Tag: artists

The freedom of wearing your faith on your sleeve: Artist Mattie Karr

Mattie Karr wanted to be an infiltrator. The 28-year-old Kansas native had big dreams of traveling to Hollywood and stealthily planting spiritual seeds in the work she did, smuggling religious themes into mainstream stories and animation.

“I loved the idea of being incognito with my art. I could be this Catholic evangelizing spy, almost,” she said.

It didn’t work out, and she is so glad.

First of all, she loves living in Kansas and loves the parish where she just finished a massive commission, three years in the making. It consists of two 15-foot high triptychs that bring color and warmth to either side the rather austere apse of Holy Name of Jesus in Kansas City.

Second, she found that she couldn’t stop making religious art if she tried. “As I grew in my faith, I couldn’t help it. The art just came out and it was all religious, mostly Mary. I couldn’t stop drawing Mary,” she said. The big shift came when she went on retreat, and some people prophesied over her, saying that God was calling her to do something and that she needed to be brave and step out.

“It was very clear he wanted me to leap,” she said. A week later, she did, quitting her job in sales, and launching her full-time career as an artist. Karr paints and draws sacred and liturgical art and also does commissions with specific religious themes, depicting spiritual tableaux that are particularly meaningful to her patrons.

Now that she’s surrendered to the idea of being a sacred artist, she said life has gotten so much easier.

“The images come a lot quicker. It doesn’t feel like as much of a struggle,” she said. “I appreciate wearing my religion on my sleeve in my business. It’s much more freeing.”

Karr said she once met a priest at a wedding, and he was adamant that she is an iconographer. Although Karr has done a painting that, at the request of a client, borrows some elements of traditional iconography, most of her work is in a very different mode. But the priest insisted, “Your spirituality is that of an icon painter. I can tell you pray through it.”

And this is so.

“Even if I’m not consciously praying, I’m praying,” she said. “Even in artist mode, I’m aware of the Holy Spirit.”

When she’s working with a client to develop a commissioned piece, she prays with them, and asks the Holy Spirit to give her an image for them. This is what happened when a client asked her to portray Mary, Undoer of Knots.

She collaborated with a client whose wife is a mental health counselor and had a recurring dream of Mary dressed in work clothes, diligently unbinding the tangles in a long ribbon that shines in the light falling on her shoulders.

Karr said that, although the image was made for one client, it often brings people to tears, even if they previously knew nothing of this traditional title of Mary.

“I’ve seen how much God can speak through these images. Beauty has this quality of stopping people in their tracks and making them pay attention,” she said. It breaks through the silence, even a silence we may not be aware of.

“So many people in their relationship with God don’t think he has much to say to them. Even devout Christians don’t experience the love of God in their lives,” she said. But sometimes beauty can speak to them with God’s voice.

“It’s a collaboration with the Holy Spirit. I’m always asking,” she said.

Sometimes that collaboration seems to come in the form of failure…. Read the rest of my latest monthly artist profile for Our Sunday Visitor.

***

This is the eighth in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Jaclyn Warren
Daniel Finaldi
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

“Beauty is always the right answer”: Painter and illustrator Jaclyn Warren

“I was so nervous about having the chalice and paten in my garage,” Jaclyn Warren said.

“We have too many kids and too many cats; something’s going to happen to them,” she said.

But the precious liturgical vessels survived. They were in Warren’s home, along with a priest in full vestments holding a censer billowing smoke, because she was making sketches for a series of paintings of the North American Martyrs for a high school chapel.

The project, the brainchild of Father John Brown, who commissioned the pieces for Jesuit High School in New Orleans, will show two of the martyred laymen toward the back of the church, and then some of the saints in liturgical dress worshipping along with the congregation, with their vestments becoming more splendid the closer to the altar they are. It’s a huge project, and Warren is working feverishly in between caring for her young children, who, like everyone else in the country, keep getting sick.

Warren, a Louisiana-based liturgical painter and illustrator, said what’s more overwhelming is when she remembers where her work will be displayed.

“It plays on my nerves a little bit. It’s kind of a big deal. People are going to be looking at this for I don’t know how long, maybe after I’m dead and gone, and thinking maybe that nose doesn’t look quite right,” she laughed. “But I know the mission is so important, I can’t get hung up having an artistic crisis.”

Captivating an audience

Mainly, she tries to keep her audience in mind.

“I think of all the boys that are going to be looking at [the paintings of saints]. It’s important that they see them as a source of inspiration and strength, and not just, ‘Look at all these bald guys,’” she said.

She knows from personal experience how an off-putting depiction of a saint can stick with you for years.

“I remember growing up, I had my book of saints, and Mary Magdalene was wearing this bright pink dress and green eyeshadow, and even at 10 years old I was thinking it was so dated,” she said. She also remembers the Black saints were painted so clumsily, their skin almost looked green.

That was a missed opportunity by Catholic art. Warren grew up loving the saints, but it was despite these illustrations, not because of them; and even though she wanted to be an artist herself, nothing she saw drew her in personally. It never occurred to her that she could be the one to update those unappealing pictures.

“It had already been done. The books have been illustrated; the churches have been decorated,” she remembers thinking. She didn’t see herself as someone who could step up and answer a call.

So when she did study art in high school and then at Savannah College of Art and Design, sacred art was not on her radar.

“I thought, ‘I have to do something that’s going to sustain me. I have this talent; I’ll be a portrait artist. That will make money, and I’ll be secure,’” she said.

An artist’s struggle

But when she attended a summer program at Yale, she found herself the odd man out, ostracized because of her faith and because she made figurative art that wasn’t designed mainly to shock and titillate the viewer. She also noticed that artists who chased the cutting edge of artistic fads might have their moment of fame, but then they were just as quickly forgotten.

“I had to rethink, ‘Is being famous and well-esteemed all it’s cracked up to be?’” Warren said.

Read the rest of my latest monthly artist profile for Our Sunday Visitor. 

