoes, speak at the Clinton School of Public Service about combining business and philanthropy. Later, I heard artist Hank Willis Thomas speak at the Arkansas Arts Center about using art as social activism. I was riveted; I took a full page of notes during the lecture. For years, I have heard those two speakers in my ear, and thought, “What will I do to help?’”

Starting on Friday, November 18th, one painting will be posted (and hopefully sold) every three days on Laura’s Instagram account (lauraraborn). She will donate half of every sale and will donate 100% of every dollar over $600. “While I would love to recoup expenses on materials and time, the purpose of the project is to make a sizable donation to Planned Parenthood. I am so excited about the possibilities I can hardly sleep…I just hope it works.”

List of above images:

“It Doesn’t Really Matter What the Media Writes,” 2016, collage on paper, 10 3/4 x 12″
“Small Hands,” 2016, mixed media on paper, 9 1/4 x 8 3/4″
“Counting My Money,” 2016, mixed media on paper, 12 x 9″
“You Can Never Be Too Greedy,” 2016, mixed media on card stock, 9 1/4 x 11 3/4″
“I Moved on Her,” 2016, mixed media on paper, 10 1/2 x 10 1/4″
“It Could Be a Conflict of Interest,” 2016, mixed media on paper, 9 x 10″
“When You’re A Star, You Can Do Anything,” 2016, mixed media on paper, 12 ¼ x 11 ¼”

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Contemporary Figurative Painting Part 1: The Gallerist’s Perspective

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Study of Baby Boy by Laura Raborn

In an attempt to learn more about figurative painting, I concocted an idea. Why not call some of my favorite galleries and ask the owners the questions I ponder? We can learn so much through online research, by visiting galleries, or by finding incredible artists on Instagram. But how about some old fashioned one-on-one conversations? I am extremely grateful to the following galleries for accepting my calls and for taking the time to talk. Of course there are many more galleries I could call but after four conversations, I see patterns of information emerging and feel I’ve learned what I set out to learn. Plus, I don’t want this post to be too terribly long. Here are the notes from the insightful talks.

Rachel Stephens, Wally Workman Gallery, Austin, TX31ib37xge0in
What are the challenges in selling figurative work? Is there a strong collector’s market for figurative work?
“I do think there is a strong collector’s market for figurative work. There are some barriers with figurative work like cultural stereotypes. People have an expectation of what men and women should look like…some people bring to the painting an idealized version in their minds of what they want to see in a figure. So that is one barrier…accepting a figure that is not idealized. There is also sometimes a barrier with new collectors when they don’t know the person in the painting. They sometimes wonder why they would hang a painting of someone they don’t know in their house…but they are thinking more of portraiture. So we talk with customers about the difference between a figure painting and a portrait.”

What is the difference between a figure painting and a portrait?
“To me a portrait is about who the person is…for example in a traditional portrait, there might be objects that connect with the person, that are meaningful and define the person. But a figure painting is not neccessarily about the person and who it is, it is about an idea and what an artist is trying to say.  I hope that people look at figurative work and see something that reminds them of something in their life. The painting is also about what the viewer brings to it.”

Who are some of your favorite figure painters working today?
“Oh, there are so many. I enjoy Malcolm Bucknall. His work has anthropamorphic qualities that he uses to bring a narrative to each painting. Elizabeth Chapin’s use of color and line – it is really about how she paints more than what she is painting. I love Patrick Puckett. His figures are definitely not about specific people. I’ve always enjoyed Lu Cong’s work and the work of Kris Lewis – both have haunting qualities. Of course, Kehinde Wiley. We see his work influencing so many emerging figurative artists.”

“Ellen Heck is a printmaker whose figurative work is mostly children – she captures adolescence in a such a beautiful way. We have a show coming up in November for artists Sara and Shane Scribner. The couple shares a studio and models and it is always to interesting to see the similarities and the differences in their work that comes from working in a shared space.”

