It hasn't taken me long to experience my first epiphany of 2009. During a recent interview I was asked several questions which I answered separately and honestly. Afterward I was re-thinking my answers and realized what I multiple-personality-disorder I must sound like. My life, and therefore my past, has been so bifurcated! On one side I have the genealogy of being a descendant of James Cahill who was on the boat with George Washington - that family declined through the years but made a comeback in the 1900's with entrepreneurial spirit, that was my paternal grandfather's paternal side. All of my birth father's half brothers went to college or an official trade school and had careers. One of them is a multi-millionaire. So I was the 2nd generation of college graduates on that particular branch of the family. Above: Here is a photo of my father (Walter Hugh Creekbaum, born 1941) with his parents: Mabel (Wiatt) (Creekbaum) Barlow and Emery Wilson Creekbaum, born 1917. Mabel and Emery divorced before Walter's 1st birthday. They both married again and had many half-siblings for Walter. He was shuttled back and forth his entire childhood. This impacted his life to this day. Flip this to my maternal grandparents, my maternal aunts and uncles, and you have a completely different story. Also, my own parents divorced before I was a year-old and I was only sporadically exposed to this educated branch (although I saw my paternal grandfather and his wife once in a while, my father's half-siblings on that side never went out of their way to maintain contact with my sister and me while we were children). Anyway, on the maternal side I do not know of one of the previous generations' college education. I have one uncle that was brave enough to leave Indiana and have a great career in the Navy and I am sure he received lots of training there. However, to my knowledge it was the generation of children born in the '60's and 70's (my generation) who first attended, and graduated, college. Many of us attended only as adults after starting our families. Yet, I have this far reaching experience from my Unce Jimi Barlow and (the late) Aunt Karen Barlow Alexander, my birth father's half-siblings on his mother's side. They were both educated right out of high school and showed my sister and I the greater world. From an early age I can remember staying with them and reading great classics. My birth father, though he did not attend college, is extremely intelligent and is a voracious reader. I spent many Summers of my late youth and teenagers years living with them and experiencing the lives of educated, career-paced individuals. To the left is a photo of a typical Sunday afternoon at the farm of maternal GRANDFATHER, Stephen E. Abernathy. Many cousins frolicked and wreaked havoc on the 52 acre farm in rural, west-central Indiana. This is about half the Abernathy siblings and half the offspring. Center is Grandpa, in his 'bibs' - a WWII hero how took custody of my mother and her three siblings when he returned from Germany. As a toddler to early teen, my mother was raised by a stepmother who died when she was was a teen. Soon after, her birth mother died and she had never been allowed a private visit. After Grandpa's last marriage, adding in a few more siblings - the total was 13. Mother moved out upon her 18th birthday. Married at 19. Had my sister at 20. Since then she has worked non-stop. I don't know exactly where this leads me, but recognizing the vastly opposing history of my familial branches really struck a chord with me. I feel I may be a good example of the balance of the auto-didactic and the formally educated. Each approach enhances the other. While I deeply regret my adult $20,000 student loans, I would never trade that mere piece of paper for my mountain of knowledge that I learned through the curiosity of a creative mind. Above right, is the photograph taken in 1981 during my sister and my visit to Texas, where all of Mabel's family and offspring had relocated at that time. From left to right: Uncle Jimi Barlow, an award winning journalist (Walter's half-brother), my sister Lisa (before her Sr. Year of High School), Aunt Karen (Barlow) Alexander, a speech therapist and author who died of breast cancer five years ago (Walter's half-sister), me at age 12 (I am hiding a cast and had 50 plus stitches in my head from a three wheeler accident that morning, I think I was high on Tylenol 3!), my birth father, Walter Hugh Creekbaum - he lived in TX for several years before relocating to Bradenton, FL. I pay homage to both sides of my genealogy. These ancestors and recent life mentors have made me who I am today. I appreciate my education, possibly more than those who felt they were 'owed' it, because I longed for and sacrificed to receive it. And I humbly thank the relatives that took the time and money to expose me to the wider world. Perhaps they saw in that child, some potential for a better life. Who I am - is equal parts