I made this in memory of the Passenger Pigeon, a species that went extinct a hundred years ago. I was thinking about the way that artists today make images of the pigeon based on art from the past, and how our “memory” of the birds has become faded and distorted over time.
UPDATE: Photos from the exhibit Working on the Bias
My artwork will be included in two forthcoming exhibits opening in February and March: Working on the Bias in Salina, Kansas, and Postpartum in El Dorado, Kansas. Both are projects of the Kansas branch of the Feminist Art Project.
Working on the Bias
151 S. Santa Fe, Salina, KS
Feb. 22 – Apr. 21, 2013
I decided to make a banner for this exhibit after re-visiting a book I found years ago at a library book-sale called Banners and Hangings: Design and Construction, by Norman Laliberte and Sterling McIlhany, published in 1966. The book was musty and plain with no dustcover, but the banners in it by renowned artist Norman Laliberte, and his banner-making process, were exciting and of their time in a good way.
I remember banners as a child growing up in the 1960’s and 70’s, some political and others religious. My mother taught me rudimentary embroidery and sewing skills back then too, and these were the basic skills that I brought to my banner project. The passing on of sewing skills from mother to daughter is relevant for Working on the Bias because the exhibit is framed as a feminist art show intended to link needlework and “identity”.
My banner’s themes also relate to my memory of the banners I saw in my youth because the words and images fall somewhere between political and spiritual, calling for action on climate change. The angel in my banner is both a mother and a farmer, and a blazing sun and cracked earth of a drought surround her. The text is a plea, but not to a spiritual being for help. Instead the plea is directed to our own better selves or better angels and reads: “It’s too hot!” and “It feels wrong.” And then, “Listen to our better angels, heed the warnings, and act!”
I learned from working on this banner that needlework, at least for a novice like me, takes time. After working on the piece for several hours a day for numberswiki.com
a number of weeks, I began to develop a repetitive motion injury and a badly strained back. It seemed a bit ridiculous to become injured by simply hand-sewing and yet why not? A friend whose mother is a quilter told me that this kind of injury is common among quilters. Think of our grandmother’s gnarled hands.
Rachel Epp Buller, regional coordinator of the Feminist Art Project, and Carolyn Wedel, director of the Watson Gallery in Salina, KS, are curating the exhibit. They will include artwork that explores gender and identity by either physically or conceptually incorporating stitched, embroidered, or woven elements. The exhibit will serve as an accompaniment to the nationally touring exhibit, A Complex Weave: Women and Identity in Contemporary Art, opening this month (February 2013) at the Salina Arts Center.
Erman B. White Gallery, Butler County Community College
901 S. Haverhill, El Dorado, KS
Mar. 1 – Apr. 5, 2013
Postpartum explores the postpartum experience of women through art, including such themes as the postpartum body and mind, the lactating body, maternal loss and grief, the reevaluation of family gender roles, and more. I will have two small scratchboard pieces in the exhibit: Steamed and Blessing.
I sometimes joke that even ten years after giving birth to my beautiful boy, I’m still processing his colic! Trying to console an inconsolable baby every evening for three months was stressful indeed, but in this piece I was considering a different kind of noise and stress. In Steamed (2011) the screaming baby, chattering squirrel, and steaming tea-pot are metaphors for what sometimes feel like a clamorous, confusing, out-of-control world crying out for attention and comfort — with a bit of whimsy thrown in, too.
When my son was a baby, I carried him around in a sling. When I was walking downtown on one of those days, a Native American man who seemed to be experiencing hard times or was maybe even homeless called out to me and said, “Don’t let those angel’s wings get scraped nowhere.” These words were a blessing for me, a reminder of the great responsibility that I was taking on as a new mother and a reminder that raising children really is the work of an entire community. I call the piece Blessing (2003).