“Figurative work is what I collect myself. I explain to people who come in the gallery that figurative work is like a great book. You can keep returning to it and keep reading new chapters. You can keep going back to it and continue to “read” a painting.”

Greg Thompson, Greg Thomspon Fine Art, Little Rock, ARgreg-thompson-fine-art-interior-shot-gallery-8-6-14-lr
What are the challenges in selling figurative work? Is there a strong collector’s market for figurative work?
“We don’t sell many traditional figurative paintings.  But as for any type of figure in the composition, well, it depends on the artist. Carrol Cloar, for example, I consider to be a figurative artist. The figure is in a scene. We sell lots of Kendall Stallings work and over half of his work is figurative. He uses the same type of figure again and again…the man in the suit in different scenes. These works have something mysterious about them, something to make the viewer try to figure out what is happening.”

“I sell secondary market work that is figurative such as Picasso. We have a very nice painting now by William Schwartz and it is figurative. And I recently sold a Thomas Hart Benton which is figurative. His work always connects the figure with the scene and there is a narrative.”

“When I think about places like the Arkansas Arts Center, and they have a large number of figurative pieces, I think about the history there. Starting with Townsend Wolfe, they’ve bought work from galleries all over the place and in the work they collect there is always more going on in the composition than just the figure. There is mystery or a narrative. Like their William Beckman pieces. They have pieces that are self portraits but there is something mysterious about the way the artist presents his own figure, like a missing arm or something strange is happening to make the viewer wonder. There is layer upon layer of something else going on….I think this is what makes interesting art. There are many artists like this, Odd Nerdum, for example.”

Do you have a favorite figurative artist?
“Thomas Hart Benton is one of my favorites – it is his form and his approach to the human figure, the way he ties the figure to the surrounding landscape or scene. He creates a narrative and says so much with the way he paints the figures.”

Dolores Justus, Justus Fine Art, Hot Springs, ARy1vlmuw9_400x400-2
What are the challenges in selling figurative work? Is there a strong collector’s market for figurative work? 
“It is actually hard to say. I have had people in the gallery who would only consider figurative work in which the subjects are depicted as more universal forms and not particular people. There are others who want the specific characteristics of the individual. The real test lies within whether the work is good. Good, truly original work speaks to the viewer.”

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“Katie and Her Fish” by Emily Wood

“Emily Wood is a wonderful figurative artist who depicts people doing everyday things with a great deal of detail, however because the subject is engaged in activities that are well known to the viewer, they can easily relate to the works. The artist often refers to her work as being “universally specific” and judging by the response to the paintings, I would say they hit the mark. It should also be noted that the pieces also happen to be very well executed.”

“I know that I personally tend to shy away from overly idealized figurative work, along with pieces that are demeaning or exploitively disturbing.”

“People are always going to be drawn to the figure. Even in non-representational work, many people see faces and figures that were not intended by the artist. The key to whether it is collected again lies with the quality of the individual work.”

What is the difference between a figure painting and a portrait?
“To speak in generalities, portraiture tends to follow a seemingly standard arrangement. The figure is in a still position, facing forward and the artist is seeking to capture the likeness and personality of that particular person in that setting. A figure painting is the larger circle into which any painting that incorporates a figurative form is included.”

Who are some of your favorite figure painters working today?
“Close to home, I am happy to be able to carry work by Emily Wood, Rebecca Thompson, and Laura Raborn. Three women artists with very different approaches to the figure, but all with their own unique interpretation. Further afield, I greatly admire the work of Daniel Sprick, Ali Cavanaugh, and David Shevlino, among others.”

Robert Lange, Robert Lange Studios, Charleston, SC1341332108-img_4836thumb
What are the challenges in selling figurative work? Is there a strong collector’s market for figurative work?
“We are fortunate in this town – figurative work does rather well. Selling figurative work is not problematic, especially when you find truly unique work. Say you put 100 paintings in front of you, when you can identify each artist, you know the work is not like everyone else’s, its totally creative and unique and about that one artist. Then selling it tends to not be a problem. That’s what we collect personally. I wish portraiture was more accepted. People question why they would hang someone so specific on their walls, but it’s my favorite.”