biology and biography. I continue reaching for balance in both areas and to pass along the beneficial lessons, while hoping the inheritance of broken families will not adversely effect my children. On the right - a photo of my sister, Lisa and me, probably taken Feb/March of 1968. Right before our father left. Although I had a brief marriage in in the late 90's (1987-1990), I was lucky enough to get out of that situation and have now been with my husband, Don, for 18 years. We have three children who are almost alone in their status of being raised by both their biological parents. To the left is a beautiful picture of my mother - the resemblance is uncanny. Here smile is still just as wide and warm and her eyes still sparkle. After a long life of working endless days she will be retiring in just a few weeks. I am looking forward to seeing her for more fun times - hoping to take her to see Loretta Lynn's Museum and also go on an antiquing/quilt viewing trip to Paducah, KY. ---- I feel that I am amazingly OK given the broken branches of my family. I hope I am reastablishing some nurturing roots for my children - understanding our histories is one step along the way to evolving and preventing damage. As I continue to untangle my roots, I do know that IT IS WELL, WITH MY SOUL - EVEN SO, IT IS WELL WITH MY SOUL.Read More
It's my birthday, so I am giving myself a present - The Right To Toot My Own Horn. Here are a few quotes from messages I have received in recent months about my artwork . . . as I deeply respect both of these authors, I am stunned and humbled to be lauded by their beauteous words!Read More
I."You are an art magician. What you do is spiritual alchemy made manifest" - Suzanne Finnamore, Best-selling author of Split, Zygote Chronicles, Old Maid and others. www.finnablog.blogspot.com Sher's Response to Suzanne: You are a goddess among women - you have the wicked tongue and cool bangs of a true lioness. I would love to have you in my pack of wandering four-leggeds - after we have all reincarnated from our current, sharp-as-a-tack selves. We can howl at the moon from all corners of our earth - ye from the west, self from the south, and blade from the easterly region, I'm not sure if Kate Cake qualifies as northerly (we might need to subsitute Jim Shue as our northern sister kin as he is closer to the North Pole). . . or maybe Brandon, I need help on the 4th! Your Prayer Flag is blowing crimson in the fluffy falling snow (calling you home to North Carolina, I hope). If I can FIND my camera amongst my boughs of holly, I will take a shot and send it forth . . . (um, I might need a week for that).
II." . . . this is what I want to say: you are not merely gifted technically, you have endowed those pieces with such heart-sweetnessI wanted to cry. My daughter and sister will see what I meant them to see: a touch beyond dimensionality, as fragile and sublime as the butterfly wings and the words of grief behind them. Your heart is there, and as a person who tries to never shy away from putting my own heart in my work, I see it and I offer you my deepest respect and gratitude. I know I am a loony as a religious person, but I do believe we are here to enrich the space we’re given, and you have done that; I thank you. Thank you sincerely". - Haven Kimmel, Best-selling author of A Girl Named Zippy (as well as She Got Up Off the Couch [sher's favorite memoir], Something Rising Light & Swift, The Solace of Leaving Early, the Used World, and Iodine, and several children's books). www.havenkimmel.com Sher Responds to Haven: I can barely respond to your comments because they mean so much to me. From the moment I read the first sentence of Zippy I felt you KNEW ME, that we had lived parallel lives of some sort, not only with the back story/region, but especially with your lighthearted SENSE of HUMOR which slays me - and then to discover the deep spiritual truths and depths of your writing - which reveals your soul in all its glory. Thank YOU. I hope to continue to live up to your authenticity. I can't think of anything adequate to say . . . so . . . Appreciatively to BLADE from LANCE, May we slay all the beasts in the nether-worlds,
I was so lucky to be invited as a Feature Artist in Jules Sterp's 7 Before 7 Blog Review http://blaine.org/sevenimpossiblethings/?p=1461#comment-61390 It was quite an honor and the page turned out beautifully - thanks so much! MY ART WEEK: This has been a busy "art" week with last Friday's opening at the Renaissance Center in Dickson, TN for their Regional Exhibition, plus electrician in the studio working on the new lighting and expanded outlets (encaustic work uses A LOT of electricity), and to cap off the week, I attended a great workshop with my art buddy, Aletha Carr (www.alethacarr.com) at the Nashville Public Library. It was co-taught by Ellen Rust (a poet/educator www.awakeningthewriter.com ) and visual artist Sue Mulcahy (whose work/series "Open To The Night" is now on exhibit