Reverse

It was nice to finally get back to this piece. I started Reverse a while ago with the initial outline and one color, but never continued working on it. Life got in the way, but part of the hesitation was my exploration into using someone else that isn’t me as an emotional subject. I do feel more comfortable using my husband (Bryan) because we have been with each other for 13 years. I know Bryan better than he knows himself, I understand him better than anyone, I also know what he is comfortable with. Ergo, I am more comfortable using him as an emotional subject because of the connection I have with him. Continue reading “Reverse”

Q&A with Theresa Henson

This week I had the pleasure to meet and have an interview with Theresa Henson!


Theresa’s Interview

M: What do you think will change in terms of applying your relationship with nature and your work after the pandemic? Obviously, no one knows what the future holds, what thoughts have crossed your mind? i.e. Have you seen some of the pollution data since the pandemic hit? Is the current state of our society fueling that frustration with bloated capitalism and the effects it subsequently has on nature/Earth?

T: One thing I have noticed about the pandemic is how reassured people have been around the arrival of spring. With most of the structures of our lives altered, it felt like the shifting of the seasons was even more of a grounding place of normalcy. Despite the human affect on the environment, some things have not changed — and I am interested in these really elemental things, like: water is still wet, the sun affects the color and behavior of things, tension, weight, impact, the general experience of objects and life cycles, etc. I see the pandemic has human-created disarray with nature rebalancing herself. I feel grief at individual loss and societal disorder but also a strange reassurance of a sort of great rebalancing. I do think about the role art plays in a healthier, more just economy. Would the decline of a bloated capitalistic society affect the commerce of art? It would no doubt be healthier for human expression and community, in general.

 

M: What are your thoughts about marrying that connection between a community in crisis and a climate crisis? 

T: We are definitely learning about our capacity to make changes whether its convenient or not…which has always seemed like the impediment to more sustainable living for people. Continue reading “Q&A with Theresa Henson”

My Studio

When thinking about my studio practice, I realized I do not give it much thought, I just do. While observing myself, I noticed that I cannot work in the evening and the time must be scheduled. Mornings are my time to get to work, additionally, I require a setup that is optimal for my inspiration. If I start late, on a different scheduled day, no music, and in a different environment, my ability/desire to interact with my work diminishes. The regular studio time that I have thrives off the chaotic nature of the room. I thrive off this chaos because it allows me to let go from my personal cleaning/organization rituals of my own household. The act of letting go (of which you should know about already) is integral to my practice. In my house I have a minimalist approach, not too much clutter, anything you need you can see, and I celebrate open space. In my studio, which is within my house, I celebrate not caring. This space is my space to do whatever without worrying about how it looks, art, statues, figures, toys, collections, posters, paper, supplies, clothes…etc are thrown all over the space.

Once I enter my sanctuary (a.k.a. my studio), I have a sense of relief…if I entered at the right time/day. Continue reading “My Studio”

What Do I Do?

This is a good question to ask…well, put simply, I am a painter, in broad terms I create. However, this answer can be and is more complex than a general title.

To begin this complex answer, I describe what I do by one phrase, I let go. You are probably thinking, “What is this Frozen [insert-expletive-here]?!”  Well, dear patron reading this, who I am and how I got to this place in life, is significant to my practice. I come to the art world with an extremely analytical background where everything is based on hard facts. I went that route first because of my inability to let go. For years I struggled with having 100% control over my decisions, events, and life in general. I pursued a path that was wished upon by my immigrant family, being a doctor…the Psychology part of it gave them a heart attack. That decision was the beginning of an extensive road to letting go of control. Continue reading “What Do I Do?”