What is the difference between a figure painting and a portrait?
“I don’t know if there really has to be a difference between portraiture and figure painting. Sometimes it can be about the directness of the eye contact. So if the figure is looking away, the painting can become about something else. A narrative can begin to form. We are gifted in the the collectors who come to the gallery tend to be comfortable with the figure. So they are not as hesitant about figurative work or something that looks more like a portrait.”

Who are some of your favorite figure painters working today?
“I would say Jeremy Geddes. You must take a look at “A Perfect Vacuum.” He has almost an Andrew Wyeth handle on the paint and light. The work is humble, the palette tends to be quiet but the figure is so powerful, so dynamic. I would also say Brad Kunkle. His figures are profound. And David Kassan. His paintings look like they take years to complete….hundreds of layers building up the surface. The surface of a painting is what fascinates me these days. And Candace Bohannon. She is an incredible painter. There is an intimacy, a quietness, a profoundly introverted nature to the models. Her application of the paint is so slow and thoughtful. The paintings by Karen Ann Myers are beautiful, detailed, psychological portraits. She’s got something special.”

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After talking with the gallery owners, some specific comments and ideas stand out.

Each gallery owner uses the word “unique” when describing the style of their favorite artists. Greg Thompson and Rachel Stephens talk about a narrative or something mysterious happening in today’s figurative compositions. The gallery owners seem to agree on the general idea that overly idealized figurative work is not sought after or as provocative. As Dolores Justus states, “I tend to shy away from overly idealized work….” Additionally, there is an emphasis on the artist finding his or her individual path and creating work that reflects something personal.

Robert Lange’s utter enthusiasm about figurative work and about specific artists is infectious. Early in our conversation he explains, “Megan and I decided when we opened the gallery we would run it like artists and not like art dealers. We wanted the artists to be free to take risks and try different things, even if the result was failure with a certain body of work. Those risks can lead to an artist’s best work.”

Why? What? 12x12" watercolor on clayboard by Ali Cavanaugh

“Why? What?” 12×12″ watercolor on clayboard by Ali Cavanaugh

When I mention gallery owner, Dolores Justus, just told me that Ali Cavanaugh is one of her favorite figurative painters today, Lange excitedly explains, “There are so many artists who find their way and find success and then plateau. I commend Ali for considering a new chapter even when her style was working well and she was having great success with her body of work. She wanted to try something new which took courage and I really admire her for that. Her new paintings show one of Ali’s greatest skills – she knows when to stop. She has an amazing sensitivity of knowing when to stop.”

Lange spoke of specific paintings and artists with unadulterated joy and admiration. While he spoke of being fortunate for the figurative collectors in the Charleston area, it occurred to me that he and his wife, Megan, surely have helped figurative work flourish in the area. He has a way of educating that opens eyes and minds to the beauty and messages in art. “As artists, our art is a visual journal. I love it when artists share why they do what they do, when it becomes personal and real.” I imagine he is skilled at sharing this concept with clients which is a win-win-win situation for the gallery, for the artists, and for the collectors.

 

Returning to Winter Park, Florida Among Memories and Art: Part 3

Winter Park continued….

Another Rollins memory that brings me joy is thinking back on bike rides to the numerous parks in the area. I loved escaping campus and just plunging forward on an adventure through Mead Botanical Garden, Leu Gardens, and Kraft Azalea Park. My first photography course was sophomore year and my big manual Pentax was with always strapped on for these outings. This trip, I decided to visit each of these magical wonderlands. Some days I struck out on a bike borrowed from the Winter Park Library (thank you!) and some days on foot. One day, after a great night of sleep, a hearty breakfast, and plenty of coffee, I decided to walk from the Alfond Inn to Rollins, to Kraft Azalea Garden, to Crealde School of Art, to Polasek Sculpture Garden, back to the Alfond Inn to recuperateDSC_0131, to Rollins to pick up my daughter at tennis, to dinner, and finally, back to the hotel room where I would fall into an 10 hour slumber. IT WAS THE BEST DAY.

