Archive for the ‘Mirrors’ Category

Classical Proportions/Narrow Perspective

Monday, February 1st, 2010

Available!  $900

Age of Knowledge, 1994: Women, Domesticity and Objects of Power

bronze, wood, mirror 26”h x 14”w x 9”d

I know Rae had fun making this piece.  The concept was straightforward.  She had been working for some time with the FatAn collective, preparing an anthology of works on Fat Activism.  She was never thin, though I do remember a time when we could wear the same jeans.  But she was a feminist, and outraged at the culture of artificial beauty that surrounds us.  She knew from experience that she could not lose her weight and keep her health, and who she was.

The modern image of female beauty is fairly recent, in its thinness, at least.  If you look at classical statues, the proportions of the women in them are much rounder than anything you’d see in a magazine.  So this piece is a statement of how our perspective has literally changed.  The columns (made from wedding cake decorations!)  and the pulchritudinous forms lounging at their feet represent classical beauty.  The mirror is made intentionally too thin to ever be able to see all of yourself in it, no matter how thin, and so is an analog to the internal image many women have that they are fat.


Happy Imbolc!

Mirror of Life, Mirror of Death

Tuesday, October 13th, 2009
Celtic Mirror Back

Also Known as the Celtic Mirror, this piece was first shown in 1994 at the show I highlighted last week.  Called “Age of Acceptance: Mirror Of Death/Mirror Of Life”  It stands 15″ tall, weighs about 10 lbs.   On one side, shown on the left, is a Celtic Design consisting of 5 triple spirals, or Triskelions.  The mirrors “handle” is a braid, which turns into a base consisting of 3 snake heads.  Lots of symbology here.

In her words from a later artist statement:

“My stories begin with the myth, the folk tale, the superstition and the stereotype hidden in our own homes.  The familiar object with the obscure story attached, the piece we are aware of, but don’t notice, the inconsistency that some of us avoid…  The relationship to women and the contradiction we live with daily…

…Similarly, the pot changes from a simple cooking implement, to a cauldron for unholy potions, our contrary roles of nurturer, healer, poisoner, witch….  The mirror becomes an object of vanity or magical sight. Mirrors gave me a gift of story about beauty,  about vanity, a view of women as perhaps less intelligent, more fragile in their beauty that draws rescue, or repels it with the contradictions of intelligent and beauty… Woman as more susceptible to “evil”, or  our powers to entice or attract “evil”, or be evil…  Contradictions in the face of beauty… ”

Mirrors are a common magical tool.  They can not only reflect the real world, they can be a window into the spiritual, the future, the invisible.  For this purpose, it does not need to be a perfect reflective surface, so Rae did not polish the mirror surface to its potential.  She had found pictures of old bronze mirrors from Greece and Rome.

Celtic Mirror Front

Celtic Mirror Front

The ‘face’ of the mirror is just reflective enough to give the impression of looking through a veil at a golden version of the room you are in, heavily distorted, and only coming into focus when you relax and look “through” it.   It is too heavy to use as a hand mirror, but stands well, and is stable on its three snake-head ‘legs’.

The mirror top was made of a circle of wax in a plate, with the decorations made by cutting out of a thin slab of wax. Details and the spirals were cut in with clay tools.  The handle was an actual braid of human hair, the snakes made by creating molds from Geltrate and plastic snakes, then pouring molten wax into the molds, and melding the wax to the hair, with a chopstick to give it rigidity to stand up long enough to place in the plaster and cast the bronze.

Handle and Base

Handle and Base

The name came last.  I am not positive about it’s exact meaning.  Like much art, the artist creates, has a vision, and the viewer (consumer? audience? ) interacts with it, their own experience informing their interpretations.  Literally, given the magical use of mirrors for scrying, the mirror of death could mean peering through the veil to communication with those who have left the world, miirror of life to view the present or future.

Women, Domesticity and Objects of Power

Wednesday, October 7th, 2009

So, a special treat today:  Context.

I have collected some info and images from Rae’s MFA show, titled above.  The show was November 6-23, 1994 at the Gallery of Design, 1300 Linden Drive.  At that time it was Family Resources and Consumer Sciences, now the School of Human Ecology.

Her Artist’s Statement:

Women, particularly cultural feminists, have often considered the possibility, questioned the probability, and even a romanticized the concept of a women’s culture. When I explore the concept of women’s culture, as a feminist, a storyteller, and an artist, I am drawn again and again to the concept of common objects. Common objects fascinate me — the careful consideration to function (its domestic roots) mars our perception of its grace and beauty, for, to be special something must be rare.

In a women’s culture, what might be different in the perception and the value of common objects?

