Category Archives: What I’m Making

New perSISTERS variations honoring Eleanor Roosevelt and Elizabeth Warren

I’ve tweaked these designs to add focus.

I will have all the perSISTERS and the Female Power Project scarves and shawls for sale at the Takoma Park Street Festival on October 1, 2017, 10:00am till 5:00pm. Come say hey! Event info: http://www.mainstreettakoma.org/featured-events/takoma-park-festival/

use PRIVILEGE to sow JUSTICE — #FemalePowerProject poster honoring Eleanor Roosevelt
SPEAK variation — #FemalePowerProject poster honoring Elizabeth Warren

Small Prints of perSISTERS

Fresh in the studio, 5 x 7 inch small prints of ten perSISTERS designs—you asked for them! Some are reworked designs and they are all slightly different because the ratio is different than the 8 x 10 base size I design them in. The “SPEAK” (honoring Elizabeth Warren) design is quite different, and also “use PRIVILEGE to sow JUSTICE” (honoring Eleanor Roosevelt alone here, without Edith Sampson). “SHOW UP” is “STAND UP” in this version. They are $4.00 for singles, $25.00 for a boxed set of all 10, $15.00 for one in a black or white wooden-ish frame. Contact me if you would like me to ship. Here they are.

Siouxsie Sioux Takes Command

TAKE COMMAND #FemalePowerProject perSISTERS poster honoring Siouxsie Sioux

This design was a personal commission for my daughter’s birthday. She had mentioned more than once that I might want to do a perSISTERS poster for Siouxsie Sioux. And then it was going to be her birthday and I thought I would do one especially for her. You might be able to tell that I have to devote some time to research for each perSISTER so that I can try to get to the essence of a woman’s power or gift. Well, I found out that Siouxsie Sioux really is amazing, and here is what I discovered:

“I do remember wanting to come across as all-powerful and I wanted to kind of make it painful for people.”

Siouxsie Sioux (Born Susan Janet Ballion on 27 May 1957), has been called “one of the most influential British singers of the rock era” because of her work with her revolutionary band, Siouxsie and the Banshees. Her musical genres are called “Post-punk, new wave, gothic rock, alternative rock, and exotica,” although in interviews she resists most labels. About her difficult youth she has said, “growing up in the suburbs you’re always very aware of being different. You want desperately to just not stick out. Thankfully as I grew older I kind of appreciated the difference and, I guess, accentuated it.”

This is adapted from Wikipedia (mostly) and several interviews available online:

At 17, she left school. It was during this period that she began frequenting the local gay discos where most of her sister’s friends used to go. She introduced her own friends to that scene. In November 1975, a new young group called Sex Pistols performed at the local art college in Chislehurst. Siouxsie did not attend, but one of her friends told her how their singer threatened the string of students present at that gig. In February 1976, Siouxsie and her friend Steven Severin (then still called Steven Bailey) went to see Sex Pistols play in the capital. After chatting with members of the band, Siouxsie and Severin decided to follow them regularly. In the following months, journalist Caroline Coon coined the term “Bromley Contingent” to describe this group of eccentric teenagers devoted to the Sex Pistols.

Siouxsie became well known in the London club scene for her glam, fetish and bondage attire, which later became part of punk fashion. She would also later epitomise gothic style with her signature cat-eye makeup, deep red lipstick, spiky dyed-black hair and black clothing. One music critic has pointed out, “She was overtly sexual on a level, but not for anyone’s pleasure but her own.”

One of Siouxsie’s first public appearances was with the Sex Pistols on Bill Grundy’s television show, on Thames Television in December 1976. Standing next to the band, Siouxsie made fun of the presenter when he asked her how she was doing. She responded: “I’ve always wanted to meet you, Bill”. Grundy, who was drunk, suggested a meeting after the show. That directly provoked a reaction from guitarist Steve Jones, who responded with a series of expletives never heard before on early-evening television. This episode created a media furore on the front covers of several tabloids, including the Daily Mirror, which published the headline “Siouxsie’s a Punk Shocker”. This event had a major impact on Sex Pistols’ subsequent career, and overnight, they became a household name.