***

This is the seventh in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Daniel Finaldi
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

Dan Finaldi: Teaching painting, finding God

Dan Finaldi doesn’t have a studio. His house in New Jersey doesn’t have space, and that might become a problem when he retires from teaching to spend more time painting, which he plans to do in the next few years. He’s been a high school teacher for 23 years, and as much as he enjoys teaching teenagers, at age 62, he’s finding it harder to match their energy.

But he’s still teaching now, and when the weather’s too bad to go outside, he often stays after school to paint. More often than not, he ends up painting his students. “They’re posing or eating, and I’m painting them. They talk, they share. They tell me their life stories,” he said.

“I just want to paint them. Sometimes, people will come to me and say, ‘Can I pose?’ and I say, ‘Sure.’ I’m fascinated by looking at people. There are so many different things to look at in a face. I love looking at their faces,” he said.

Finaldi teaches at a public high school that welcomes lots of Indigenous students, many with complex or traumatic histories.

“Last year I painted two double portraits, sisters from Mexico. They told me their grandmother speaks an Indigenous language, not Spanish, some ancient language that has perdured,” he says.

The Southern and Central American migrant students often speak of their families, and Finaldi said they also seem to bring a heightened sense of color and design to their work, as well as an apparently innate talent for working with pottery and clay.

Awakening a dormant ability

All students have a “dormant ability in drawing,” he said, and he sees it as his job to teach them the skills to wake up that dormant ability. But it helps when some of the students also supply enthusiasm and inspiration.

“When you’re in a class of 25 kids, it does lift all boats, when you have kids that are not on their phones, and they’re looking at other kids’ artwork,” he said. “Their work improves aesthetically. They see the line work and the color, and they try to imitate it.”

Finaldi is just inspired to paint the kids themselves, though.

“They’re such beautiful, interesting-looking people; I just want to paint them. I’m fascinated by looking at people,” he said.

The natural world

But when the weather is fine, Finaldi will be outside, using oil paint or watercolor to capture his other great love: The natural world. He’s learned to harness the power of Instagram and will share a video panning slowly past a busy playground where he’s set up his easel, his unfinished canvas blending into the rosy sun and shadows of a late summer afternoon.

The loose, light-filled strokes of color are typical of Finaldi’s work, which presents fluid, unpretentious scenes of daily life: the rusty glow of autumn leaves under a cerulean sky; a moody moonlit nocturne with power lines; teenagers just hanging out…Read the rest of my latest artist profile for Our Sunday Visitor. 

This is the sixth in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

 

A ‘very human life’ is the hallmark of Gwyneth Thompson-Briggs’ sacred art

Gwyneth Thompson-Briggs said her husband Andrew asked her after Mass, “Did you see the guy with Jesus hair?”

She did see him and had wanted to run after him, but she hesitated, and now she regrets it. He would have made a great model.

It was one leap she didn’t take, but only one.

Four years ago, she and her husband took a chance, and now she supports the family full-time with their home business, Gwyneth Thompson-Briggs Sacred Art. She mostly paints commissions and also teaches painting in person.

As a working mother and breadwinner, she’s something of an oddity in her community.

“In my parish, many of the mothers stay home full time, and the husband works. I try to explain to people we chose to have this small business of making sacred art because it allows us to live the liturgical year more fully,” she said.

As fulfilling as this life often is, it wasn’t easy to land there.

“To take that leap, God sort of had to put us in a situation where we lost a different job and we didn’t know what else to do. It didn’t seem prudent to try to raise a family on being an artist, but God knew we didn’t have the courage to do it without taking away the other options,” she said.

Thompson-Briggs said she looks to the medieval model of a family workshop, including apprentices who were part of the household.

“It seems like a very human life to live, that my children see their father throughout the day, and we’re always switching off with childcare and homeschooling and business duties. It’s a model I love, but it has been rare. It may be coming back, since everyone’s been working at home,” she said.

That “very human life” is a hallmark of Thompson-Briggs’ approach to art. Many of her live models, like the one with the Jesus hair who got away, are not professionals, but fellow parishioners at the church down the street from her studio.

“I will snag them and say, ‘Are you available to linger for an hour next Tuesday after Mass?’ and surprisingly, most people are amenable. I’ve gotten to have so many wonderful conversations. You meet so many people you think you know because you see the back of their head for months, and then you start to talk to them, and you’re always surprised,” she said.

The in-person conversation and time together give her visual insight an artist can’t attain by working from a photograph.

“When you’re working from a photo, you can get caught up in the detail. [But] when you work from life, you introduce the element of time. What’s the most natural way their head would tilt or that drape would fall?” she said.

As her model settles in and gets comfortable, her eyes also discern more breadth of color, more depth in shadow, and more atmosphere.

Her favorite models are good conversationalists, and she also acknowledges that talking helps keep them awake. Her studio heats up tremendously in the summer, and fans can only do so much when a model is draped in layers of wool.

Even their discomfort can be a revealing part of the artistic process, though.

“If you’re carrying something heavy in one arm, it’s going to affect the angle of the hips, or something,” she said.

But because she is making sacred art, she is not trying to paint a recognizable portrait, but to assist the viewer in prayer; and so to portray a beloved saint, or Mary, or the Sacred Heart, she often uses three or four models, combining select elements from their various faces and bodies, hands and hair.

“Using multiple models allows me to approach the idealization of the saint who is a distinct personality, who is separate from all the reference models. Sometimes, I will transform someone, make them older or younger; other times, it’s a rare person who has really beautiful hands,” she said…Read the rest of my latest artist profile for Our Sunday Visitor.

Image: Detail of St. Martin de Porres by Gwyneth Thompson-Briggs

Carving light out of darkness: The art of Kreg Yingst

Kreg Yingst had set himself a task: He would make one block print for each of the psalms.

“I thought I was gonna knock it out in a year,” he said.

He did not knock it out in a year. Some of the images came to him easily, but some were a struggle. The project dragged.

And that was perfect.

“I had to wrestle with it. It became my daily prayer. If nothing came, I had to sit on it, and that would be the one prayer I would pray. If a visual didn’t come, I would read it tomorrow,” he said.

