Exploration

Dingo Dog 16" H x 20" W - African Totem 

I began experimenting with acrylic paints over a decade ago because I was looking for ways to create texture. One of my experiments was squirting acrylic paint onto a surface, covering the paint with a piece of plastic, using a brayer to roll over the plastic and create interesting shapes and textures. Then I would pull off the plastic which retained lots of the paint, place it somewhere else on the surface, roll the brayer over it and get another very textural shape.

Since there would still be paint on the plastic, I would then move to a sheet of printmaking paper, lay down the plastic and roll the brayer over it until all of the acrylic paint was removed from the plastic. These final prints were the most textural and I would layer several on top of each other, getting very interesting textures and color combinations.

I wrote an article about this experimental process for the November 2004 issue of American Artist magazine.

Over time I acquired quite a lot of these sheets of “trash prints”. I tore the sheets up and put the pieces in my collage pile. I used some of them when I did my Stone Age series, but most remained unutilized until recently, when another moment of experimentation and exploration arrived.

Sea Urchin 11" H x 14" W - Water Baby Totem

Torn Paper Totems

In cleaning and clearing my studio, I found the stack of “trash prints” and thought it would be fun to do something with them. This coincided with trying to move several unfinished paintings either to the trash or to give them life in some new form. In placing pieces from my trash prints onto an old painting surface, I allow the configuration to suggest a “totem” figure to me.

A person’s totem is generally revealed in the vision quest portion of a rite of passage. The totem is an animal or plant ancestor chosen as guardian and guide. There is a close relation or even identification between person and totem. A person’s totem is in no sense hereditary or genealogical, nor has it anything to do with social organization or religious affiliation.

The word “totem” may have come to us from the Algonquin tradition referring to the personal guardian or tutelary that belongs to an individual person and often represented by picture or emblem in the person’s medicine parcel or painted upon clothing or accouterments.

After doing a couple of test pieces, I began to see the potential for a series of “torn paper totems”.  I have made three totems so far and have three more ready for exploration. If you would like to suggest a totem figure, perhaps there is something in my “trash prints” that could bring it to life.

Sunshine and Shadow 11" H x 14" W - Sun Lover Totem

News

After traveling exhibitions throughout Oregon, California and Idaho, the original Pilgrimage paintings will be shown for the first time in Eugene, Oregon. If you've had in mind purchasing one of these artworks based on villages around the world in which I have worked, now is the time to contact me.

Pilgrimage Show at Eugene's Cafe Soriah in May and June.

Recently I updated some sections of my website. Please take a look at Recent Work, Upcoming Events, and the Eve’s Imprint section of my Art Gallery. I am open to suggestions. For example, has it become too unwieldy? Do you think it would be helpful to create a separate website for the art forms and writings on Eve’s Imprint?

Recovery

My focus during February has been on recovery, physically and creatively.

Recovery: I wet the entire surface of an old watercolor painting.
Then I used a variety of scrapers to reveal the white paper underneath.
Next I added another layer of shapes in acrylic paint.

Since returning from Italy, I have been doing yoga five days a week with a variety of yoga instructors. Walking throughout central and southern Italy was a great experience, but that much walking tends to tighten the hamstrings and calves. So my first goal in deciding to do yoga Monday, Tuesday, Wednesday, Friday and Saturday was to stretch my hamstrings. And that did happen in January.

But I had no idea how intensifying my practice could bring other exciting physical recoveries. In February I began to notice that the stiffness in my left leg and hip was beginning to loosen, resulting in a slight improvement in my balance and a vastly improved triangle pose.

I got really excited when, with my hands clasped behind my head while lying on the floor, I felt the elbow of my left arm touch the floor simultaneously with my right elbow. My left arm has had mobility limitations since I broke it nearly two years ago. My physical therapist had gotten me to the 80% functionality the doctors had said was the maximum I could expect. I wanted more than that and my physical therapist encouraged me to keep working toward that goal. I think I’m up to 90% now and I’m not done!

Unlocking A Broken Heart: All that remains of the original
acrylic painting are the brown color and large red shape.

For years I have wrestled with stiff hip and back muscles that compromised my flexibility. These were the result of the sitting required at my job. Although I had been able to stop the psoas muscles from seizing up by using a ball chair, sitting still constricted them, leading to tightness in my sacrum and lumbar region. In mid-February I experienced the first loosening of my back muscles when I was able to roll back and up into a supported shoulder stand.

In my artwork I have been wrestling with recovering my sense of color, layering techniques, and the looser painting style I used to have. The desire to recover these skills arose from a review of my Eve paintings. They were done in a palette of blues and greens with touches of Burnt Orange or Terra Rosa. I suspect I was drawn to cool colors because of the extreme stress of my job during the time that I began this series.

