Rae Atira-Soncea's memorial Blog Rae's Blog

(honeysuckle, honeysuckle roots)

Sweeping Changes

I am doing another entry right away, since it was a long break, and I’d like to get all the work done.
This might be my favorite broom.  It is wild and sweet, and reminds me of her.  When I look at it, I see her dancing.  She used to love to dance, and even when she was in her chair, she would twirl and glide with music sometimes.  I still get at least a tear in my eye when I hear the Avett Brothers song, Swept Away:

Well you send my life a whirling
Darling when you’re twirling
On the floor
Who cares about tomorrow?
What more is tomorrow?
Than another day.

I am also going to use Rae’s own words for this one, again from Master Sweepings:

Southern women, tough strong, stubborn.  Mothers, grandmothers, not genteel, but wild, bodacious – dancing thru life – not ramrod straight, but laughing, courageous women who know how to bend.  Spinning, rocking, vining, rooting.

Each of the brooms could almost be considered a love letter to women, but this one is specifically to my grandmothers, who are the ones that taught me to love being a woman.  My grandmothers danced through many dramatic, sad or normal times, and each of them has given me an alternative picture of what older women are.  Wise, strong and outrageous in their own right, they worked hard, laughed, and argued with each other.  They taught me resilience.  The honeysuckle is resilient: cut it back or dig it up, and it comes back.  The honeysuckle is considered a flower by some, an invader by others, little better than a weed.  Like the honeysuckle, my grandmothers cared little for outsiders’ opinions, but grew in their own manner with their own belief system intact.
Poor women, with little education, they were anything but invisible or worthless.  Many old women live alone, cut off from affection, sexuality and life, but not these women.   Each of my grandmothers carried her own name  proudly.  They were short little women who were majestic in their stature, righteous in their anger, humorous and stubborn.  Never would these women sit meekly by and allow someone to dictate their lives, nor did they encourage their granddaughters to.  This broom is a message of reclaiming in that I want each of us to dance into our own power and catch/make our own dream.  This is the clearest message, maybe the only clear message, other than the importance of tenacity, that my grandmothers gave me.    The broom was also an acknowledgement of the skills and love of making that I got from them.  Each of my foremothers is an artist in her own right.  My great great grandma MacDowell was a weaver and a quilter, who lived to be 99, and held my oldest son in her arms.  Great grandma Nancy made quilts, hooked rugs and dolls, and raised literally millions of birds in her house and barn to sell to pet shops and bird houses.  She lived with a man for almost 30 years, and laughed about their great sex until he died when she was 74.  Grandma Dora was a seamstress and baker and the quietest of the lot, but she married her second husband at 72.  All of their art would have been considered craft  they define it as such themselves  but it is not just domestic objects that they made, used, gave away, traded and sold  it was something from the heart, made with attention and intention.  This was their gift to me.
The broomstick is made of the heavy branch of honeysuckle, cut in half and fitted back into itself so that the shape emulated an elegant classical “S” curve so often associated with women and their posture.  Grace and posture is a presumption all rural southern border state women must deal with.  My grandmothers did often tell me to stand up straight  but there was such grace, comfort and strength in their own easy posture it was easier to emulate.   I used honeysuckle because it has a relationship to the south.  I think it is the word itself that I respond to.  “Honeysuckle” rolls off the tongue, and has a sensuous sound.  We had Honeysuckle Queens and honeysuckle parades and festivals that had nothing to do with the plant.   The flying skirt of the broom is made of roots to give credence to my belief in the importance of roots as a nurturer of the strength to build the self.

From Sweeping Changes

Available!  $200

Driftwood, willow, silk
The Ghost Broom was Rae’s tribute to the craft of making brooms.  When she did the research for her MS in Related Art, it was clear that many of the old broommakers were worried their craft was disappearing.  While looking for what Rae said about this broom, I opened up her Thesis, Master Sweepings, and found this section on the Ghost Broom:

Something lost and drifting away.  Lost symbology.  Fading away, broom  ghost of what it used to be…