Not liking the cliches put forward by the press, Siouxsie distanced herself from that scene and stopped seeing Sex Pistols. She decided to focus all her energy on her own band, Siouxsie and the Banshees…

Following the adage of DIY and the idea that the people in the audience could be the people on stage, Siouxsie and Severin decided to form a band. When a support slot at the 100 Club Punk Festival (organised by Malcolm McLaren) opened up, they decided to make an attempt at performing, although at that time they did not know how to play any songs. On 20 September 1976, the band improvised music as Siouxsie sang the “Lord’s Prayer”. The performance lasted 20 minutes.

For critic Jon Savage, Siouxsie was “unlike any female singer before or since, commanding yet aloof, entirely modern.” She opened a new era for women in music as Viv Albertine from the Slits would later comment:

“Siouxsie just appeared fully made, fully in control, utterly confident. It totally blew me away. There she was doing something that I dared to dream but she took it and did it and it wiped the rest of the festival for me, that was it. I can’t even remember everything else about it except that one performance”.

The singer from Radiohead, Thom Yorke, said: “The band that really changed my life was R.E.M. and Siouxsie and the Banshees …”. “My favourite show I ever saw then was Siouxsie and she was absolutely amazing. … She’s totally in command of the whole audience”. Yorke added that she “made an especially big impression in concert, she was really sexy but absolutely terrifying.”

Siouxsie Sioux is still making music, evading categories, and taking command. “I was doing what I wanted to do.”

Spread Love (honoring Heather Heyer)

The perSISTERS works are not the only things I’m making right now, but they are the pieces I finish the fastest. Every few days something happens to make a protest poster about! Soon I will be posting more about my (working title) Landscape of Objects pieces. August 28 is my deadline to complete three in that series, so there’s not long to wait.

HeatherHeyer
SPREAD LOVE — #FemalePowerProject poster honoring Heather Heyer who was murdered by a white supremacist terrorist on August 12, 2017

So, Heather Heyer. This poster will be available at Black Lab starting on Thursday, August 17.

Heather Heyer, a 32 year old activist for social justice, was killed by a racist white supremacist terrorist in Virginia in August, 2017.

The following is excerpted, with light editing, from an article in the New York Times of August 13, 2017, written by Christina Caron.

Heather D. Heyer was killed on Saturday, August 12,  in Charlottesville, Va., when a car crashed into demonstrators protesting a white supremacy rally.

Heather D. Heyer died standing up for what she believed in.

Friends described her as a passionate advocate for the disenfranchised who was often moved to tears by the world’s injustices. That sense of conviction led her to join demonstrators protesting a rally of white nationalists in Charlottesville, Va., on Saturday.

“We were just marching around, spreading love — and then the accident happened,” a friend, Marissa Blair, said. “In a split second you see a car, and you see bodies flying.”

The authorities said Ms. Heyer, walking with her friends, was killed when a car driven by a man from Ohio rammed into the crowd.

“Heather was such a sweet soul, and she did not deserve to die,” Ms. Blair said on Sunday.

Others said Ms. Heyer, who lived in Charlottesville, spoke out against inequality and urged co-workers to be active in their community.

“Heather was a very strong woman,” said Alfred A. Wilson, a manager at a law firm where Ms. Heyer worked as a paralegal. She stood up against “any type of discrimination,” he said. “That’s just how she’s always been.”

Mr. Wilson said in an interview on Sunday that he found her at her computer crying many times. “Heather being Heather has seen something on Facebook or read something in the news and realized someone has been mistreated and gets upset,” he said.

She often posted messages on Facebook about equality and love, said Ms. Blair, who recently left the law firm. “She’s always so passionate and she speaks with so much conviction all the time,” she said.

She worked to improve herself by taking classes and studying. “If she’s going to do something, she made sure she understood it,” Mr Wilson said.
Ms. Heyer lived alone with her Chihuahua, Violet, who was named after her favorite color.

