Skip to main content
Mural, A Celebration of Spring." Macon Terminal Station. 2018 Community grant project.

Thoughts on International Women’s Day

Last night I watched “This Changes Everything” a documentary about the underrepresentation of women in the filmmaking industry. I was already perturbed about how few of the new art acquisitions for major collections and museums are by women. (It's just 11% of all new acquisitions, in case you were wondering.) The film added to the fire. 

“Things are getting better,” I hear people say. But no, they aren’t. Women want to be equally valued and compensated for their work. And in most cases, they simply want to DO THEIR WORK. It isn’t too much to ask. It is literally the bare minimum.

Today, someone shared an image of the mural I and community volunteers painted at a bus terminal station. The project was a turning point for me on so many levels. Many things still stand out about that experience, both good and bad.

Let’s start with the bad. I lost track of the number of times someone walked up to me to ask who the artist was. The question was directed to me while I was painting. When I smiled and said, “It’s me,” the other person would hesitate for a beat and then politely reply, “Oh!” But some replied with “No, I mean the real artist.” I honestly didn't know what to say. Only men asked this question.

In the mural we painted, three women are celebrating and two are crowning the center figure with a wreath of cherry blossoms. The style is very simple, one I chose so that anyone who wanted to help paint could feel confident in filling in the lines I had drawn on the wall. The figures did not have facial features. They were meant to represent a community of women not a specific person. Countless times I was asked by men why the women didn’t have eyes. But not one asked why they didn’t have mouths. I wondered, Are we only to see and not speak?

I also received lots of propositions, a couple of marriage proposals, and was asked who I worked for. Because I’d have to be working for someone, right?

• • •

By being self employed, I’ve managed to avoid quite a lot misogyny in my career. I’ve had the option to walk away from creepy or domineering clients, and I have. There was one time I had to call in a male friend (Thank you, Dave. Forever grateful.) to complete a design job because the client suggested I leave my husband and be his mistress. I actually wondered, “What did I do to make this person think I would be interested?” And yet I made sure the job was finished on time anyway. What I really wanted was to punch the client in the throat.

• • •

Happily, the good moments while painting the mural were frequent. I got to know some of the people who used the transit system, the bus drivers, and some of our homeless. Wonderful people! So many kind words and encouragement and expressions of appreciation for the work we were doing. 

On one of the days nearing completion, I was taking my time with the gold earrings the center figure was wearing. A bus pulled up and a man stepped onto the sidewalk. He stood and watched us for a awhile, came up to me finally and asked in a beautiful South African accent, “Why is the African woman in the center?” I said, “They are crowning her queen.” And he said, “Oh, yes, yes. Our women are queens. Good.” He nodded, gave me the most brilliant smile, patted me on the shoulder, and walked away. Surely he was an angel.

Popular posts from this blog

Commissions are interesting endeavors. A bespoke painting often means an artist is asked to create something quite different from their regular body of work. It pushes us a bit outside ourselves. Without fail I find it refreshing and deeply rewarding. Some artists specialize in pet portraits. I enjoy doing figure studies and portraits of people but until now I had not painted anyone's pet. "Gizmo" is the Maltese-Yorkie companion of Katie Ruth Williams. And like many diminutive creatures, his personality can barely be contained. This bite-sized Napoleon strives to rule the household. I can't say how successful he is at that but I do know Gizmo is loved. Such a subject deserves a portrait. I wanted Gizmo's likeness to be larger than life—more than double his size—and grand as an Elvis on velvet. Thanks to snapshots by his adoring family, I had plenty of references from which to work. This piece was pure joy. I look forward to many others. "Gizmo&
"Practice makes better" is what we tell the five-year-old. When the child is older, I will explain (and repeat) the 10,000-hours-towards-mastery concept. I don't believe in Perfection. Mastery allows for experimentation to continue and recognizes two important things: the time one must invest in order to improve and that failure is a necessary part of achieving success. Portrait painting has been the most difficult thing I've attempted. It's positively baffling to me. I can't work from one photo. Working from life is ideal, but my current subject (my grandmother) is no longer living. A wall of photos of a person from different angles, different decades (like I'm some sort of stalker) is better for me simply because a single photo rarely captures a personality.* I believe a painting of someone can express who a person truly is by combining impressions from many, many moments. *Of course there are master photographers who CAN capture the essence of
Serendipity: Peony 4x5, acrylic Jim put in a request for a pair of abstract paintings for the living room. So far, I have spent two days working on them. It's physical work, whether I'm standing before them or hovering over them. And it makes a considerable mess. A heavy vinyl drop cloth covers the whole room. On top of that is an absorbent fabric drop cloth. Depending on my "activity," some drop cloths are strategically hung on the walls. I wear two aprons to cut down on the possibility of transporting wet paint to the rest of the house. My uniform includes socks that have to come off before I head for the stairs. (I once transported paint footprints into the kitchen.) It's a completely different environment and mindset from when I'm painting a room. I don't even tape things off when painting interiors because my hand is so steady and my edges are so straight, but put a blank canvas in front of me and I'm like a child on sugar. I was pl