 

He compares the process to meleté, the intense word-based meditative prayer of the Desert Fathers. Many of them were illiterate, so they would go to their abbot, receive some lines of Scripture and immerse themselves in them all day to “pray without ceasing” in their cells, perhaps in song. This slow, repetitious meditation would purify their hearts and allow the words to take root.

More than two years later, Yingst’s prints that grew from these words became a book, “The Psalms in 150 Block Prints” ($35.95).

Yingst, 63, was heavily influenced by the black-and-white graphic woodcuts of German artist Frans Masereel and American Lynd Ward, whose wordless novels are considered a precursor to the modern graphic novel. Yingst’s deft, striking compositions, which often incorporate text, are sometimes exuberant, sometimes mystical and often jarring.

As an artist who shares his work on Instagram as he makes it, Yingst has had the disconcerting experience of knowing his most heartfelt pieces will probably be social media “duds.”

“We all want to be happy, and we all want sunshine. It’s the sweet aroma of prayer that everybody likes,” he laughed.

But the psalms also carry a lot of darkness, struggle and fear. He chose not to skip over those verses.

“When the rainy days come, how do I deal with it? Because I can’t escape it. That’s what the psalmists were doing. They always came back to [saying to God], ‘You’re still here. You’re my rock, my foundation,’” he said.

At the same time, he learned that some of the more fearsome psalms — the ones begging God to crush our enemies, and the ones that speak of dashing babies against rocks, are not what they first may seem.

“I need to understand this is a spiritual language. I can’t let this bitterness take root in me but cut it off while it’s still a baby. I started reading the psalms that way,” he said.

He discovered that they’re not so much inveighing against an enemy that’s some literal group of people but against whatever darkness every human will encounter.

One especially dark moment was the school shooting at Sandy Hook in 2012. Yingst had two young daughters and couldn’t come to terms with the horror and loss those parents were enduring. So for his New Year’s resolution, he decided to carve one prayer a week for the entire year. Those images became a self-published book, “Light from Darkness: Portraits and Prayers” ($29.95), and he donated the proceeds to orphanages. Sandy Hook parents had lost their children, so he wanted to help children who had lost parents.

“It was reactionary. I wanted to throw light. At least, this will bring a little light,” he said.

Woodcuts and linoleum prints are particularly suited to that goal.

“With the block print, and with linoleum or woodcuts, you have that black square, and every time I make a mark, every time I make a gouge, I’m carving light out of darkness,” he said.

Read the rest of my latest artist profile for Our Sunday Visitor. 

Previous artists featured in this series:
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not excellent about responding, but I always check out every suggestion. 

Linocuts or laundry? Sarah Breisch speaks about art, faith, and family life

Sarah Breisch doesn’t really draw what she wants. Not yet. Breisch, 40, is the mother of eight children, ranging in ages from 17 to 4, and she only recently started showing and selling her work. It’s been a long time getting to this point.

Her artwork — primarily watercolors and lively linocuts of birds and other animals — is vigorous and arresting and sometimes comical. A frazzled mother bird approaches a tangled feathery nest stuffed full of fat, ravenous chicks, in a posture that somehow conveys both love and exasperation. A fox slinks under the moon, casting a knowing, uneasy eye directly at the viewer. A thrush grips a branch between its thorns and sings his tiny heart out into the darkness. They are just animals, but they all seem like someone particular, familiar and very alive.

But Breisch would like to do more. A demanding critic of her own work, she considers her pieces to be mainly decorative, and calls them illustrations without stories. She would like to make art that tells stories, because she has a lot to say.

Breisch had very little in the way of formal art training. Homeschooled from fourth grade through high school, she was free to pursue her own interest in art and artists, and taught herself through museum trips, by leafing through numerous art books inherited from her grandmother, and by using the miscellaneous art supplies she found in her house.

“At that time, art was intensely personal,” Breisch said.

So personal, in fact, that she could hardly stand to show what she had made to other people. And so, although her father, a skilled carpenter with an artistic bent of his own, encouraged her to go to art school when she finished high school, she chose instead to pursue other academic interests and entered the Thomas More College of Liberal Arts in New Hampshire.

Inspiration in the Church

It was in the college’s chapel that she first encountered the beauty of the Catholic Church: the beauty of its theology and also of its physical art.

“In the churches I grew up in, art had no place, beauty had little place. Sentimentality and kitsch, what [founder and then-president] Dr. [Peter] Sampo called ‘the banality of received ideas,’ had a huge place. I never set foot in a Catholic church until I went to college, and the moment I did, I was overcome with a sense that this was what I was looking for. And it specifically had to do with the architecture and the art,” she said.

She recalls that the chapel was “not even anything fabulous,” but what there was looked like it had meaning and belonged.

Then the class spent a semester in Rome.

“I came home exploding with joy and inspiration,” she said.

Talents that glorify God

Breisch, whose mother is ethnically Jewish, said, “I knew more than your average kid did about tabernacles and the Holy of Holies and those sorts of things. So when I saw the baldacchino [the ornate bronze canopy-like structure built over the altar at St. Peter’s Basilica], I thought, ‘I know what that is.’”

She thought her father might be open to hearing what she had discovered. But he was not able to.

“He suffered from that sort of mental divide of Protestants [in that] he was artistic and creative, but also an iconoclast, and somehow it felt wrong of him to marry the two,” she said.

As for herself, Breisch had never felt that her faith and her artistic drive were at odds.

“I thought, ‘I glorify my creator through my God-given ability by trying to imitate what I see in nature, because I think it’s wonderful.’ Because it was so private, it was almost like a private meditation,” she said.

Finding time to make art

It was obvious to her that art and faith belonged together — less obvious that what resulted was something that should be shared with other people, even after she decided to join the Catholic Church.

And soon enough, the decision about how to approach her art was taken out of her hands. Shortly after college, Breisch went through RCIA, married and began having children. Over the course of the next several years, she was simply too busy to draw, and too overwhelmed, and didn’t have the money to spend on art supplies. She would make flashcards for her children, or make materials for curriculum when she worked as a teacher, but it was always something utilitarian….Read the rest of this article, the second in a monthly series for OSV featuring Catholic artists. 