at the library gallery). We began with responsive mark making using graphite. We learned to express, through marks, the sound of music and the smell of ginger, lemon, banana. It was enlightening to view the similarities of another artist's expression of the same sense. At left is my exercise, directions were: beginning with graphite mark, create a lifeline without lifting the graphite from the surface. I began in the lower right hand corner, dragging and twisting the graphite to create "blooms" which represent my children and other major relationships, as I near the end at the upper left, my line becomes stronger and more focused - a direct correlation to my life. Following a lovely lunch from the Provence Cafe, we began the writing responses, writing free-style about objects provided (roots/pine cone/antler, of which we chose one) and a word ticket drawn from an envelope (I used root and the word "good"). Here is my response to the visual image of the ROOT and my word ticket/GOOD: Roots can be good. Roots can be bad. Fed from the well where I am found. Layers upon layers, filtered through time. Good for cleansing or poisoning the vine. Good for growth - spreading wide, Infiltration, rooted in time. Knotted and twisted, grasping for air - held in the hands of earth's mellow fair. Tangled and battered, growing and spreading - tripping me up, trials above. Roots condescend and fed with bile, cutting them out can take quite a while. Pulling and digging, Cutting, then mending, Roots can be good, but mine are offending. Offending the nurture needed and expected, tainting the cord of mother to child. Uprooting the past to discard in time. Toxic. Burning. Poisonous vine. Uprooted now, seeking new earth, re-birthed and replanted - unrooted divine Free now to spread, to grow and to grasp. Now unencumbered of poisonous past. Growing inward and outward, Good has been summoned, sweetness of new water erasing the past. Antidote found. Time will allow, roots will hold onto good things that last. Roots will refine, no longer confine. After several responses we adjourned to the gallery and wrote responses to various of Sue Mulcahy's Exhibit http://www.tennessean.com/apps/pbcs.dll/article?AID=/20080921/ENTERTAINMENT0507/809210326/1069/ENTERTAINMENT05 and then shared with one another. Here is my response to Sue Mulcahy's "Close Is Not Enough" drawing: Internal scapes Chasms divide Peering at memories Revealing and reveling Veering forward Pulled from the past Grasping transcendence Clasping remnants. Traversing Dissolving Signposts and markers misleading, benign. Sequence chaotic Silhouetted and open deluge divine Unbalanced, then broken Sutured and knifed Evoking wholeness bound by time. I attempted another response to "Open To The Night": Veiled in the darkness Formless and thick. Coating the earth Clinging and clawing. Queries are spoken Descending and dim Near far remembrance echo and utterance Filtering bright sky meets earth horizon enlighten breaking the dearth the spirits soaring and sighing Upward and outward absorbing moments cradling time unseen, unspoken protected from site needless emotions bound and unbroken +++++++++++++++++++++++++ It was an amazing day shared by all.Read More
Read MoreLibby Rowe is a Professor of Photography at Vanderbilt University. Her exhibition "PINK" is on view at the Leu Gallery, Belmont University, through March 6.
FICK: HOW DID YOU FEEL SEEING YOUR YEARS OF IDEAS AS A WHOLE, MADE TANGIBLE IN YOUR DESIGNED ENVIRONMENT?
This show represents relatively new ideas in respect to the overall body of work entitled "Pink". Most of these ideas have been conceived within the last 2 years and were conceived of to work together in this exhibition. I am pleased with how these specific pieces communicate with each other. I have been working on "Pink" since 1996. I knew, eventually, there would be enough pieces to really make a conversation about being female. With this exhibition I feel I have finally hit a critical mass in this work.FICK: DID YOU REALIZE ANY FURTHER CATHARSIS IN THE CREATION OF THE WORKS THAT YOU DIDN'T EXPECT? Hmmm...there are always some pleasant surprises. I normally have a pretty good idea of how a piece will look/function before I can even begin the physical making process. I would say that with some of these pieces, I took a bit of a leap of artistic faith. The web ["Web of Lies"], for instance, began as a pretty straight forward idea. To begin, I sent an email out to women who have participated in my work in the past - friends, family...asking them to send me a lie they tell themselves. I expected different levels of commitment to the internalization of that request. Everyone is in a different place after all. I was surprised at how deep some women went and that they were willing to share that with me. The piece took on a deeper poignancy. Ultimately, I am pleased with the final piece and am excited about it being filled with lies that eventually cover the web itself.