For her, activism was about more than just “sitting behind your computer screen,” Ms. Blair said. “You gotta get out in your community and do things.”

“I’ve never had a close friend like this be murdered,” Ms. Blair said. “We thought, ‘What would Heather do?’ Heather would go harder. So that’s what we’re going to do. We’re going to preach love. We’re going to preach equality, and Heather’s death won’t be in vain.”

Reclaiming My Time

Reclaiming My Time
#ReclaimingMyTime perSISTERS poster, part of the #FemalePowerProject honoring Maxine Waters.

There’s so much to make art about right now. Sigh.

“I thank you for your compliments about how great I am but I don’t want to waste my time on me.”
“The time belongs to the gentlelady from California.”

I’ve wanted to do a piece on Maxine Waters for a while but I’ve been waiting for a copy-able image of her looking over her reading glasses. The best one (not available for reuse) was by Alex Wong for gettyimages. But now I’ve made an illustration based on the video feed from the House Financial Services Committee meeting of July 27, 2017. Christine Emba of the Washington Post writes: “Treasury Secretary Steven Mnuchin was testifying before the committee about the state of the international finance system when Waters, the committee’s ranking Democrat, asked why his office had not responded to a letter from her regarding President Trump’s financial ties to Russia. Mnuchin tried to sidestep the question with platitudes and compliments, apparently attempting to run out the clock on her questioning. It didn’t work. Waters shut down his rambling and redirected him to her question again and again with the phrase “Reclaiming my time,” a stone-faced invocation of House procedural rules.”

When I first started researching Maxine Waters and her questioning of Mnuchin, I was discouraged to see that the right’s painting of her as an “unhinged liberal” claimed the top three search results. When I went back to get the exact words for the background text in this design, I saw that the search results have been seized by the progressives because of the meme-ing phrase “reclaiming my time” and the amazing viral song produced by Mykal Kilgore. (You have to watch it!)

Seize the narrative.

From Wikipedia:
Maxine Moore Waters (born August 15, 1938) is an American politician, serving as the U.S. Representative for California’s 43rd congressional district, and previously the 35th and 29th districts, serving since 1991. A member of the Democratic Party, she is the most senior of the 12 black women currently serving in the United States Congress, and is a member and former chair of the Congressional Black Caucus. Before becoming a member of Congress she served in the California Assembly, to which she was first elected in 1976. As an Assembly member, Waters advocated for divestment from South Africa’s apartheid regime. In Congress, she is an outspoken opponent of the Iraq War and Donald Trump.

Waters was born in 1938 in Kinloch, Missouri. Fifth out of thirteen children, Waters was raised by her single mother once her father left the family when Maxine was two. She graduated from High School in St. Louis, and moved with her family to Los Angeles, California, in 1961. She worked in a garment factory and as a telephone operator before being hired as an assistant teacher with the Head Start program at Watts in 1966. She later enrolled at Los Angeles State College (now California State University, Los Angeles) and graduated with a sociology degree in 1970. In 1973, she went to work as chief deputy to a Los Angeles City Councilman, and in 1976 she launched her political career in the California State Assembly.

#ReclaimingMyTime

Designs for Morrison, Roosevelt, Sampson join perSISTERS Poster Series

TELL your story — #FemalePowerProject honoring Toni Morrison
#FemalePowerProject — use PRIVILEGE to sow JUSTICE

Here are two new poster designs in the #FemalePowerProject Positive Protest Principles Posters series, also called the perSISTERS. Now I will tell you about them.

TELL your story

It is partly through telling our stories—claiming the language for our experience—that we find female power. The more we speak and read, the more it is possible to express, and the more individual, “particularized,” experience becomes the rich shared experience of all humans.

Design note:
In case you’re wondering about the wiggly-flower thing in the upper right, I was inspired by the striking flower pin Toni Morrison is wearing in the photo of her receiving the Presidential Medal of Freedom from President Obama in 2012. Looking through my type ornaments, this one caught my eye. (It is part of the Poetica Typeface.) I think of it as an animated version of the flower pin Morrison is wearing. I placed it in the design over her open hand as if she is juggling a living story, throwing it into the air and into the world where it becomes an independent organism, providing a “context for our lives.”