***

If you have a suggestion for a Catholic visual artist (including yourself!) you think should be featured, please drop me a line at simchafisher at gmail dot com with “Catholic artist feature” in the subject line. I am interested in all styles of art.

The art of presence: Iconographer Charles Henri Rohrbacher

“An icon isn’t really an icon without a viewer,” Charles Rohrbacher said.

“Icons are looking out at us, and we complete the circuit, as it were.”

From his small, crowded workshop in Juneau, Alaska, the 68-year-old deacon and iconographer sends his icons out to be present for any viewer who’s willing to see and to be seen, whether in churches, in private homes or in books.

He painted his first icon for his grandmother when he was 8 years old. She kept the crude watercolor of Jesus by her bedside and prayed her Rosary before it every night.

But although Deacon Rohrbacher kept turning out art from that day forward, and went on to study art history and graphic design, it was not until the 1980s that he rediscovered iconography and began to understand how powerful these sacred pictures, with their ancient tradition of preaching the Gospel through images, could be.

He made friends with Dmitry Shkolnik, a Russian iconographer who brought him to the Easter Vigil at an Eastern church.

“The whole interior was painted in fresco from top to bottom, and I thought I had gone to heaven. I had this realization: This is what I’ve been looking for. This is what I’m called to,” Deacon Rohrbacher said.

It wasn’t just the aesthetic appeal. Around the same time, Deacon Rohrbacher was at a gathering at a Salvadoran church in San Francisco, where Catholics were grieving the martyrdom of Archbishop Oscar Romero. Someone had drawn his picture on a piece of white cardboard, and the people surrounded the image with flowers and candles as they prayed.

“Knowing next to nothing of the theology of the icon, it occurred to me that, when everyone said ‘¡Presente!’ when his name was read [a Latin American invocation signifying that the dead are still with us], these evil people have murdered him, but he is present among them. His image signified his invisible presence, along with Christ and Mary,” he said.

That urgent, undeniable sense of personal presence so many people feel when they spend time before an icon is no accident; it is deliberate, and hard won. When Deacon Rohrbacher is illuminating a manuscript or making a print, he allows himself more artistic license and personal interpretation; but when he’s painting an icon, he follows the age-old rules of the training he received from Shkolnik and from the Byzantine Catholic Jesuit Father Egon Sendler.

“What makes an icon different even from [other] religious painting is that self-expression and creativity are subordinated to the form, which is also the content, of the icon,” Deacon Rohrbacher said.

“It’s the opposite of photography. The stylization works in favor of the icon. It’s not the artist imagining what they look like,” he said.

Personal artistic style and self-expression make way for something more transcendent. It’s similar, he said, to how he serves at Mass as a deacon.

“You don’t make it up,” he said. “Every word I say is in a book. You don’t want to impose your personality on the liturgy.”

Which is not to say that you can’t tell the difference between different presiders.

“That’s a great thing; we’re not robots,” Deacon Rohrbacher said.

But individual interpretation present in icons, just as with liturgy, come about because their power works through individual human beings, and so some individuality is inevitable.

Icons are images that proclaim the Gospel. And images and the Gospel are meant to go together.

“There is something missing in our proclamation of the Gospel without images,” Deacon Rohrbacher said.

He vividly remembers visiting beautifully decorated churches in the early ’80s, and although they were glittering and grand, he was dismayed to realize that nothing visible made them discernibly Catholic.

“I was in a church where somebody had decided they would literally whitewash over the painted Stations of the Cross,” he said.

These pictures might not have been the highest quality art, he acknowledges, but some kind of imagery has always been vital to our faith. You can’t just do without pictures….Read the rest of my article about Rohrbacher’s work at Our Sunday Visitor.

***

I’m so pleased to announce that this is the first in a monthly series I’m writing for OSV featuring Catholic artists. If you have a suggestion for a Catholic visual artist (including yourself!) you think should be featured, please drop me a line at simchafisher at gmail dot com with “Catholic artist feature” in the subject line. I am interested in all styles of art.

I read the museum cards when I look at art!

Last week, we went to a museum without any kids, and so the last bit of museum pressure was off. I was absolutely free to look at whatever I wanted, for as long as I wanted, in whatever order I wanted. We even took a break for coffee and scones, because museums are exhausting. And if I wanted to read the card before looking at the painting, I did. 

A crazy amount of intellectual guilt needed shucking off, to arrive at that decision. I have always been told to look first, look long, and only then to read about what I have seen. Encounter it plainly and openly on its own terms before you let your experience of it get shaped and tutored by whatever few sentences some curator thinks are vital. 

But when do we encounter things completely openly, for real? Never. It’s as if we live on one planet, and a work of art lives on another, and maybe the atmosphere there will suit us, and maybe it won’t, but we do need to bring some oxygen with us for the trip. Because we are human. We bring what we have, who we are, with us when we encounter a work of art, because we can’t breathe without it. We bring our prejudices and our contemporaneous contexts, but also just the information we have gathered in the course of a lifetime, information about what it means to be alive. This happens whether or not we read the museum card. There is no such thing as coming intellectually innocent to a work of art. That’s just not how human beings operate. If a body (me) meets a body (art) coming through the rye, my petticoat is gonna draggled. It just will. It’s not a big deal.
 
I already knew this, but it became so obvious to me when so many people came to see the Catholic works of art, which I understood, and they did not, because they had no context, no frame of reference to behold them with. For instance, I saw more than one madonna and child that was clearly painted as a rejection of Manichaeism. It’s an ode to the inherent goodness of human flesh; but without context, it just looks like the painter had no idea what a baby’s body actually look like. Silly old painter!
 
People of faith would like to believe there is something so innately human and universal about what is depicted in sacred art that it will speak to people directly whether they know anything about the faith or not. And some of this is surely true, sometimes. Think of Flannery O’Connor’s snarly Parker who gets women pregnant even though he doesn’t like them that way, who meets the “Byzantine Christ with all-demanding eyes” and is knocked right out of his shoes. It happens. I’ve been struck spiritually by works of art depicting faiths I know nothing about. Power is power.
 