"It Sucks" Diptych is another one that ended up holding more meaning than I first thought it could. For me there was a lot there, but I didn't know if it would translate to other people. Most of my work comes from my own experiences, so they are really personal on some level. That often becomes second to the physicality of the piece as it ends up. I am coming to understand the opportunity [of participation] that is embedded in my work. Not everyone takes advantage, but those who do make the work that much richer.
FICK: DO YOU HAVE MORE IDEAS FOR ADDITIONAL PIECES OR SERIES WHICH WILL BE OFF-SHOOTS OF THIS EXHIBITION?
I started using myself in my photographic work as an undergraduate at the University of Northern Iowa. During Grad School I went all out and did a series of photographs that really put me out there. I haven't done that so blatantly since then. I seem like a pretty outgoing person, but getting back on the horse, so to speak, was a challenge. One of the things that has always interested me in this work is facing my own taboos and demons. I never ask a viewer to take part in a piece that I haven't done myself. I believe this is why people are so willing to participate in my work. Without total exposure, total honesty on my end, I can't expect it from them.
How does it feel? It is nerve-wrecking, exhausting and exhilarating at the same time. I guess younger generations should just take risks and be OK with failures when they happen. I have been interested by many comments from people who are younger who seem to be getting the message, before seeing my work. The feminism challenge ebbs and flows. I would like to see them figure out how to stop the ebb, those decades where we move too far backwards. I try not to be preachy about my feminist/humanist beliefs, with the work or in talks/interviews. I have my beliefs, one of which is that you can draw more flies with honey than with angry feminist diatribes...wait, is that how that one goes? My main goal is to get people to think about what they believe, where their beliefs come from, [and] possibly change along the way.
Conducted on November 30, 2007 VOLPE: PLEASE PROVIDE YOUR Name, age, location etc. FICK: Sher Fick, turning 40 this weekend, currently residing in Rural Tennessee. Midwest until age 18, Atlanta until age 22, Princeton NJ, Atlanta, Panhandle, FL (age 26-36), Rural TN since 2003. Raised in Rural Illinois/Indiana. I became obsessed with art from age 4. My first success was being asked by my first grade teacher to paint a manger mural for Christmas - it was a huge wall-sized piece and I had to get on a step stool to put the star in the sky. In second grade I did a Bicentennial Poster of Betsy Ross sewing the flag - I remember putting in the wood grain on the churn standing by her side. On a negative note I also remember painting an old-fashioned girl (long flowing dress) in a field and having fellow 5th grade boys say it was a Kotex ad . . . I was devastated! Moving into junior high and high school I was involved in art class and state competitions. By then I was known as the "artsy" student. Dealing with the issues of motherhood vs. artist the work is more visually disturbing, but is constructed in the same celebratory feminine materials - the actual juxtaposition/conflict of material vs/with subject (as in "Constraint", a hand-made, quilted straightjacket, created as an "Ode to Motherhood" or in "Tread Lightly", my wedding shoe altered with safety pins overflowing from the shoe), so I think initially the viewer is drawn in by the warmth and nostalgic surface and then, hopefully, looks for a deeper message. I am not bothered by displeasure from a viewer, as a matter of fact some of my work should disturb - I think the fact that I am willing to express my struggles so honestly is distressing to many people. It makes them uncomfortable - so I expect mixed reactions. Getting a reaction is what it is meant to do, complete disinterest is probably the worst reaction! Regarding reactions, I have actually sacrificed a close relationship with a family member because of my candid worldview and my commitment to my art. I have to do what is right for me and my family and if others can't deal with it (viewers or friends/family) - then they can lump it. To me that is their issue, not mine. I separate myself from the reaction (good or bad) because I don't want to be swayed in future creations.orks/series. VOLPE: What do you love most about art? FICK: To me the expressive qualities of art making has become a very therapeutic practice. I get very grumpy and "off" if I haven't had enough art time. I also love the fact that no matter the age, language, etc. of the viewer, they can communicate (or I can communicate to them) through visual art. To me, art breaks all boundaries. I have this weird thing, too, where I just love to look at art - I'm appreciative of the technique or the sheer ability to express. I have a few pet peeves as well - Thomas Kincaide makes me livid. Ugh. That is another story . . . VOLPE: What medium do you work