Toni Morrison (born February 18, 1931) is an American novelist, editor, teacher, and Professor Emeritus at Princeton University. Morrison won the Pulitzer Prize and the American Book Award in 1988 for Beloved. Inspired by the true story of an enslaved African American woman, Margaret Garner, who had escaped slavery but was pursued by slave hunters. Facing a return to slavery, Garner killed her two-year-old daughter but was captured before she could kill herself. Morrison’s novel imagines the dead baby returning as a ghost, Beloved, to haunt her mother and family. It would be hard to overestimate the influence of this novel on literature and American cultural understanding. Beloved is the first of three novels about love and African American history, sometimes called the Beloved Trilogy. Morrison has said they are intended to be read together, explaining, “The conceptual connection is the search for the beloved – the part of the self that is you, and loves you, and is always there for you.” In 1993 Morrison was awarded the Nobel Prize in Literature. Her citation reads: Toni Morrison, “who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality.” She was the first black woman of any nationality to win the prize. In her Nobel acceptance speech, Morrison talked about the power of storytelling. To make her point, she told a story. She spoke about a blind, old, black woman who is approached by a group of young people. They demand of her, “Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? … Think of our lives and tell us your particularized world. Make up a story.”

Adapted from the Wikipedia entry

use PRIVILEGE to sow JUSTICE

When doing research on Eleanor Roosevelt I found this photo of her that includes Edith Sampson. They worked together on the U.S. delegation to the United Nations when the organization was crafting the remarkable Universal Declaration of Human Rights. Everyone should read this document which has been translated into over 500 languages. Who is Edith Sampson? She was a complicated woman at a complicated time, and this is what I found out about Eleanor and Edith.

Design notes:
Blue was Roosevelt’s favorite color. The orchid icon (background design) was made by freepik.com from www.flaticon.com

Anna Eleanor Roosevelt (October 11, 1884 – November 7, 1962) was an American politician, diplomat, and activist. She was the longest-serving First Lady of the United States, having held the post from March 1933 to April 1945 during her husband President Franklin D. Roosevelt’s four terms in office, and served as United States Delegate to the United Nations General Assembly from 1945 to 1952. President Harry S. Truman later called her the “First Lady of the World” in tribute to her human rights achievements.

Roosevelt was a member of the prominent American Roosevelt and Livingston families and a niece of President Theodore Roosevelt. She married her fifth cousin once removed, Franklin Delano Roosevelt, in 1905.

Eleanor and Franklin’s marriage was always complicated, and she resolved to seek fulfillment in a public life of her own. She persuaded Franklin to stay in politics after he was stricken with debilitating polio in 1921, which cost him the normal use of his legs, and Roosevelt began giving speeches and appearing at campaign events in his place. Following Franklin’s election as Governor of New York in 1928, and throughout the remainder of Franklin’s public career in government, Roosevelt regularly made public appearances on his behalf, and as First Lady while her husband served as President, she significantly reshaped and redefined the role of that office during her own tenure and beyond, for future First Ladies.

Though widely respected in her later years, Roosevelt was a controversial First Lady at the time for her outspokenness, particularly her stance on racial issues. She was the first presidential spouse to hold regular press conferences, write a daily newspaper column, write a monthly magazine column, host a weekly radio show, and speak at a national party convention. On a few occasions, she publicly disagreed with her husband’s policies. She launched an experimental community at Arthurdale, West Virginia, for the families of unemployed miners, later widely regarded as a failure. She advocated for expanded roles for women in the workplace, the civil rights of African Americans and Asian Americans, and the rights of World War II refugees.