But it is also true that when museum-goers had the option to push a button and hear some snippets of eastern chant to go along with the altar frieze on display, almost every one of them laughed. A tenor called out “Holy God, Holy Mighty One, Holy Immortal One!” into the echoing gallery, and they giggled. I don’t know why. It just startled them, probably, or maybe it sounded spooky, or maybe they were not used to hearing a man sing in that register. But despite the best efforts of the museum, this fragment of beauty did not translate well to many, at least not instantly. It did not enhance their wonder; it just confused them.
 
And of course the same failure of translation happened to me in other galleries. We beheld the art of the Marshall islands, and I had no idea what I was looking at. Even with the cards to help me see what I was seeing in those hollow eyes, rounded mouths, jagged teeth, elongated limbs, the best I could do was to remind myself that what I was seeing was very different from what the people for whom it was made would have seen. I offered a humble shrug, that was as far as I got.
 
Not all the examples of “I am here, they are there” were that jarring. There was a very odd 1618 Flemish painting depicting the artist as Icarus with his father, and his expression was peculiar, almost a smirk, and the postures were enigmatic. I did giggle, because I had no idea what I was looking at, and I checked the card, and it said it was not known what the artist intended. Even the experts thought he didn’t quite pull it off. Too dated! Not my fault!
 
And sometimes it was very obvious that I was misreading what I saw, but I couldn’t help it. I read the card that said the hands of this Asian deity were in gesture called “the fist of wisdom,” and I raised my eyes to behold it, and oop, it sure looked like the thing that Howie did in second grade at the lunch room, and everyone laughed and the teacher got mad. The card told me what to see, and it didn’t help at all, because part of me is still in second grade. A planet too far. 
 
I saw a painting that looked like it had been commissioned in 1957 for a John Coltrane album cover, but when I checked the card, I almost fell over to read: “John Singer Sargent, 1879-1880.”
 
Sargent was incredibly sophisticated, and clearly anticipated a lot of what was to come; but he also stood out in his own time, painting in a style of his own, ruffling feathers. I suppose this is one of the marks of genius, to be able to see the style of your own era for what it is, with its strengths and its limits, and not to be confined by it.
 
But we tend to feel that an artist is especially good if they break out of the mold of their era, and this is an odd thing to do, if impossible to avoid. It pits one style against another, and makes us consider everything in terms of being a response to something else, rather than existing on its own terms. This informed approach to art enriches our understanding of what we’re seeing, but at the same time, it narrows our ability to perceive it openly. Would it be better to look at a painting without knowing anything at all about art history? Just to look? Better? I don’t know!
 
I do know that the galleries with contemporary art were filled with pieces that absolutely required you to know something — not only to read the card, but to be trained in how to see what you were seeing so that it looks like anything at all. And the kicker is, I am the audience this was designed for. I live in this world. And yet I still needed help to see what I was seeing. My husband said that many artists are now making art for a culture that exists only in the art world, and not for the public in general. The art world is the context. Once, visiting a different museum with a bunch of squirrelly kids, I was at the end of my energy. Wondering if I should make the effort to climb yet another flight of stairs to get to the 20th century wing, I peered through and said to the guard at the entrance, “It’s hard not to feel like something went wrong,” and he said, “I know.” 
 
Of course, maybe he was wrong, too.
 
What a puzzle it is, trying to sort out the things that are actually timeless and the things that simply happen to speak to us in our time. People have never stopped adoring Rembrandt, as far as I know. Gauguin, I myself have made the forty-year trip from mistrusting him and feeling bad about it, to adoring him, to thinking, “If I found this painting on fire, I would look for water, but I wouldn’t run.” Cy Twombly, I didn’t even go to that floor.
 
Which is not to say that we are doomed to distort what we see. Only that we can feel at home in not knowing everything there is to know. If you can take your ego out of it, and subtract the pressure to be the smartest person who understands things very well indeed, it’s actually comforting to recall how at home we actually are in the time and world we live in. So many of us feel so alienated and displaced and out of communion with our own culture. I look at TikTok or a video game or the previews for upcoming movies, and I think, “What planet does everyone else live on?”
 
But we are more at home than we realize, more a creation and a creator of our own culture then we may know. It’s just that we may not know it until we step away from it, find some distance, and see what it would be like to be truly on the outside. And that is what happened to me. 
 
Poor William Shatner went up into space and found that distance.  He suddenly realized for the first time that earth is small, temporary, finite. I suppose going to the art museum could have me feel the same way. So much distance, so much fragility. Here was a massive marble building dedicated to showing me . . . everything. Everything there was to show, everything people thought was worth preserving, and yet so much of it is opaque to me. I suddenly felt very keenly the distance that is there between me and so many other worlds of experience.
 

But I thought of “Having Misidentified a Wildflower” by Richard Wilbur. It’s such a short poem, I suppose I can get away with quoting the whole thing:

A thrush, because I’d been wrong,
Burst rightly into song
In a world not vague, not lonely,
Not governed by me only.

 
People sit down with their brush or their sculpting tools or their beads and loom, and I suppose sometimes they are trying to make something immortal, something that will speak to the human heart in every age. But the living artists I have met are not like that. Their aims are so much more humble, in general. Many of them are simply trying to capture something because they know it’s fleeting, and they have no illusions that what they create will somehow be more permanent. (Well, we’ll talk about the Egyptians some other time.) Making art is a way of naming the unnameable, of finding a familiar spot in a vastly uncatalogueable universe of experiences.The very fact that we keep doing this is familiar enough for me, and I smiled and smiled my whole way through the museum. 
 
I suppose I’m just happy, happy to be a member of a tribe that sees the world is fleeting and decides, I know what to do! And makes something.
 
 
 
 

Snickering through museums: How we managed to enjoy Renoir: The Body, The Senses

While hunting around for some images from the Renoir: The Body, The senses exhibit, I came across this review in The New Yorker, which begins, “Who doesn’t have a problem with Pierre-Auguste Renoir?”