in, why is this your medium of choice, and if you'd like to explain some of your processes in working with encaustic or other mediums you use. FICK: After training for years in various methods of painting (from liquid watercolor, acrylic, oil, and handmade temperas, gauche, and mixed media with collage) I would hit a wall after "mastering" the media - I became completely bored and kept searching for new techniques to emphasize the luminosity factor - even worked with tinted resins for a while. The first time I saw an encaustic and saw it labeled that (about 1999) I was intrigued. After researching I began auto-didactic practices in 2003. The publication of Joanne Mattera's "The Art of Encaustic Painting" was a goldmine and it has become my encaustic "bible". In particular I enjoy the flexibility of the media. I can also utilize it in assemblage work and textiles (something which Jasper Johns began in the 50's). I am drawn to the ancientness of the materials, as well, and the fact that it is completely natural and organic. I am an avid environmentalist so this is important to me to not leave a negative footprint (as with oils/plastics/etc). VOLPE: What do you get out of doing your art? Financially, emotionally, spiritually, being able to make a statement? Political, etc.? FICK: Well-being is the main reason I practice art. Expression vs. repression. I have had emotional challenges in my life and art is a catalyst for my resilience. Financially things are beginning to take shape - but that is never my focus when I am creating art. In fact, the less I worry about what others will like or buy, the more successful I have been! The emotional and spiritual benefits of art are hand-in-hand, as well as mixed with a feeling of accomplishment and productivity in life. I always feel the need to be pushing forward, breaking down barriers (personally, culturally, politically), and advocating for liberal arts in general. Politically, I am concerned mainly with the personal acceptance of oneself - authenticity is the true success and in this way I have found myself in a group of female artists. VOLPE: Much of your work is themed toward women, would you consider yourself a feminist, and why have you chosen to go this route? FICK: It was never my intent to create feminist art. However, I think all creative endeavors are best when the maker is expressing what they know best and when they speak from a place of experience. I am a woman - so my experiences are related to that. I don't want to box myself into a label, but I do not mind doing series of work which relates to a genre. I also do environmentally inspired work, they are just different series to me. I am currently having fun exploring this feminine side - I am going at it full on and not questioning the impulses to use pink and lace and paper dolls. Some of the seminal pieces (before I even recognized what I was doing) were declarations of my working out the struggles between being a mother and a strong desire to be a working artist. The mother part of me was expressed in womanly fabrics and "handwork", I just followed the trail and was then approached by another female artist to be included in a group exhibition. That was the first time I ever thought about my art being "feminist" - I actually prefer "feminine" as I don't feel a huge burden to wave a pink political banner. On the other hand, I don't want to deny the political implications of equality, opportunity, etc. I have met and discussed this (briefly at an art opening) with Judy Chicago - I understand her view points based on her era, but I want to be open to an evolving, modern femininity and its issues. I see no reason to repeat what has already been said or to fight for what has already been won. VOLPE: Was it natural for you to focus on female issues and/or childhood themes or whatever else you focus on because of being a woman, your own experiences, etc: and what does this do for you? FICK: I actually fought myself tooth and nail to NOT express myself in a feminine way because I didn't want to be labeled. That created a major imbalance in my own psyche and it showed in my work, I would even not share work that appeared too "girly". My journey of self-acceptance included the integration into my art of who I already was. It was similar to trying to merge several personalities into one. As I explored the subject matter I began to discover metaphors of media to the chosen subject. The idea of working with fabrics and quilting directly correlated to my subjects of constriction and concealment, fo r example. Following these avenues led from one connection to another until I was, literally, quilting found objects into altar scapes (see, "Coping Skills", which will be my first traveling Museum exhibition). VOLPE: What would you like your viewers to get from your work? FICK: My favorite reaction is to an initial sense of "fun" and "nostalgia", then a deeper reaction to the underlying messages of "myth of childhood innocence", "celebration of innocence", and, possibly, the sadness of the loss