The Kraft Azalea Garden in the morning is just as I remembered: full of flickering light and watery reflections. I tried to emulate my artistic photographic efforts from my college DSC_0181days but realized my efforts were in vain. Capturing the serenity of the park proved difficult but it was fun to try. Next, I worked my way through several beautiful neighborhoods until I made it to the Crealde School of Art. It was a long way and an iced coffee from Whole Foods gave me just the burst I needed to make it there. Thankfully it was still early in the day and most of the walk was shaded.

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“Retired” by Lynne Polley

Upon arrival at the school’s office, I met Jan Hurt who was gracious and welcoming. She answered all my questions about the school, the teachers and the classes and was very helpful as I asked about possibly teaching a mixed media workshop there someday. As I toured the onsite gallery and admired two exhibitions, it became clear that the school hosts many talented students and faculty. There are beginner, intermediate and advanced classes which draw all types of artists ranging from new hobbyists to professionals. There is a long list of classes offered in a variety of mediums: fiber arts, ceramics, sculpture, jewelry, glass, photography, painting, and drawing.

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Between the beautiful grounds, the extensive class schedule and the friendly, professional staff, Crealde School of Art is a heavenly artistic oasis. I certainly hope to return, whether it be as a teacher or a student.

DSC_0190Choosing the shadiest side of busy Aloma Avenue, I headed for the Albin Polasek Museum and Sculpture Garden. One of my favorite aspects of the tour was the staff. A docent guided tour departed just a few minutes before my arrival and the woman at the front desk insisted I catch up with the group. When the guide finished showing us the living quarters and sculpture studios of Albin Polasek, he insisted on circling back to the beginning and repeating the initial few minutes I missed. He was so engaging that one couple asked to return with us so they could hear it again! IMG_9026Out in the garden, I met two employees who started as volunteers and have since then been hired. Their passion for art and their expertise in landscaping make the two valuable assets to the property. One even contributes to the sculpture on the grounds (see garden hose chair below), though his materials are quite different from the wood, bronze and plaster used by Polasek. IMG_9032The staff almost outshines the studio and artwork due to their dedication, friendliness and enthusiasm for this special place. It is interesting what art can teach us, but when cared for and presented by passionate people, it takes on a higher level of impact on visitors. For this reason, I highly suggest a visit to the Polasek Museum and Sculpture Garden. To read more about the artist, visit: http://www.polasek.org.

That wraps up this three part series on beautiful Winter Park, Florida. As always, thank you for reading!  Laura

 

 

Returning to Winter Park, Florida Among Memories and Art: Part 2

During my Rollins College days, I had an internship at the Orlando Museum of Art. Reading IMG_9022about the museum recently, and the current “Florida Prize” exhibit, made me excited to return. As an intern, I rode my bike from Winter Park down to the museum but this time, I took the brand new SunRail line which picks up at the conveniently located train station in the park along Park Avenue. The line is scheduled for expansion and I hope the train catches on amongst visitors and residents. It was cool, comfortable, quick and easy. And cheap. To visit the Museum area of town, I exited the train at the Florida Hospital station and walked 10 minutes to the museum. The area has changed drastically since my college days – the hospital complex is modern and massive. Loch Haven Park is home to not only the Orlando Museum of Art, but also the Orlando Fire Museum, the Orlando Repertory Theatre, The Orlando Science Center, the Orlando Shakespeare Theatre, and the Mennello Museum of American Art. Looks like I’ll have to return!