Um.

I skimmed, I skimmed. The upshot seems to be that Renoir was a misogynist because boobs, but we should halfway forgive him, because art. And that’s why I live at the P.O.

We did make the drive to the Clark Art Institute to catch the exhibit in person before it left town. Here’s how we managed to have a wonderful time, despite how problematic everything is:

We do actually have some issues to overcome when we spend exclusive time with art. Damien calls it “museum anxiety:” that terrible fear that you’re missing out on something exquisite and important; that you’re not “getting it.” In the past, I have recommended bringing kids along with you — not just for their own sakes, but because we can follow their lead and skip right over the pretensions and anxieties so many adults labor under.

Even if you don’t have kids with you, you can imitate their approach, and it will dissipate that stifling museum fog. I did this when I had the rare opportunity to spend 45 minutes alone in the Princeton Art Museum. I went for the ancient art gallery, and decided I would let myself laugh out loud at anything that struck me as funny — and there was a lot of it.

After about the fourth room at the Renoir exhibit, I got softened up, and recalled I had no obligation to try to impress the other grave, whispering museum-goers with their complicated necklaces and flowy linen pants. I actually went a little overboard, and when I saw yet another elderly gentleman soberly studying a set of rosy, glowing ass cheeks, I had to stifle the urge to sneak up behind him and emit a falsetto, “Niiiiiice!” like Peter Venkman. But seriously, Renoir: quite the ass man. And why not? They pretty. 

Letting myself snicker a bit breaks down my head garbage and leaves me much more open to stuff that’s not funny at all, but just plain beautiful. This one hit me right between the eyes and made me cry, and I can’t even remember why. 

I think I was just glad to be alive, with eyeballs.

They had some thought-provoking pairings at this exhibit, which included not only Renoir but Degas and Cezanne and other contemporaries, as well as later artists influenced by Renoir. One interesting set was a Renoir “Woman Combing Her Hair” (which really doesn’t narrow it down much) and a Degas also showing a half-nude woman combing her hair (which I can’t seem to find anywhere).

Here’s where I have to admit that I know what the guy was talking about in the New Yorker. The two paintings were of similar subject, but Renoir had buttered his gal up to a light-filled sheen, and the entire world faded into a hazy chorus rejoicing in the loveliness of women’s backs. But Degas approached the woman from above, and you got the impression she had a book propped awkwardly on her thighs to while away the time while she was painted. You felt the strain in her muscles; whereas Renoir’s gal would probably be content to stay there forever, endlessly brushing in the golden sun. This is no knock on the Renoir. It was just different, that’s all. Both women were real flesh, really real flesh (and Renoir apparently got dinged by critics by showing too much fat and including too many colors); but I got the impression Degas was more aware that they were human, too.  

It’s strange how you see something better once you have something to compare it to. Like Richard Wilbur says:

I said the trees are mines in air, I said
See how the sparrow burrows in the sky!
And then I wondered why this mad instead
Perverts our praise to uncreation, why
Such savour’s in this wrenching things awry.
Does sense so stale that it must needs derange
The world to know it? 
 
I take Wilbur’s answer to the question “why this mad instead?” to be “it just do.” If it works, it works. My senses do stale, and I’m just glad there’s a remedy, whether it’s juxtaposing art, or just snickering.
 

I actually enjoyed the rest of the museum more than the special exhibit. It’s a world-class collection, well worth the trip on its own, but small enough that you can see everything without dashing around like a maniac. The Clark does a good job with its labels, providing little bits of information you might not pick out on your own, but without dictating too narrowly what you’re supposed to think of a particular piece. 

Among some Degas studies was a quote about how an artist should practice a composition over and over again, hundreds or thousands of times, so that nothing must appear to be by chance. I could see that was how he did it — there were the many, many studies, right before my eyes — but the end result was that it did appear to be by chance. Even when you know it’s a grindingly hard-won skill honed over thousands of hours, it does feel like the artist just happened to casually snag some familiar arc of the arm or angle of the elbow or weight of a thigh. Pff, Degas, what does he know about art. 

There are a number of Renoirs in the permanent collection, including this one, which struck me for the first time as something of an inside joke for artists: Here is this gal, dressed to the nines to sit in her garden and embroider. 

She’s surrounded by lush, boisterous foliage and blossoms, and what is she making so intently?

A little handkerchief with a little, delicate, stylized floral pattern on it.

I don’t know, I just thought it was funny. Flowers vs. floral. Art! What are we even doing? I don’t know, but we can’t seem to stop. 

Many Renoirs showed women with their fingers working closely together, with something lovely flowing out from between them like a waterfall. 

Women are like that, I guess.

Damien and I both adored all the John Singer Sargents. The Clark has the slightly silly but entirely successful Fumée d’Ambre Gris, which you should be required to study before you can buy white paint. 

and several others. The Portrait of Carolus Duran really grabbed us.

You want to use words like “deft” and “confident” with John Singer Sargent, but that’s so inadequate. Check out these hands and cuffs:

Look at those shadows! Look at that ring! And you know these are just little phone pictures. You really need to see it.

Same thing with the portrait of Mme. Paul Escudier.

You could almost get a paper cut on the edge of that ribbon plopped on top of her head, but then you get really close and what do you know? It’s just paint. I don’t know how he did it, except that he believed in himself! Ha.

We kept coming back to A Venetian Interior.

This is where I want to find and murder the guy who recently suggested that museums are obsolete, since we now have digital photos of all art and can just go look at it whenever we want. You have to see it in person. We both felt very strongly that that one streak of yellow wasn’t actually paint, but was actual light, and it’s probably why he decided to paint this scene.

They also have several Winslow Homers, which is always a treat. Wear a jacket, because some of them are brisk. 

Speaking of brisk, I think some people sneer a little over Frederick Remington, because it’s American White House horsey art. Maybe I’m making that up. Anyway, check out this shadow of a horse on the snow in the moonlight, and then get back to me:

This is from “Friends or Foe?”

