“Ash” rediscovered her sexuality while in college and finally made the choice to come out with the support of her sister. Since then she has become a speaker, activist and advocate of the LGBTQ community.
The text is Executive Order 10450 from 1953 that used broad language to ban homosexuals from working in the federal government notably the armed services. The Executive Order was part of a larger movement that included mass firings in the 1950’s and was referred to as the “Lavender Scare” which was discrimination based on sexual orientation. The “Lavender Scare” worked in parallel with the “Red Scare” of the same time period that targeted communism in the United States.
I will be showing 2 pieces from my new ink on panel portrait series that examine the current social and political environment and put contemporary elements in context with historical events. I use the text from government documents or declarations from the past and use those words as my mark to make portraits of people standing strong in the face of government oppression.
The show will run Aug 22-Nov 21. 2019, in The W. Keith & Janet Kellogg University Art Gallery on the Cal Poly Pomona campus
Opening is Saturday September 7th, 2019 from 2-5 pm
This is a portrait is of my grandfather depicted as he was waiting to board a bus to the Internment camps for Japanese Americans during World War II. The photograph I referenced for the portrait was taken by Dorothea Lange as she and Ansel Adams were commissioned to document the internment of Japanese Americans. This portrait and how it relates to what is happening now was the starting point for this series. There is a common connection that is at once deeply personal and at the same time universal that I hope will inspire dialog and further research on the viewers behalf.
Using one of Toyo Miyatake’s iconic photographs from Manzanar as a reference I utilize words as my mark to reinterpret his image to show strength in the face of oppression. The words are Executive Order 9066 which authorized the imprisonment of West coast Japanese Americans and Executive Order 9102 which established the War Relocation Authority who oversaw the internment.
Also opening on Sept 7th in Taipei, Taiwan at Bluerider Art I will be part of a four person show where I will showcase four pieces from my water series where I have been exploring the power of waves and capturing a single moment of a dynamic force that might reveal an abstracted human form. I render the waves using up to 200 coats of transparent layers of paint that have light glowing from the back as well as white highlights in the foreground that make up the abstracted human forms.
Sep. 7th to Oct. 20th
Bluerider Art Ren Ai Gallery Hall 10in Taipei, Taiwan
“Paul” is the grandson of Juanita ”Holy-named Woman” Left-Hand. Juanita, a Native American woman was one of the last speakers of the dialect spoken by her tribe, the Assiniboine. Born around 1896, she witnessed the long battle to maintain traditional Indian life on the reservation as it was fought and lost. Juanita was overjoyed when historians came to ask her help in transcribing the dialect and the traditional Indian stories and their accompanying hand gestures. Those transcriptions, as well as her traditional beadwork designs and dolls now reside in the Smithsonian Institution Archive.
The text is the Indian Removal Act of 1830, which mandated all Indian Nations in the southern states to be relocated west of the Mississippi. This document was one of the opening salvos to the systematic dismantling of native cultures and that relocation resulted in what is known as the “Trail of Tears” which decimated the populations of the southern Indian Nations.
Mike was drafted into the army in 1968 during the Vietnam War. He served in the 1st Calvary as a helicopter gunner and was shot down by a rocket after 8 months.
The text Is The Gulf of Tonkin Resolution of 1964 which authorized the use of conventional military forces in Vietnam without a Declaration of War by Congress. 1968 was the year of the Tet Offensive which proved to be the turning point of U.S. involvement.
Another piece in an ongoing series interpreting water and its movement and interaction with air. I am playing with value and color. Specifically, the background is closer in value to the following layers depicting air. Most of the light and form are from the back.