Following her husband’s death in 1945, Roosevelt remained active in politics for the remaining 17 years of her life. She pressed the United States to join and support the United Nations and became its first delegate. She served as the first chair of the UN Commission on Human Rights, and oversaw the drafting of the Universal Declaration of Human Rights. Later she chaired the John F. Kennedy administration’s Presidential Commission on the Status of Women. By the time of her death, Roosevelt was regarded as “one of the most esteemed women in the world”; she was called “the object of almost universal respect” in her New York Times obituary.

Adapted from Wikipedia

Edith Spurlock Sampson (October 13, 1898 – October 8, 1979) was an American lawyer and judge, and the first Black U.S. delegate appointed to the United Nations.

Sampson came from a struggling family and left school at 14 to work. She eventually did finish high school and while she worked she studied at the New York School of Social Work. One of her instructors encouraged her to become an attorney. She worked as a social worker in the day and studied law at night. Sampson graduated from John Marshall Law School. In 1924 Sampson opened a law office on the South Side of Chicago, serving the local black community. From 1925 through 1942, she was associated with the Juvenile Court of Cook County and served as a probation officer. In 1927 Sampson became the first woman to earn a Master of Laws from Loyola University’s Graduate Law School. She also passed the Illinois State Bar exam that year. In 1934 Sampson became one of the first women to argue before the U.S. Supreme Court. In 1943, she became one of the first black members of the National Association of Women Lawyers. In 1947 she was appointed an Assistant State’s Attorney in Cook County. President Truman appointed Sampson as an alternate U.S. delegate to the United Nations in August 1950, making her the first African-American to officially represent the United States at the UN. She was reappointed to the UN in 1952, and served until 1953. During the Eisenhower Administration, she was a member of the U.S. Commission for UNESCO. In 1961 and 1962, she became the first black U.S. representative to NATO.

In 1949, Sampson was part of a non-government program that sent twenty-six prominent Americans on a world tour meeting leaders and citizens of foreign countries and participating in public political debates and radio broadcasts. Part of the reason she was able to participate is that, being a successful lawyer, she had the money to pay her own way. Sampson sought to counter the propaganda in the Soviet Union during the Cold War regarding the treatment of African Americans in the United States. This was controversial within the African American community and she was sometimes called an apologist for America’s injustices. Federal support for civil rights had to be a factor in a foreign policy that saw the cold war, at the time, as a war of ideas, and Edith Sampson was in the middle of this. It has been suggested that because she did not live in the American South and did not have connections there, she was not as aware of conditions there. She was a respected person at home and abroad and pressed for justice in the U.S.. She told an audience in Des Moines in 1950: “You have got to open these closed doors and end segregation if you are going to save yourselves. Communist agents have used the story of segregation as a propaganda weapon….It is bad enough, but the story they get abroad is worse than is actually true. If we had a real Fair Employment Practices Commission, it would mean more than having millions of dollars spent through the Marshall Plan. The people of the eastern and backward countries do not want gratuities; they want to be able to believe in you.” This was before the nonviolent protests spearheaded by Dr. King (with the Montgomery bus boycott of 1955) which pivoted the thinking of how to work for civil rights with the U.S. as a major character on the world stage.

Non-violent civil disobedience changed everything. “As a young preacher named Martin Luther King asserted amid the excitement of the Montgomery bus boycott in 1955, ‘If we were incarcerated behind the iron curtains of a communistic nation—we couldn’t do this. If we were trapped in the dungeon of a totalitarian regime—we couldn’t do this. But the great glory of American democracy is the right to protest for right….We are here because of our love for democracy, because of our deep-seated belief that democracy transformed from thin paper to thick action is the greatest form of government on earth.’”* Thus the protests were framed as an example of a vibrant American democracy, not as a symptom of its failure. Over time Sampson did become impatient with the slow pace of civil rights progress in the U.S.. In a speech to African American high school graduates in 1960, she said “We have convinced ourselves, because it seemed so necessary, that the battle against injustice could be won piece by piece through changes in law, through court appeals, through persistent but cautious pressures. We were mistaken. No—we were wrong. Ours was not the only way. It was not even the best way.” She stood “in admiration of those who…effectively used the new device of non-violence borrowed from Christ and Gandhi and brought to sharpened potency …by Martin Luther King.”* She concluded that, if it were possible for her to start over again, perhaps she would not make as many mistakes or miss as many opportunities, and that she may have had more courage to do things better. She still maintained that communicating person-to-person about American ideals and the lives of African Americans was better than any published propaganda.