IMG_8991 IMG_8987As I entered the refreshing  lobby after a hot walk, I tried to get my bearings. But nothing was familiar…I did not recognize the floor plan whatsoever. And oh my, how the collection has grown. Was this exquisite Robert Henri here back when I worked for the marketing director? What about this John Singer Sargent? Was I oblivious? Or did I admire these exact paintings and have forgotten? How many other activities might I be repeating, unaware that the delight of discovery is actually rediscovery? At any rate, the collection on display is impressive. It was my lucky day: in addition to the popular Florida Prize, there happened to be an exhibit titled, “Contemporary Figurative Art: Selections from the Orlando Museum of Art Collection.”  As a figure painter, I grasp with enthusiasm this part of the show’s description: “By provoking the viewer to question what they see, and discover interpretations of their own, artists have continued to make figurative art meaningful and relevant today.”

IMG_8996There is an Edward Ruscha that reminded me of the stencils I’ve been using in my work. Of course, he has the courage and skill to not overcomplicate, something I’m struggling to learn. The artist worked on the painting for two years before adding the two inch yellow ruler and states that the simple nonsensical item is open for, and expands, viewer interpretation. Another piece that lures in viewers is the Chuck Close portrait of his wife, Leslie. We don’t have to stand too close to IMG_9001realize that the entire value system is made of thumbprints. The sight of the thumbprints evokes an intimacy, the thought of touching, and the idea of the artist’s hand at work.

After visiting the collection, I moved on to see the work by 10 contemporary artists who were accepted into this year’s Florida Prize. Like the current exhibit, “Displacement” at the nearby Cornell Museum of Art (see previous post), a recurring theme among the work is geography and human movement around the globe. Despite the appeal of a material variety and the artistic use of technology, the artists whose messages I found to be most accessible, were Michael Vasquez and María Martínez-Cañas. The large scale paintings by Vasquez dominate the room due to size, bright color, high value contrast, and the intimidating characters themselves. Though we know the figures are tough, there is something humanizing about creating large portraits of all types of people. We are reminded that they are just that: people. Perhaps the artist wants to emphasize their dangerous persona. But I see boys who are in men’s bodies and who want to be recognized, who want to be powerful, who want to be important.IMG_8985

Martînez-Cañas uses multiple layers of paint and photography to create comIMG_9011positions where information is altered, obscured and redefined. In Washington, D.C., I had the pleasure of seeing her work, though very different from these pieces, at the National Portrait Gallery. I wrote then about the artist’s unique ability to use alternative methods of photography to engage viewers. There is much to discover in her pieces in the Florida Prize exhibit and the complex arrangements of imagery is both perplexing and revelatory, reminiscent of the mysteriously alluring Robert Rauschenberg style.IMG_9015

Although the Orlando Museum of Art did not match my memory of the place, it was such a pleasure to return to the location of my very first art-related job. If you are in the Central Florida area, the museum is a must-see. And don’t forget to allow time to explore the area. The multiple museums and park are definitely on my list for next time.

As always, thank you for reading. Up next: Part 3 in this series on Winter Park. This time, I’ll cover the Crealde School of Art and the Polasek Sculpture Garden.IMG_9032

Returning to Winter Park, Florida Among Memories and Art: Part 1

DSC_0114In researching summer tennis programs for my daughter, I found myself repeatedly clicking on the Nike Tennis Camp at my alma mater, Rollins College. Perhaps I was just looking for an excuse to return to blissful Winter Park, Florida, but I legitimately kept finding fabulous reviews about the camp and its director, Rita Gladstone. With Southwest Airline points tucked away, the only major cost would be accommodations. We would walk everywhere and need very little transportation. I thought, visiting the Cornell Fine Arts Museum and the Orlando Arts Museum could be important parts of my work as an artist, right? Come to think of it, staying at the Alfond Inn with its’ esteemed contemporary art collection would be a wise choice, right? Yes and Yes! This 3-part series will highlight my response to returning to the area, and of course, the numerous high quality art exhibits.