A few other random things that caught my eye:

This fond, doting Mary from the Netherlands:

This is from Virgin and Child with Saints Elizabeth and John the Baptist. Quinten Massys, 1520. 

And these terrible children with a cat who has just about had enough:

And that’s why this cat lives at the P.O.

One final note: They had another special exhibit downstairs: Ida O’Keeffe, the lesser-known sister of Georgia O’Keeffe. Apparently there were three artistic O’Keeffe sisters, and when the other two started showing some inclination toward art, Georgia swatted them down pretty savagely, because you can only have one Artist per family. One sister meekly abandoned her ambitions, but Ida struggled to make her own name; so Gerogia cut her off. Sheesh!

So before we went into the gallery, I mentioned to Damien that Ida wanted some way to set herself apart from the more famous Georgia and her famous . . . flowers. He says, “Well, that’s easy. All she had to do was paint penises, instead.” I snickered, but you know what? We walked into the room, and this is what Ida did:

Talk about a “mad instead.” (She also painted some banana plants.)

Anyway, go see a art! Cut yourself some slack, let your mouth hang open like a yokel, and just see what there is to see. Don’t forget to laugh at the funny ones.

You can probably skip the museum cafe, though. That really is there just to impress you and make you feel like you can’t complain when it’s terrible; but nobody in the world needs to pay $16 for a microwaved grilled cheese, even if it is called “croque monsieur.” 

On eggs and God’s mercy: An interview with Alice Sharp of Hart’s Log Hand Made

Alice Sharp is a medieval scholar whose life changed drastically when her second child, Hannah, was born with complex special needs. Hannah’s now two, and much of Sharp’s time is spent at various medical appointments or doing therapeutic care at home.
.
“But life is pretty good, here, really, except for lack of sleep,” Sharp says.
.
.
Sharp, who now lives in Toronto, is working to integrate her life as a scholar and caretaker with her formidable artistic skills. She’s recently opened an Etsy shop for her batik dye eggs, which range from traditional to fanciful. Hart’s Log Hand Made offers handmade eggs, including personalized eggs and special commissions.
.

Here’s our conversation:

.

First things first. How do you pronounce “pysanky?”
.
Most people say “pih-SANK-uh.” But last year, I went to a Toronto-based conference and was horrified to discover it’s “PIS-ank-ee.” I’m thirty four, and it’s hard to retrain myself.
.
.
What is the psyanky community like?
.
It’s very much a strong community, mostly online, as most things are these days. It’s quite international, of course with people from the Ukraine and Russia and central Europe, doing both traditional eggs, with abstract designs and limited color palettes, and also more diasporate patterns, with more natural depictions of insects or animals, and more detail and a much wider variety of color, as well as new geometric patterns.
.
.
I enjoy playing with traditional patterns, but I do a lot of natural motifs, and meditations on scriptural motifs.
.
Why did you begin making eggs? 
.
It was partially because I never really thought of myself as a visual artist. My mother ran an alternative art space, with a theater and a poetry reading program and a gallery, when I was young. I hung out with artists, but I was more of a theater geek and a writer. I wrote plays in high school.
.
.
I had a real interest in small things, miniatures. I had a dollhouse, and I would build tiny little Fimo models of things. I was drawn to what we would call “folk art.” I liked the idea of embroidery, but I actually hate to embroider. My mother taught me how to knit. I didn’t think of myself as very good at any of that kind of thing. So that’s one reason: Because the eggs were not something more talented artists were doing. it was something I could have as my own, as my own visual art space.
.
Also, they’re pretty cheap, if you’re a pre-teen whose mother doesn’t want to buy a lot of yarn! A dozen eggs, dyes, wax — it’s not really the most expensive outlay.
. 
It’s also very pleasurable to all the senses. The smell of melting the beeswax, the feel of the shell in your hand, the warmth as you melt it off. I wouldn’t recommend tasting it. But I love the tactile nature of the egg and the smell of it.
It sounds somewhat similar to the process of making icons.
.
There is a certain meditative culture around it. It was something women would do at the end of the day, when they took a rest and had some quiet time. Sometimes they would sit down and work on in silence.
.
.
For me personally, I’m often trying to think through something that’s been read at Mass, or a [scripture] passage that’s been on my mind. For me, it’s a very prayerful experience. But I would hate to see what an icon would look like if I tried to write one.
.
How did you begin to make the connection between eggs and the spiritual life?
.
I’m a convert. I was baptized when I was nineteen, in my campus chapel. I really was not raised with a clear idea of much Christian theology. We had a family friend who gave me a “Precious Moments” bible.
.
I was in sixth grade and decided I was going to be get really good at making Ukrainian eggs and win this contest. But being the kind of person I am, I never actually submitted the egg. But I did really start looking at what the patterns mean, how they’re built, the geometric divisions, how much white is used. I had a booklet of symbols. It was my first introduction to the resurrection.
.
.
I remember sitting on my parents’ kitchen floor and reading eggs that said, “Christ is risen,” and understanding for the first time why Easter is celebrated. It wasn’t just bunnies and chocolate and giant hams. If anyone had told me Christianity preached the resurrection before, it hadn’t really settled. The eggs are rooted in pagan practices, but for, me they were a real messenger of the Gospel.
.
How long does it take you to make an egg, start to finish?
.
It’s a multi-day process. It wouldn’t have to be, if you were uninterrupted, but when are we uninterrupted?
.
. 
For an egg that is just one or two colors, with a fairly simple pattern, it will take maybe three to four hours. Not all of that is hands-on waxing or dyeing. There’s a need to stop, to let the eggshell rest and dry. One thing I’ve learned is how important it is to respect the shell. I never really know what it’s going to look like, because every shell is different. Every hen is different. The shell could take dye or vinegar differently from another one. Some are pale, some are dark, some are spotty.
.
.
Then, when you get more complex, the hours keep adding up. The basic mechanics is you move from pale colors to dark colors. Anywhere you want that color to stay, you put wax over it. You can get more complicated, and wash dyes off with vinegar or soap or a combination, and that adds time, because you need to let it rest. You don’t want the shell to get too saturated, because then liquid will start coming back up out through the pores.
.
.
You posted pictures of an egg that turned out much paler than you were expecting. What else can go wrong, in all those steps?
.
Well, there’s the basic breaking. At the workshop I was in last year, I was washing a color off, and I dropped it in the sink. There was my day, all gone in the sink.
.
Then there’s cracks, particularly around the hole. And if it gets too wet, or moisture gets inside, it will come back out again.
.
.
What happened with the egg [in the photos I posted], I think the shell got too cold, and the wax didn’t really adhere firmly. It was a brown eggshell I was etching in vinegar. You put the shell in vinegar, and any part that doesn’t have wax on it will dissolve a bit. One step is scrubbing it with a child’s toothbrush to get the layers off. But the wax started to peel off. So I used a tiny paintbrush, which I use for spot dyes, and I ended up just painting it.
.
.
I do it all on an Ikea desk in a 825-square-foot apartment.
.
Do you have a clear picture in your mind of how you want an egg to look, or does it change as you go?
.
I do change it as I go. If I’m going to make a new design, like the sunflower egg, I start with an experiment. I’ll start noodling around with the wax and see what happens. Through the process, I’ll start noticing, “This part runs into the other part of the pattern,” or “that part is too complex; that part needs more balance.” Then I do a second or even a third egg, to really master what it should look like.
.
.
Being a medieval scholar, do you feel any conflict when you invent new designs, rather then preserving traditions?
.
I probably should, but I don’t really worry about traditions being lost. There’s people very passionate about preserving folkloric and talismanic traditions, keeping records, photographing everything for books. There’s a real wealth of information on the internet.
.
.
Very rarely, someone who’s not familiar with it will say, “These don’t look like the eggs my grandmother made.” And they’re right. That’s why I say I do batik dye eggs, rather than saying I made pysanka. What I’m doing is inspired by Ukrainian folk art, but it’s not necessarily what someone is expecting.
.
.
Does the process relate to your scholarly work at all?
.
I did my dissertation on a twelfth-century commentary on Genesis. As I was working with this medieval text and looking at manuscripts, there were two stages of the text. Someone had taken it apart and inserted more commentary. It was sort of a gloss on the text, sort of like Talmudic commentary.
.
.
Having struggled with trying to fix things into a limited space, I had this very visceral sense of what it would be like to be a scribe trying to figure out what kind of space you would need. I found myself gesturing with my hands, trying to figure out how to divide up the page, because each manuscript is going to be copied. Just like each egg is going to be different, the parchment size is different, each scribe will be different. Just like with eggs, where you have to think about the shape and the shell.
.
.
The starburst egg, that I’ve made a ton of, is sort of rooted in when I was doing my oral exams. I was thinking about angels and light, those angelic wings going every which way, looking like fire. I didn’t put on dozens and dozens of eyes, though.
.
You wrote about how you used to keep a hobby blog, but that fell away as your professional life got more busy. Then your life changed radically, and now you once again return to making things. What kind of balance are you looking for?
.
I would like to get back to writing more about the Middle Ages for a broader audience someday. My life is not in a space right now where I have that kind of mental space. I need something I can pick up for fifteen minutes while Hannah’s in her stander, and then put down and move back to the next appointment, or answer a question about the teeth of whale sharks.
.
.
I never really feel like I wasted the time I spent studying or making connections, because I’ve been in such a supportive community. My advisor would like me to get back to writing a critical gloss.
.