In 1962 Sampson became the first black woman to be elected as a judge in the state of Illinois. By 1969 she had apparently regained her faith in working within the system, saying in a speech: “We learned that we could work within the establishment, the system, without necessarily knuckling under to it.”

She was a privileged woman and she worked for justice at a time, like now, when great inhuman forces seemed to be at work, and it was not entirely clear how to proceed.

From Wikipedia and *“The American Way: Edith Sampson, the NAACP, and African American Identity in the Cold War” by Helen Laville and Scott Lucas, published in Diplomatic History (1996) 20 (4): 565-590

PRESENCE: assembling the shards (Female Power Project)

Here are some process images of the piece I have in the EMULSION 2017 exhibition opening Friday, March 3 and closing March 16, 2017. I will be participating in an informal discussion on this piece on Thursday, March 9 sometime between 6:00 and 7:30pm. https://www.facebook.com/events/380502832306923/

The piece is a ladder holding 10 containers (re)constructed from shards of broken vessels, arranged on seven levels in three columns. Inspired by concepts found in the Jewish mystical tradition, the piece comes from the conviction that something fundamentally destructive has happened and a rebuilding must be undertaken. The shard vessels are strange and the original vessels—from which the shards came—are prosaic, kitschy, and often ugly. There is no pattern to follow to create the repair except for failed traditions and institutions, but still, something must be done. There is a pathetic absurdity to the objects and the enterprise; still, the stakes are high and humans must continue to be present and act in the world even when the presence of good is hidden.