So recently I did several “play” pieces to begin my skills recovery journey. Recovery and Unlocking A Broken Heart are acrylic. I did Chinese New Year in gouache to warm up for the mandala class I’m teaching. All were painted on paper, on top of failed work from the past, thus I had nothing to lose.

Chinese New Year 2015: May the year of the sheep, goat,
or ram be filled with deliberate actions and expansive creativity.

Do you have a long-neglected physical function, skill, or talent that you would like to recover? Create a simple strategy and go for it. Believe me, you can do it!

Why Not?

At age 23, I flew all over Africa in six-seat prop planes researching how independence movements had expelled colonial rulers. Dare I say that I was embarking upon my own independence movement – to become a liberated woman?

1963 Africa Trip

At age 50, I left a 30-year career as a social activist to find my creative self while financially refusing to become a bag lady. Along the path of becoming both a professional artist and writer, I lost a breast and my only daughter, but gained two granddaughters and created a financial base for my creative careers.

At age 75, I traveled solo through southern Italy with meager Italian skills and a limited budget. After completing my artist residency, I traversed Campania, Sicily, Puglia, Tuscany and Umbria in search of the roots of Mediterranean culture. One purpose of the trip was about letting go of the past by challenging myself to move out of my comfort zones. I placed myself in different settings than I would normally encounter.

Traveling by train and bus
I covered a lot of southern Italy.

The Challenge of the Residency

In choosing to do a month-long artist residency in Assisi, I challenged myself to create the largest single piece I have ever done, to do it on canvas - something I rarely use, and to tackle environmental subject matter rather than the historical content with which I am more familiar. Working in shared studio space was difficult for me until I figured out that by rising early in the morning and working late in the evening, I could have the privacy I need when making creative decisions.

Perilous Majesty -
two faces of Mother Nature

Detail for Perilous Majesty

With my banner at the International Exhibition 

Being up on Mount Subasio, isolated from town, was a gift in that it allowed me to walk 1-3 hours every day in fresh air and beauty. Because one of our hostesses did not speak English, I had an opportunity to practice my limited Italian. Being a vegetarian and on a gluten-free diet, I passed up communal suppers and mostly had nuts, fruit, and cheese with rice crackers in the evening. This, plus the walking, enabled me to lose another ten pounds this year. Yeah!

Cover, exterior, and interior of quintych on
Assisi residency (Mt. Subasio).

The Challenge of the Travel

Unlike tourists, artists and writers travel alone. What I did may seem odd to those who have only traveled as a tourist, but professional photographers, artists, and writers do it all the time. You cannot get the story or the picture if you are following someone else’s lead or subject to the whims of a travel mate. Although I was alone during my travels, I was not lonely. I immersed myself in small Italian communities where I rarely met tourists.

Exterior of quintych on Italy travels.

In this way I was able to see how Italy is struggling economically and artistically. The years of Berlusconi’s corruption set back southern Italy enormously. Everywhere I observed the global culture of young people, the resilience of the Italian family, fashionable women and casual but not sloppy men. I saw communities that were stuck in the past and some, such as Lecce, that are using the past to springboard into the future.

I quickly realized that Sicily is the best place in Italy for understanding the Mediterranean region. Having spent only one week in Sicily makes me wonder if I need to go to Spain to better understand the Arab and North African migrations. Through many museum visits, I learned that indigenous Italians were not Greek in origin but came from earlier migrations.

Sorrento and Palermo panels

Getting Lost to Find the Unexpected

Because I have a poor sense of direction, I allowed myself an extra day in each location just for wandering - going from place to place with no particular direction or goal, not knowing quite where I was or what I might find. I allowed local people to suggest places of interest. During these “lost” explorations, my soul was nurtured in Palermo by Roger II’s 30-year ecumenical vision in the Palatine Chapel and the Mediterranean exhibition in the Norman Castle. In Lecce my spirit was refreshed by wonderful contemporary art and an amazing archeological museum.

Lecce-Otranto panel

I was present to geopolitical and social predicaments in Sicily where the raw potential of its multi-cultural population and history is undeveloped, and in southern Italy where Northern Europe uses it for vacationing rather than to assist local economies. Everywhere I witnessed how the United States, Northern Europe and China dominate retail through ubiquitous advertising.

In embracing my solitude, my two months in Italy became in many ways a spiritual retreat. My daily journal and walks helped me stay in touch with what I was experiencing. Weekly timeline reflections and bi-weekly blogs helped me track the history I encountered. Constant photographing and random sketching complemented the visual feast that Italy provided.