of those things. VOLPE: Are there any particular issues you'd like to bring up? FICK: I think artists should free themselves to explore what is important to them, to not worry so much about selling, or reaching 90% of the population. I hope maybe 5% "gets" me. I also think that the most successful artists were not trying to create only "sell-able" work when they made their greatest breakthroughs, I like to say I am following a "creative impulse" when I am trying something crazy or new. If you only pre-plan and produce what is already acceptable, then you remove the opportunity of making a discovery along the way. I really encourage the idea of following the artistic impulse without question, then once you have created you can begin the analyzing phase - usually meaning is revealed through/after the creation process. Sometimes it is way down the road or it can be instantaneous - but if you don't follow the impulse you will never know. VOLPE: Do you come across any difficulties in the professional field of art stemming from being a woman? FICKE: YIKES - that is such a heavy question. I do think that the number of females in administrative/curatorial positions has a direct effect on the art that is selected. That being said, I also believe that women have to choose between making art and raising families, so there are fewer women artists in any given pool to select from. I don't like the idea of being chosen for something because I am or am not a woman - any type of discrimination disturbs me. I do not feel that I have been kept from any opportunities because I am a woman. The roadblocks for me have been logistical - I have no brain cells when I am nursing, I can't use toxic materials around infants or while pregnant, I chose to stay home with my children until pre-school age (thanks to a husband who has emotionally and finincially supported myself and our children) and then only part-time, so the number of hours I could have been creating art have been greatly reduced in my life. Therefore, my personal choices have created major delays and constraints to my art expression. On the other hand, I feel I have so much more to share now that I have 20 years "under my belt" so to speak. I feel like I am finally getting a clue . . . so those years of diapers, cooking, cleaning, playing, were spent in a cocoon which has lead to the final product - and I am still discovering metamorphic results as a woman, as an artist, as a mother, and THEN, how to blend those aspects of myself. I have no regrets, but I do have frustrations and feelings of being caged artistically. VOLPE: Do you have another job? Do you have children? A husband? How do you balance everything? FICK: I was a paralegal for 7 years before being married - I created art as a hobby during that time period. After marrying and having the first two children I opened an interior decorating business, which morphed into Art Consultation . . . at that point I began taking classes and slowly working on an art degree (it took me 7 years to complete my BFA). I have worked as a Curator, muralist, artistic portrait/collages, commission artist, private and public art instruction - it is only in the past year (as my youngest child went to school full-time) that I have abandoned any other forms of income to being a full-time artist. I saved up money from being a paid Studio Manager/Curator and am lucky that my husband of 17 years can pay the mortgage, etc. All funds I earn from my art can be re-invested in my art endeavors. I could be making a lot more if I wasn't committed to being a mother who is accessible to her children after school and on the weekends. My children are aged 15, 13, and 5 - yes, I had a bonus ("too many bottles of wine for New Year's baby!") - the timing was terrible and completely tripped me up career-wise. So I took a baby break, finished my degree, and am finally back on my feet (paying for preschool was a major hit financially for me) - it would have been cheaper to stay home and give up on my art all together, so I chose to do a half way on both things . . . I have to live with my conscience at the end of the day. My husband is very supportive which helps, but I had to sacrifice many things and had to pay for childcare while interning and going to school, so I'm still personally pay ing off student loans, etc. This is something that most people don't consider. The hardest part for me has been being torn, literally, between my children and my art - I feel that both have suffered, but that I need both things in my life. I fully intended at one point to go to graduate school to become an art professor. Along the way I discovered my love of creating and that I didn't need the MFA to be an artist. I hope to one day have a larger studio where I can teach workshops for children and adults to fulfill my art advocacy/teaching impulses without sacrificing my creative time. I also continue to develop and guest curate exhibitions of which I may or may not be a participating artist. These side ventures tend to fund the art supplies and