Nice shadows! "PRESENCE: assembling the shards" in the PEPCO Edison Place Gallery at 702 8th Street NW, Washington DC
Nice shadows! “PRESENCE: assembling the shards” in the PEPCO Edison Place Gallery at 702 8th Street NW, Washington DC
Starting with thrift store knick knacks. In the Jewish tradition, creation was a "Shattering of the Vessels" when the originating power (in a "Big Bang") could not be contained, and the shards of these primal vessels were dropped into the world. For the purposes of this sculpture I imagine that any object in the world could be a shard of the primordial vessel, especially things which are separated from their original purpose.
Starting with thrift store knick knacks.
In the Jewish tradition, creation was a “Shattering of the Vessels” when the originating power (in a “Big Bang”) could not be contained, and the shards of these primal vessels were dropped into the world.
For the purposes of this sculpture I imagine that any object in the world could be a shard of the primordial vessel, especially things which are separated from their original purpose.
Starting with thrift store knick knacks. In the Jewish tradition, creation was a "Shattering of the Vessels" when the originating power (in a "Big Bang") could not be contained, and the shards of these primal vessels were dropped into the world. For the purposes of this sculpture I imagine that any object in the world could be a shard of the primordial vessel, especially things which are separated from their original purpose.
Shards. The vessels were simpler to destroy than to assemble. The shards, themselves polluted, are said to function as containers to protect the sparks of power scattered in the world. For more about “shards” in Kabbalah (Qliphoth) see this article.
Creating vessels from the shards. I combined shards from different vessels to make the new vessels.
Creating vessels from the shards. I combined shards from different vessels to make the new vessels.
Building in stages. I experimented with different adhesives. I didn't try to make them look perfect. I felt like the enterprise was pathetic. I matched up similar edges.
Building in stages. I experimented with different adhesives. I didn’t try to make them look perfect. I felt like the enterprise was pathetic. I matched up similar edges.
I scribed words into lead sheets scavenged from wine bottles. There is a long tradition, most evident in ancient Roman archeology, of magic words being written on lead sheets and thrown into wells and other contained spaces.
I scribed words into lead sheets scavenged from wine bottles.
There is a long tradition, most evident in ancient Roman archeology, of magic words being written on lead sheets and thrown into wells and other contained spaces.
There are ten aspects to the sparks hidden in the world, along with ten opposites that stand in tension with them. These aspects are represented by the words scribed into the lead and attached with a chain to their opposite inside the vessel, hanging inside and out in a similar way to how a label connects to a tea bag.
There are ten aspects to the sparks hidden in the world, along with ten opposites that stand in tension with them. These aspects are represented by the words scribed into the lead and attached with a chain to their opposite inside the vessel, hanging inside and out in a similar way to how a label connects to a tea bag.
The word for the good aspect (e.g. ‘Beauty”) is hidden inside the vessel and the evil opposite (“Blame”) is hanging on the outside to name the evil shard-vessel.
The word for the good aspect (e.g. ‘Beauty”) is hidden inside the vessel and the evil opposite (“Blame”) is hanging on the outside to name the evil shard-vessel.
The word for the good aspect (e.g. ‘Beauty”) is hidden inside the vessel and the evil opposite (“Blame”) is hanging on the outside to name the evil shard-vessel. In this way the good power in the world is shielded by the deformed vessels.
In this way the good power in the world is shielded by the deformed vessels.
The ten aspects are traditionally depicted aligned in three columns with seven levels, as they are in the sculpture. The aspects are called "sefirot" and their arrangement is called the tree of life.
The ten aspects are traditionally depicted aligned in three columns with seven levels, as they are in the sculpture. The aspects are called “sefirot” and their arrangement is called the tree of life.
In this sculpture I arranged the sefirot like this, from top to bottom. 1. Error (Division Based on False Knowledge) encloses UNITY 2. Confusion encloses WISDOM 3. Secrecy encloses UNDERSTANDING 4. (Greed and) Waste encloses ABUNDANCE 5. Domination encloses STRENGTH 6. Blame encloses BEAUTY 7. Hatred encloses LOVE 8. Failure encloses SPLENDOUR 9. Pollution encloses CLARITY 10. Fear encloses ACTION
In this sculpture I arranged the sefirot like this, from top to bottom.
1. Error (Division Based on False Knowledge) encloses UNITY
2. Confusion encloses WISDOM
3. Secrecy encloses UNDERSTANDING
4. (Greed and) Waste encloses ABUNDANCE
5. Domination encloses STRENGTH
6. Blame encloses BEAUTY
7. Hatred encloses LOVE
8. Failure encloses SPLENDOUR
9. Pollution encloses CLARITY
10. Fear encloses ACTION
I was struck by how the words describing the divine and its opposite relate to the ideas of the #resistance
I was struck by how the words describing the divine and its opposite relate to the ideas of the #resistance
In the Jewish tradition, humans are tasked with the project of "Repairing the World." This involves being present (“Here I Am,” says Abraham) with the holy presence of the sparks. The goal is to reunite the scattered sparks with the original power. The sparks are said to be the feminine aspect of the original, undifferentiated, power. This is how “Assembling the Shards” relates to the #FemalePowerProject.
In the Jewish tradition, humans are tasked with the project of “Repairing the World.” This involves, along with proper actions, a being-present (“Here I Am,” says Abraham) with the holy presence of the sparks. The goal is to reunite the scattered sparks with the original power. The sparks are said to be the feminine aspect of the original, undifferentiated, power. This is how “Assembling the Shards” relates to the #FemalePowerProject.
The viewer of the sculpture is prompted to mark her own presence by taking a pebble from the bucket and placing it on the ladder. This is a practice relating to another Jewish tradition of placing a pebble on the tombstone when visiting a grave.
The viewer of the sculpture is prompted to mark her own presence by taking a pebble from the bucket and placing it on the ladder. This is a practice relating to another Jewish tradition of placing a pebble on the tombstone when visiting a grave.
I assembled "Assembling" in the gallery last Wednesday. On March 9, sometime between 6:00pm and 7:30pm, I will give an informal 5 minute talk about this sculpture. I hope I don't sound like a crazy person. I am not a Jewish mystic. I am an artist.
I assembled “Assembling” in the gallery last Wednesday. On March 9, sometime between 6:00pm and 7:30pm, I will give an informal 5 minute talk about this sculpture. I hope I don’t sound like a crazy person. I am not a Jewish mystic. I am an atheist artist of Jewish ethnicity. (A distinction without a difference?)