Bari-Matera panel

By not carrying a purse or dragging suitcases, I avoided unwanted attention from pickpockets. By following a rule of being in my lodging by the time it got dark I allowed my natural cowardice to keep me safe. My poor Italian language skills kept me humble and allowed me to discover, as a friend of mine reminded me, “the kindness of strangers.”

Green Heart of Italy

I began and ended my two-month Italian adventure in the center of the country – Tuscany and Umbria. Particularly in Umbria, I found concern for preserving and restoring the natural environment which is beautiful and productive.  Regional parks have been set aside and local groups have formed to mitigate destruction and contamination.

Orvieto - Tuscan Hill Town  

Set high on a hill, the Medieval town of Orvieto was easy to defend and was used by church authorities when they were in danger. The town's cathedral is a result of papal appreciation for the town's protection.

Steep cliffs surround Orvieto. 

The fertile Tuscan countryside below Orvieto.

 Built with alternating rows of white and dark gray stone, the cathedral stands out
from the dark tufa of which most other buildings are constructed.

The façade and interior Signorelle frescoes were the Roman Catholic
Church’s propaganda during the counter-reformation.



The bronze doors, added in the 20th century,
were designed and constructed by Italian sculptor Emilio Greco. 

As elsewhere in Italy, Orvieto is riddled with caves. It was interesting to discover that people in this region did not live in the caves but used them for work and production. The making of olive oil and of wine was especially suited to the cool temperature of the caves, as were the cultivation of pigeons and the creation of ceramics. The porousness of the tufa facilitated the sinking of water wells.

Examples of cave openings in the tufa.

The same olive press design seen in an ancient underground
cave is still utilized today throughout the region. 

The level of sophistication in creation of ceramics is evident in
 the use of molds for making votive products.

For a source of meat, pigeons were raised by carving places for then to roost.

The Etruscans

One of my reasons for visiting Tuscany was that 40% of my DNA matches that of people from this region. I chose Orvieto because of the presence of two archeological museums with Etruscan artifacts. The Etruscan civilization lasted for a thousand years, beginning in the 9^th century BC. The territory it covered and places affiliated with it was fluid and extended beyond present day Tuscany, Umbria, and parts of Lazio. The origin of the Etruscans continues to be a matter of debate. What is confirmed is that they were not Greek.

Rains of an Etruscan temple called Belvedere where many museum
artifacts were found.



In these examples of Etruscan ceramics, note the double spiral form
 used for the handles of the large pot. This form is found on many Etruscan ruins. 

This is authentic Etruscan design. After numerous visits to archeological museums
 I could distinguish between Etruscan and Greek ceramics.

Small votive images used at Belvedere. Note the sensuous
quality typical of Etruscan art.

International Exhibition

During 2014, fifty-seven artists from 22 countries had residencies at Arte Studio Ginestrelle in the regional park of Mount Subasio near the hill town of Assisi. During the first week of December, a curated exhibition of works created during the residencies was held at Le Logge gallery in Assisi with sponsorship and support from the town council.

As people gathered for the opening reception, I was pleased to see
 young families bringing their children.  

The support of Assisi council was manifested by the two men at far left and right.
Center are Marina Merli, Art Director for Arte Studio Ginestrelle, and a regional
 art critic who set the historical context for contemporary art. 

Women viewing my large banner, Perilous Majesty, reflecting
the benevolent and destructive aspects of volcanic mountains. 

Outside cover for my accordion book that shares the big steps in my
 creation of Perilous Majesty and Mount Subasio's impact on me. 

Assisi – Birthplace of St. Francis

When Francis rejected the wealth of his family and went off to live in a grotto and talk with the animals, the townspeople of his day thought he was a lunatic. Yet after his death they saw and cast him in a new light, along with Clare who founded the religious order of the Poor Clares. Today the town of Assisi is a place of pilgrimage, as Christians from around the world come to walk in the footsteps of Saint Francis.

It is not just Frances and Clare that lend an aura of sacredness to the town. The light pink stone used for construction creates a warm environment. The town's hilltop location guarantees light and open vistas. Because Francis used to greet people with, “The peace of our lord be with you.” Assisi has been called city of peace.

The local limestone used for construction in Assisi lends a
warm and gentle aura to the town.



I am particularly fond of the half arches on the left side of the
 church of Saint Clare where you can see the use of white, pink, and red limestone. 

While gallery sitting, I loved to look through Le Logge's metal gates
 at architectural details such as these three windows.

Among all the Madonna's in Assisi, my favorite is this contemporary one
given to the city by a South American country. 

Assisi's celebrated hero.