DSC_0089Regarding the development of my paintings, everywhere I go, I consider what I see and how it relates to the art I make. I am guilty of having too many bodies of work going in my studio and cohesion has been, at times, elusive. But there is one theme that returns again and again: the idea of time passing and of memory. So as I explore areas such as Winter Park, I do study the work of other artists at every opportunity but I am also constantly coDSC_0049nsidering how what I see will make its’ way into my work. While my daughter was on the tennis court each day, I walked the campus and felt an acute longing, stronger than nostalgia but milder than anxiety. I wondered, Where did it all go? That experience does not exist anymore, it is only in our memories. What is this place that does not include me anymore? It is someone else’s now. As I walked through the shaded pathways of the campus, I feel awe mingled with despair. What am I mourning…my youth?

DSC_0069Is it my irrelevance in a place that makes me feel such longing? Upon returning, how can one see clouds building over Lake Virginia, see endless archways, see weeping willows spilling toward earth, smell the musty mixture of watery reeds and moss, feel the breeze that carries smell and memory, sense the rain when an uncharacteristic coolness brushes the skin and not think time has ceased to exist? How can this feel like my place, and concurrently feel like a mystery, like a place I am forcing myself upon?

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Nothing is True by Hector Arce-Espasas and Josue Pellot

Eventually I had to snap out of my nostalgic wanderings. The Cornell Fine Arts Museum was just the place to redirect my attention to the present. The current exhibit, “Displacement,” required another mode of thinking…of getting out of my own perspective and developing a clearer understanding of someone else’s perspective. Isn’t it cool how art can open our eyes to something beyond ourselves?

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Church Banners by Andrea Bowers

The artists included in the exhibit are from all over the world and use a variety of mediums to make clear statements about the condition of human displacement. The exhibit is not a plea, or an aggressively persuasive presentation. The power in the artwork comes from a calm and earnest approach. Language is often combined with visuals to help clearly communicate. This is not political, it is observation and presentation of a human condition. “I was a stranger and you welcomed me.” “Finders. Keepers.” “Nothing is true.” In Thousands are Sailing 1, the artist uses a garish pink where green should be seen in the photograph. While beautiful, the pink is also bizarre and striking which encourages viewers to stay and look more closely. It is as if the artist is saying, “don’t ignore these displaced people, stay and look closely and consider them.”

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Thousands are Sailing 1 by Richard Mosse

The Cornell Fine Arts Museum is also home to a permanent collection divided into three categories: American Art, European Art and The Alfond Collection of Contemporary Art. Only a fraction of the collection can be on display at any given time and guests at the nearby Alfond Inn get to reside with some of the outstanding contemporary art collection

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The Hermit XI by Jaume Plensa on display at the Alfond Inn

during their stay. I was delighted to see two pieces by Hank Willis Thomas – one at the Alfond Inn and one at CFAM. Since hearing him speak during the “30 Americans” exhiit at the Arkansas Arts Center, I have been mesmerized by his visionary approach in using commonplace images from mainstream American media to show just how misinformed we are by persuasive, persistent and egregious advertising images. During his career, Thomas has methodically tackled gender issues and race issues with what seems like simple technique, but really reveals the brillian finesse of a great mind of our time. If I ever meet him, it will certainly be one of those embarrassing freak out moments where I invade his personal space with a gregarious hug. At any rate, this jewel of a museum on the east side of campus overlooking Lake Virginia should not be missed by visitors to the area.

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Walk Like A Man by Hank Willis Thomas

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Behind Every Great Man… by Hank Willis Thomas

Between kayaking on the lakes, visiting the Cornell Fine Arts Museum and studying the collection at the Alfond Inn, my heart was full as well as my sketchpad. Walking around the beautiful Rollins College campus and the surrounding areas during the quiet summer was a gift. It prompted memories to resurface and new discoveries to be made. And it gave more than I bargained for in terms of the inescapable painting theme of memory and the passage of time. On my last day, I entered the cool air of Knowles Chapel, and wondered if I read this poem during my years as a student and had since then forgotten, or if this was my first time to see words that only now in my life could hold such poignant weight.DSC_0087

As usual, thank you for reading. Next up: Blown Away at the Orlando Museum of Art