I love sculptural containers such as amphora, urns and even
boxes. I’m especially fond of the mixed media boxes of Joseph Cornell and Greek
amphorae. The ancient Egyptians also made a fascinating assortment of
containers for things such as unguents and ointments. In my series about shields and modes of
shielding I created this drawing with Prismacolor pencils on colored pastel
paper with the idea of containment and safety in mind. The shapes are contained
and shielded from a menacing spear. I
wanted to have an overriding sense of transparency on the frontal plane and
more of a notion of opacity on the secondary plane. Delicacy plays its role
here as well and so does the sense of movement.
The rounded shapes are quite fragile and are reminiscent of balloons.
They are juxtaposed against the angular spear shape that twists and moves
through the composition. The balloon shapes are being shielded yet they are
still threatened by the presence of the arrow-like spear. Several years before I
did this drawing I had my first interaction with shielding and spears. Prior to that I had only thought of spears as
powerful objects that existed primarily in a museum. When I stayed on Elcho Island or Galiwin’ku
as it is known locally, in Arnhemland, Northern Territory, Australia the Yolngu
people where still hunting and defending themselves with spears. They were also used as weapons. It was a transformative moment in my life
when I witnessed spears being used in the present day, in an attempt to attack
a friend and my husband. The spear
yielding man was drunk and angered beyond belief. He had lost all sense of self-control and all
of his anger was being aimed along with the spear at the dwelling that my
husband and his friend were inside of. They were captive for what seemed like
hours but they were never harmed. I was
originally drawn to the island by stories of how people in the community still hunted
and fished with spears. Never did I
imagine that an angered individual would take up his spear against a loved
one. Gradually, the community elders
were able to mitigate the situation and it slowly dissipated. I had learned an
unimaginable lesson—spears aren’t just objects in a museum; they are still currently
being used by many different cultures.
They are beautiful, powerful, and potent and yes, they can still be very
scary!
Gran Bwa is a lwa that helps you connect to ancestral roots or the spiritual home of Vodou. A friend of mine, who is an expert on Haitian Vodou, who has spent a lot of time in Haiti with the artists there, told me I had painted Gran Bwa when I made this spontaneous work out of walnut ink and sumi-ink on handmade paper. I had considered this painting a self-portrait. She now holds this piece in her private collection: Quite a few people are afraid of Vodou but it is an awe-inspiring tradition of bringing together plant energy with divinity, spiritual and personal energy. My friend who is very involved with Vodou, especially the art that surrounds it, is from European ancestry. She is light in spirit and bubbly, with a close relationship to nature and her garden. Vodou affirms the relationships between cycles of life, trees of knowledge and spirit. The Vodou vision of lwa , understands them as the intelligence of energy present in humans, nature and thoughts. ...
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