can at times even create a positive balance sheet. I am also involved in group or individual creations of public art installations which are paid contracts . . . that keeps expenses covered and is a great network/marketing tool for the individual w VOLPE: Are you satisfied, overjoyed, anxious? What would you like to change for you----what do you really, really, really want? FICK: Five years ago I created 5 Year Goals - I reached all of them ahead of schedule. I am making new "bigger" goals and I am ecstatic at this point. Conversely, it terrifies me that I have to commit so far in advance to contracts on "intangible" ideas. I think that is my perfection gene and the feelings of inadequacy that was drilled into me as a "Christian" girl, also having 3 children I understand the fact that you have to leave buffer zones of time and funds as you never know what might happen to delay things. One of my biggest hurdles was the decision to sell our house to purchase one with 1000 sq ft of studio space for me. This will enable me to be accessible to the children before/after school, but I will be able to gain access to my studio at any time of day or night (I am definitely a night owl). This is a huge decision, but one that I feel will benefit all of us - I won't feel so guilty in being away so much. The biggest negative is that I won't be in "town" in the middle of all the art networking. I will have to make big efforts to attend openings, drop in on fellow artists, lunch, etc. - it is amazing the information that flies through the air between artists. I will greatly miss that - I will also hold open studio times at my place for fellow artists to drop in for work days and I also spend days in other artist's studios working on "hand" work. VOLPE: Are there any words of advice you would like the whole human race to know, and/or especially up and coming women artists. FICK: Trust yourself. Joseph Campbell says it the best - "Follow Your Bliss". For me, my best results have always been when I followed my instincts rather than the advice of others. That being said, I have a very tight group of mentors whom I regularly enlist for feedback - these are people that "get" me, that I respect for their own intelligence and work ethic. If I do not admire the person (morally, ethically), I do not give credit to their opinions. If I feel someone is tearing me down just for the fun of it, I review if it is someone I respect . . . if not, then I let it go. Most constructive criticism is provided from givers. Negative and mean-spirited critiques are given from takers. Distinguishing between the two has really helped me move forward and not be side-tracked in my work. I also think that being free of grades is incredibly invigorating. Some colleagues find it impossible to be self-disciplined, but it has been the opposite for me. I feel let loose on the world instead of held back. I think you need to weigh the source, decide if it applies to you, and make personal decisions on your work. In that way, you are completely responsible for any successes or failures. I don't believe any work is a failure, by doing we move forward to the next piece, in that sense all pieces are linked to the previous - make, make, make and the success (knowing that you have expressed what you intended) will follow. Also there are no absolutes. One professor might have said "DON'T USE ANY TEXT IN YOUR ART", but then you see an exhibition notice for a purchase award for a library gallery which required the use of text . . . so, don't exclude yourself from opportunities based on someone else's rules. Find your own rules, create them if you have to . . . let them be flexible. I take every opportunity I can get to share my philosophy and art with others. It has been a blessing and encouragement to me to encounter in my day-to-day life such open-minded and invigorating spirits. So if someone asks me what I do, I proudly reply "I am an artist and a mother" - if they are interested in more, I give it, if their eyes glaze over, I shut up. The perception of being an artist in America is very different from what you encounter in Europe - there they practically bow at your feet, here they snicker. Strangers, family, (former) friends actually feel it is selfish of me to apply my energies to my art, that I am "indulging" myself, almost like a drug addict. To me, being an artist is a gift and a burden. To have the gift of creativity means you should honor and protect it. Of all the liberal arts, I think Visual Artists get the biggest put down. It offends me, so any opportunity I can have to further the understanding and acceptance of Visual Arts are greatly appreciated. If I had no creativity, I would definitely be a Philosophy or Art Philosophy Professor. I think that educationally, the philosophies play a major role in advocacy for all liberal arts - they can actually teach someone how to appreciate and analyze art. The more people who understand, the more support we, the artists, will have. ~~~~~~~~~~~~END of INTERVIEW~~~~~~~~~~~~~~~~~~~~~Read More