Tag Archives: Maria Popova

Escaping the News

I need a break from current events…how about you? This week I’m sharing three artistic escape valves that caught my eye. Each offers a healthy measure of food for thought and moral fortification for moving forward since putting our heads in the sand isn’t an option. Hopefully one or two of them will interest you as well.

Townley Untitled 1979

Untitled 1979, ©Hugh Townley, Mahogany and maple relief, 26 x 15 inches

If you’re in Vermont between now and September 10, please consider a trip to Rochester to see the Hugh Townley exhibit at BigTown Gallery. It is a lovely collection of Townley’s sculptures, reliefs and prints, highlighting his strong sense of design with a healthy dose of play. You couldn’t ask for a better example of the power of art to lift one’s spirits in pure joy; it’s just the ticket for getting your head in a better place.

Dark Night 1992

Dark Night Tuba City 1992, ©Hugh Townley, Obeche relief, 26 x 16.5 inches

Townley’s painted works are bright and amusing, and his prints are strikingly engaging. Yet I was drawn to and favored the oiled wooden wall relief pieces. His manipulation of light, shadow and shape draws one into each imagined space, accentuating the natural grain of the wood while emphasizing each piece’s rhythmic layers of depth. The work is vaguely reminiscent of Louise Nevelson yet never loses its infectious sense of playfulness. I found myself smiling as I made my way through the gallery, and realized later that, in addition to being a bright spot on a dark and rainy afternoon, my visit was also a very welcome respite from the anxiety that has been hovering over my shoulder with each new revelation from Washington.

Townley Lost in Space

Lost in Space 1996, Hugh Townley, High-gloss painted wood color relief, 35 x 19 inches

To maintain the good mood, cap off your visit with a slice of homemade maple cream pie from the Rochester Cafe a couple of doors down from the gallery. There is much to be said for the art of a good baker!

Townley Untitled 1998

Untitled 1998, ©Hugh Townley, Mahogany relief, 23 x 18.5 inches

Fortuitously, the next day Maria Popova’s Brain Pickings article “Wallace Stevens on Reality, Creativity, and our Greatest Self-Protection from the Pressure of the News” showed up in my inbox. It is a lengthly, but oh-so-worthwhile read if, like me, you are feeling a bit overpowered by the unrelenting media onslaught. As the world continues to spin, I think many of us are wondering how our work can fit in and remain relevant; whether it can possibly stay abreast at a time when it seems an artistic perspective is more important than ever.  Which leads to the question: what exactly is an artist’s responsibility in such times?

Townley Fight Night

Fight Night 1996, ©Hugh Townley, High-gloss painted wood color relief, 31 x 24.75 inches

Popova’s article includes the following quote from Stevens which addresses that specific question:

Certainly it is not to lead people out of the confusion in which they find themselves. Nor is it, I think, to comfort them while they follow their readers to and fro. I think that [the artist’s] function is to make his imagination theirs and that he fulfills himself only as he sees his imagination become the light in the minds of others. His role, in short, is to help people to live their lives.

For further reading on the subject, check out the links in my post from last January: Art as a Responsibility; Art as Superpower .

Townley Soaring

Soaring (Ups and Downs) 1992, ©Hugh Townley, Mahogany relief, 22 x 11.25 inches

And finally, consider giving a listen to Joseph Todorovitch’s interview on the Savvy Painter podcast to see how the act of buckling down and doing your work can be a remedy in itself. I found much to connect with in what Todorovitch says, but what struck me most was his articulation of an overarching truth I am coming to understand through stitching and drawing — the value of slowing down and being present. Ironically and counterintuitively, it is perhaps the best escape of all.

On a Different Note…                                                                                                                                  

I crossed another big project off my list this week. I invite you to take a swing through my newly updated website — it’s reorganized and simplified with new work added.

                                                                                                                                    

Needlework: ‘Redemptive and Rebellious’

It’s been snowing off and on much of the week which has been great for productivity. Does anyone else notice that no other light quite compares to that which fills a space when it’s snowing outside? Colors appear crisp and true, reading more clearly than usual.

In process      ©2016 Elizabeth Fram                                                             Follow along with me as this piece progresses

As you can see, this week I’ve been concentrating on marks and the visual texture of stitches to pull out the form of a cup and saucer from the open section of last week’s dyed piece. I am still working to find a way to marry my daily drawings with my textile work without compromising either. It’s been a bit of a balancing act to keep the image recognizable while simultaneously leaning toward an abstraction of the forms’ shapes and cast shadows. By sticking with one color of thread, I’m relying on the direction of the stitches, their weight, and the patterns they create to define both the space and the image. I quite like the way they work in tandem with the dyed ‘mokume’ pattern. Before I began, I wasn’t sure how successful a partnership it would be, but I am encouraged by the way things are developing.

In process      ©2016 Elizabeth Fram

I found two thought-provoking articles from Brain Pickings this week that I’d like to share. They seem particularly appropriate since I’ve been totally consumed with needlework. The first, Stitching the Stars, centers on the nineteenth century astronomer Maria Mitchell’s theory of the needle as an instrument of the mind and why she felt it gave women an advantage in the field of astronomy. In turn, Brain Pickings’ creator Maria Popova posits that the mental space afforded via the slow nature of needlework has been a cornerstone in the “long history of thinking-by-hand in the intellectual life of women”. Bravo! Stitching is an art that is typically sidelined as ‘women’s busy work’; how absolutely satisfying and encouraging it is to see an acknowledgement in print of one of the most cogent hidden strengths that many of us who are actively engaged with needle and thread know to be true.

In process      ©2016 Elizabeth Fram

The second article, which segues easily from the first, The Dinner Party: Artist Judy Chicago’s Iconic Symbolic Celebration of Women’s Heritage in Creative Culture, is so very pertinent considering the political climate we are facing. It is an all-important reminder that the message of Chicago’s unparalleled project is just as crucial today as it was in 1979.

In process      ©2016 Elizabeth Fram

Finally, I am quite honored to have been invited last month to join TAFA: The Textile and Fiber Art list. As “a business community of entrepreneurs rooted in textile and fiber art products and traditions”, it supports artists, retail and wholesale e-commerce, cooperatives, galleries, organizations, writers, publishers, and collectors. The TAFA icon in the upper right of this blog’s sidebar is a link to my profile page. But more importantly, explore all of TAFA’s website to learn more about it as an organization and to see work from its over 500 members representing 44 countries. I have no doubt you’ll find something remarkable.

In process     ©2016 Elizabeth Fram

And please stay tuned. I’ve got my fingers crossed that this piece will be finished next week.

In process      ©2016 Elizabeth Fram