 

 

PRESENCE: Honoring Ieshia Evans

PRESENCE: Honoring Ieshia Evans (Female Power Project)
PRESENCE: Honoring Ieshia Evans (Female Power Project)

Here is the most recent addition to the #FemalePowerProject, a multi-media triptych called PRESENCE: Honoring Ieshia Evans. This is one of two pieces with “PRESENCE” in its title. I will post about the other soon.

Now showing in the studio windows at Black Lab, you can view these works any time of the day or night (until I decide to take them down or show them somewhere else) at 716 Monroe Street NE, Studio 16, Washington, DC.

The three panels, based on a striking photograph by Jonathan Bachman, honor Ieshia Evans who was arrested in Baton Rouge on 7/10/16 protesting the murder of Alton Sterling. The writing on the pieces quotes parts of an interview with Ieshia Evans in which she describes her thoughts and feelings surrounding the event captured in the photograph. Her physical presence in the image holds immense power. I felt that this event and this person should be memorialized in some way since “viral” images have a tendency to be forgotten, their memory eroded by time and replaced by new viral images.

Multi-media assemblage and collage, triptych. The three images (below) show the left, middle, and right panels of the triptych. All pieces are collage, spray paint, painting, and drawing on museum board nailed to painted plywood with plaster decorative molding and writing in silver ink.

Left 18” x 24” x 2.5”
Text says: I’m a woman. I’m Here. I love my people.

Middle 18” x 24” x 1.5”
Text says: Ieshia Evans was arrested in Baton Rouge protesting the murder of Alton Sterling by police. “I’m human. I’m a woman. I’m a mom. I’m a nurse. I could be your nurse. I could be taking care of you. You know? I’m here. We all matter. We don’t have to beg to matter. We do matter … I never really considered myself to be in the definition of brave. But sometimes, jobs are given to you that you’re not really—you didn’t apply for. You know?” (Based on a photo by Jonathan Bachman)

Right 18” x 25.5” x 1.5”
Text says: 7/10/2016 – It is more than me, it is more than myself. So here I am, I have a responsibility to do something.

$750 each panel

Here they are in a gallery. Click to see a larger picture of each panel.

About the Female Power Project

The Female Power Project is a multi-media performance and series of physical expressions (shawls, scarves, pins, prints, multi-media wall pieces, assemblage sculpture, photographs, and—coming soon—assemblage boxes, a print publication, video…) I’ve created these objects and designs inspired by the power of women, both human and mythological. I’ve asked friends and strangers about their female heroes and deities. I’ve researched these females and tried to find the center point of their power or gift. I document this process here on this blog. In each piece I have tried not only to represent the person, but to represent the attributes and message—the power—of the person (or spirit) in words and/or in images. The females represented so far: The Virgin of Guadalupe; Malala Yousafzai; Harriet Tubman; Maya Angelou; Erzulie (the Haitian spirit of love); and Marie Curie. Coming up next: Frida Kahlo; Virginia Woolf; Aun Sang Suu Kyi; Rachel Carson; Nellie Bly; Simone DeBeauvoir; Rosie the Riveter; Ruth Bader Ginsburg…

Information on how to order pieces in the Female Power Project

You can order them directly from me! Just send me a message here to discuss your request (include your name, email, and the address you want me to ship to, as well as which pieces you would like to buy) and I will send you information and/or a Paypal invoice which will include the shipping cost (likely to be $5.00 for scarves and shawls and pins for U.S. destinations). I will ship when your payment goes through. If you are interested in purchasing a Female Power Pin ($48, some are $38) let me know and I will email you a picture of the ones I have in the studio right now. These are one-of-a-kind, so there’s no other way of telling what designs I will have when you want to get one.