The tagline for your blog is “making the best of the unexpected.” It sounds like what you do with your eggs. Is it also about how your life has changed?

. 
It’s a large part of who I am. It’s such a hard balance. Like any child, I learn from being her mother. But she is her own unique, wonderful person, and she doesn’t just exist to teach me things. I don’t want to objectify her. Being her mother is full of agonizing grief, sometimes full of excitement. Sometimes it’s really boring:  For the next few hours, we’re going to work on eating this solid food.
.
.
We were in Rome for my in laws’ wedding, during the Year of Mercy. Before we went through the door, I read a letter by Pope Francis that said, “Let God surprise you in this year of mercy.” I thought, “I guess I’m getting pregnant this year.” And I did. Hannah has been surprising in so many ways. Many of them have actually taught me about God’s mercy.
.
 Is your psyanky time something you want to eventually teach to your son, or is it something you need to keep as non-kid time?
.
For me, it is non-kid time. I’m working with Isaac now on baking and cooking. I do have a picture of Isaac as a two-year-old, sitting on my lap and helping me make an egg with an electric stylus (so there’s no candle involved).
.
.
I’m hoping we can have a chance to give it a first try. I was a little older than he was when I learned. And I’m not as patient as my mother was when she taught me. But my children do not exist for my growth experience.
.
You figured that out quickly, after only two kids!
.
I’m on the crash course plan.
.

You posted that you had to declare the weight of the goods you were shipping, and it was  .007 kilos. As a creative person and a scholar, do you have problems with the logistics of running a business?

.

The hardest part is the imposter complex, which is an old friend, since I have a PhD. I think, “People will get these [eggs] and hate them. They’ll see there’s a flaw.” That’s my biggest challenge. I’m pretty good with boring paperwork, doing tax forms. What I struggle with is the advertising, making sure I’m tagging things properly, writing the search engine optimized descriptions. That’s where I wish I could outsource.

.

.
If people want eggs before Easter, when should they order – in the US and in Canada?
.
I have three tiers.
The eggs I made will be updated until the fourth Sunday of Lent; then I can’t expect them to get there [to customers] in time. If people want to see those eggs, they can “like” the Facebook page, or “like” the Etsy shop.
I do made-to-order eggs that I’ve done the design work for, but I can change the color or text, and those will be done ASAP.
Then there are commissions. I design an egg for you, then it goes through a series of several sketches, and I talk to you about it, do one or two practice eggs, and then the final egg. Those are sold out for Easter. I am running a waiting list for after Easter, for Mother’s Day, or weddings.
.