It is ironic that "the city of peace" is dominated by a monstrous fort
 used to protect nobility and church authorities.

A medieval scene inside the fort.

Yes, the fort had a military purpose.

View through one of the many "peep holes" necessary for surveillance.

At the top of the last tower to be built, there are
360 degree panoramic views.

Now my Italian adventure has ended and I am home in Eugene for the holidays and a wide open future. 

The Heel is Strong

In Puglia, Bari was the best place from which to get to Matera and then Lecce and Otranto further south, in the heel of Italy's boot - a region called Salento. Olive groves I'd seen elsewhere were nothing compared to the size of the orchards and age of the trees in Salento - ancient twisted trunks supporting voluminous foliage. Over the centuries, people have cleared fist-to-butt-sized rocks from the fields and built fences and field shelters with them.  

Matera: 2019 Cultural Capital of Europe

From time immemorial, Italy’s rocky, cave-riddled mountainous terrain has  provided shelter for animals of many kinds, including two-legged humans. People lived in the prehistoric caves of Matera up until the late 1950s. By edict in 1952, the last peasant occupants were forcefully moved from their cave dwellings into “modern” structures and the government took possession of the land. A complete way of life ended.
 

Caves of Matera

Example of cave dwelling in the 1950s when spinning and
weaving were part of a peasant family's daily life. 

Work animals and their fodder shared the space.
Note the fishing net and trap. 

Many early Christian churches were in caves.
Here you can see remnants of frescoes.

One way Europe has turned its vast historical sites into an economic resource is by annually selecting a particular site as “Cultural Capital of Europe.” Recently Matera was selected for 2019. Scaffolding throughout the area represents the beginning stages of a five-year journey to get ready for a burst of tourism in 2019.

Lecce: Vibrant Florence of the South

When I told my Palermo B & B hostess I would be going to Lecce in the southern province of Puglia, she said, “Why? No one goes to Lecce.” I replied, “I was intrigued by pictures shown by my Italian teacher." Her pictures did not lie.

A poster for the show Gilgamesh alerted me to the existence of
the contemporary art museum.

In Lecce I found a vibrant community that maintains a thread of continuity with its past while continuing to move into the future. Perhaps the university, one of the oldest in Italy, plays a key role in keeping young people in Lecce and giving them encouragement to take risks and make changes. I saw more young people here than anywhere else that I traveled. Places I visited in Lecce, such as the contemporary art museum called MUST, had spaces for children to experience themselves as art makers and welcomed parents with baby carriages. If one were looking for a “total” Italian experience in one site, that might well be Lecce.

• Ruins of both Roman amphitheater and theatre
• Contemporary art museum – MUST
• Active contemporary practitioners of all the arts
• Amazing archeological museum
• Beautiful baroque sculptures on churches and public buildings
• Part of Slow Food movement of southern Italy
• Small, safe and sunny

The gates into Lecce's ancient Roman amphitheater are still standing
 in the midst of Lecce's Old Town center.

Seating and gladiator entrance.

Down the street is the ancient Roman theater.

The theater was one fourth the size of the amphitheater.
It seems that violence has always trumped story.  

Floor mosaic of the theater.

Costumes were the clothing of the day, however colors were used to
distinguish different characters.

MUST, a contemporary art museum, is adjacent to the Roman theater.

MUST retains original architecture of the former convent.

I was attracted to the work of Carlucci, based on body fragments
and using gold for the interiors and an olive tree texture for the exteriors.

This is the most well-organized and accessible archeological
museum of the many I visited. Awesome.

Wall plaques in English guide you through the human journey
as it was experienced in Salento.

The Mediterranean Sea was the meeting place of Europe, Africa, and Asia.

On one of my "lost" adventures I found the Tonda art workshop.

What appears to be two sticks on the left is a desk lamp.

These lamps allow you to take rose windows home with you. 

Otranto: The Fate of Mediterranean Ports

In ancient times Otranto was a busy port of southern Italy, the closest to Albania. It was often the target of other people wanting either to possess it or to scuttle its segment of Mediterranean trade. Sacked by the Turks in 1480, 800 Catholics were slaughtered for refusing to convert to Islam. In WW II, its port played a role in the allied occupation of Italy as they pushed back and defeated the Nazis. In my very brief visit, I saw a lot of recent construction (by whom I could not tell) and EU money helping to restore heritage sites.
 

Otranto beach has a high ranking as environmentally well cared for. 

Castle - the well to do have always vacationed by the beach.

After repeated attacks, fortifications were built.

The lacework of the church's rose window was damaged in an earthquake.
There is an amazing floor mosaic that I missed due to timing of my visit.