I began to envision what common objects would be like from an intact, continuous women’s culture. If such a culture existd through the ages, what would those ages have been called? We have the “Golden Age” for mainstream culture, and the Renaissance, and the “Middle Ages”. Would it be different if there had been a dominant Women’s culture or even a valuation of women? I know they would be different for me. Using as my starting point stories such as the magic mirror of Snow White’s evil stepmother, or myths such as Cerridwen’s Cauldron of regeneration ( how did a cooking pot becomes a source of reincarnation and knowledge )?, I began to construct any exhibition of found objects from this “mythical” women’s culture.

I not only wanted to explore the concept of a women’s culture, I choose to layer it with the shadowed influences of existing culture – its legends, stories and processes and my own life experience and concerns. What resulted is my manifestation of Objects of Power.

This statement was posted in the show and on a brochure which was handed out.  What few people have seen is her first draft of the statement:

I am working from 3 premises:

•      There is a perceived division between art and craft, functional and non-functional, which does not exist in all cultures and in all times.  It does not exist in my reality.  I like to push this culturally oriented imaginary line around and see what I can come up with when I explore common objects, traditional and non-traditional materials and layered symbology.

•      Certain “Common Objects” fascinate me — they can be graceful and powerful, as well as functional.  We usually miss this grace and beauty, because we assume to be special something must be rare.  Many objects live with us in the mundane-but they also live with us in the world of dreams, mystery and legend.  My work seeks to delve these mysteries and reveal how common objects can become the icons of mysteries we all recognize if we care to look — if we dare to know.

•      Objects that are a common part of our culture often have rich associations with legends, histories, fables, folk-tales and folk customs.  I explore these associations by researching references to each object in mythic, poetic, and cultural literature.  I use interactive and multifaceted meshed layers that reflect this history and hidden meanings found in the research, with concepts from my own life experiences and response to the stories.

This process manifests pieces that are powerful, unique, and sophisticated.  These simultaneously simple and sophisticated pieces reflect the mundane perspectives of our society, but reveal a connection to the power of objects through their secrets, stories, mysteries, and innate grace.

Also from the brochure:

ACKNOWLEDGMENTS AND APPRECIATIONS

COMMITTEE MEMBERS:
Truman Lowe – Art Department
Leslee Nelson- Art Dapartment
Elaine Shear – Art Department
Diane Sheehan – ETD Department
And Larry Junkins–
he touched my heart & my art, Blessings.

SPECIAL THANKS TO:
Valerie Weihman – MATC
Tom Loeser – UW
Martha Glowicki – UW
Steve Feren – UW
Fred Fenster – UW
Brian Painter – UW
George Cramer – UW

SPECIAL FRIENDS
Those who helped make this show possible
Helen Klebasadel    Jini Kai
Amy Bethel    Mary Walker
Barb Westfall    Mary Bennett
Ari-Asha Castalia    Ann Schaffer
Leslee Nelson    Sara Killian
Suzann Hart    Val Weihamn
Casey Heinzel    Ethan Heinzel
Deb Trent    Bev Gordon
Betsy Tuttle and the folks of the Gallery.

And All My Love To,
MATH HEINZEL
Who suffered so gracefully for my art …

The pieces that were included in that show, some renamed:

BROOMS

From the Age of Mystery:  SWEEP OF THE MILKY WAY  Wildwood, Broom Corn
From the Age of Community: COOPERATION    Bronze, Bronze Wire
From Sweeping Changes: INSPIRATIONAL SIMPLICITY Quilted maple, Broom Corn

CAULDRONS

From the Age of Water: CONTINUITY    Bronze
From the Age of Fire: TRANSFORMATION Bronze
From the Age of Earth: REGENERATION Bronze

CHAIR

From the Age of Consideration: FAT GIRLS LIKE TO ROCK TOO Ash and Pecan

CUPBOARDS

From the Age of Confusion: ANCIENT MOTHER/MODERN LIES Walnut, fabric, mirror, bronze, clay, glass
From the Age of Consciousness: CAGED HEAT    maple, copper, cotton, silk, satin
From the Age of Control: WITH RESPECT TO THE WHORE OF BABYLON copper, lace, walnut, silk

MIRRORS

From the Age of Knowledge: CLASSICAL PROPORTIONS/NARROW PERSPECTIVES    Bronze, Wood, Mirror
From the Age of Acceptance: MIRROR OF DEATH/MIRROR OF LIFE     Bronze

——————–

I have not found any photos from that exhibition, though I will continue to look.  We do have photos of all the pieces, some in previous posts here, others yet to come.  For now, foryour gazing pleasure, the Ricking Chair that she made to fit a large woman, and which sits now in our living room.  Made of Ash and Hickory.  Fat Girls Like to Rock, Too:

Proportioned for the goddess in each of us.

Proportioned for the Goddess in each of us.