As a small child each of us may have played with, danced with, or imitated a parent cleaning with a broom.  How many of us learned from a broom about the relationships of space, extensions from our body, and moving in unison with something else? What happens now with electric brooms, vacuums, and carpeting? The broom has been replaced now by a baseball bat kept beside your bed on scary nights.  Who leans on their broom on the back porch, watching the sunset and relishing another day gone and the work accomplished?  When will we walk into another hardware store and see a flower bed of brooms sprouting up from a wooden rack, and watch the magic of a woman picking out her new broom?  What is our relationship to broom, to this artifact of culture being lost and replaced by technology and plastic? Why is everything domestic devalued?
One of the most moving experiences that really solidified my ideas about Ghost Broom happened in Chicago at Blindskills Distributors, a suppliers warehouse.  The neighborhood was rough and deteriorating and the owners were as well.  They welcomed me in, gave me ice water and stayed right there, but worked through the entire conversation, lifting and toting in oppressive heat and dust.  They supplied brooms to Shriners and Moose clubs and other organizations for fundraising projects.  The brooms they supplied to these organizations were from collectives/factories usually run by or for the blind.  They lamented that plastic brooms, brooms from overseas and even the loss of community organizations that ran these kinds of “down to earth fundraising projects” were seriously affecting these collectives.  (It didn’t affect their business  they were really suppliers of industrial carpeting).
Several of the broom factories I visited also had an impact on my concept of loss.  Mark Quinn of Quinn Broomworks, Greenup, Illinois, showed me his broom factory in progress with many people working, each making as many as 25 to 40 brooms a day.  He was animated and excited.  At each station, he showed me different aspects of broommaking  washing wrapping, sorting, dyeing, etc.  Much of the equipment he had was older, worn, and even rusty, but he had great pride in it nevertheless.  We then went to a different section of the factory, where it was very quiet, no thrumming of vises and clamps or busy voices.  There was a large machine (sitting idle) which, with two people to run it, would make 37 brooms in an hour.  According to Quinn, the greater capacity was needed because plastic brooms fall apart in maybe a quarter of the time that a “good corn broom” did.  When he spoke about the machine and how he needed it because so many folks wanted those plastic brooms, he lost that schoolboy enthusiasm.  The tactile quality of making a broom was gone: another tradition being lost.
I found a piece of honeysuckle driftwood, grey and white, bleached by the water and sun.  It carried in it a sense of loss, decay, and mournfulness.  I went into the piece with rasps and sandpaper to accentuate that sense, to cut away rot and expose hidden faces and craggy places.  I then found about 20 thin pieces of corkscrew willow to use as exposed bones of the broom skirt.  I stripped the bark, bleached them using the sun, vinegar, and bleach, and they began to take on that same weathered aged look of the broom handle.  I then drilled holes to precisely fit each stick to the broom handle in places that would encourage the illusion of the broom being one piece, such as little dimples in the wood, holes, and bumps where small branches had been.
I wrapped the piece with unspun silk, stretched sparingly about the broom to give it the look of cobwebs, disuse, deterioration, something abandoned in the corner of an old house.  I mounted the broom on a narrow rod that caused the broom to quiver whenever anyone walked by.  Many of the viewers of this broom seemed to respond to this sense of abandonment, because it was one of the brooms that people stood in front of, holding their hands out as if to touch it, to hold it, to make it better.

The broom itself has aged and transformed, is more of a ghost than it started as:

from Sweeping Changes

Cosmos Sequence, Wild Wood, dyed broomcorn.

Collection of Bankston-Thomas, Milwaukee

From Sweeping changes, and also appearing in Women, Domesticity, and Objects of Power, The sweep of the Milky Way is a subtle, beautiful interpretation of the night sky as a broom.  Rae had the stick, a found sapling with characteristic spiral caused by growing with a vine entwined around the trunk.  This wood cried out to be made into a broomstick, as so many similar sticks find their way into craft brooms at Art fairs and festivals.

She stripped the bark, smoothed the wood, and painted it flat black.  Then airbrushed and daubed pearlescent white paint for stars spiraling around the stem.  To make it glow, a clear coat of lacquer was applied.  The result looks like it could be floating in space, slowly turning with the eons and circuits around the galaxy.

The base is dark brown dyed broomcorn, tied with black cord in 5 bundles, making a star pattern.  The broom sits on a square of chamfered wood also painted black.  This is very much a Witches Broom.  Powerful and magical in appearance and energy.

Tulipwood, flax

Available! $450

One of the 13 pieces in Sweeping Changes, and not included in any shows since, I think.

This simple broom was an exploration of shape and texture.  A very hard wood, it took a lot of carving to get the spiral worked into it.  It also took the light oil finish well.  Not a lot to say.  Within the design and its interaction with the viewer are possible associations and stories.  I know Rae, as a weaver and spinner, liked to work with flax.  The raw flax in this is quite different from linen.

What do you see?

Detail