I began this series after my father unexpectedly died in 2009. I was unable to work for several months after his death, and when I returned to my practice I was surprised to see a radical shift in the work. These paintings emerged from this personal experience of grief and loss.
Sumi ink holds a special place for me. My father and I learned traditional Chinese painting techniques together, so this medium is infused with those memories of us being beginners together.
I began by splashing sumi ink against the surface of paper or clayboard. From there, working without self-censorship, I excavated images revealed by my subconscious. They are, in a sense, DIY Rorschach tests and became ways through which I could begin to understand the impact of profound chaos – what happens to us when the existential rug is pulled out from under us.
She has received numerous awards, including the Cintas Fellowship for Cuban and Cuban-American artists and a Pollock-Krasner grant, as well as residencies at Skowhegan; Ucross Foundation; Ragdale Foundation, the Kunstlerhaus in Salzberg, Austria; and the Open Art Residency in Eretria, Greece. She holds an MFA from the University of Maryland at College Park and a Master in Theological Studies (Buddhism) from the Harvard Divinity School.
Editors’ Notes (Posit 8)
Welcome, readers and viewers! We’re delighted to ring out the end of 2015 with the extraordinary poetry and prose we’ve gathered for this issue of Posit. It’s an honor to publish such a rich mixture of innovative verse, short fiction, and poetic prose by literary masters at all stages of their careers, to wit:
Doug Bolling’s Scalapino-esque “…words carried from a valley a stream a mountain / just to be there cherished, fondled” by gorgeous metaphors creating “a poem of unknowns / a Magritte refusing all margins;”
Susan Charkes’ wry compendia on Practicing Panic (“adopt aroma of freshly cut cucumber” and “elude infinity”) and Unreachable Planets such as the PLANET OF CONSTANT DOWNDRAFTS (“Gravity: not an issue”);
Norma Cole’s ferociously beautiful narrative fragments of a fraught nation kept together and apart by the ‘Surface Tension’ of an iconography of sentiment and violence, in which golden angels and grandchildren eating butterscotch sundaes give way to women sleeping on sidewalks, Halloween “or some / other
masks beheading,” and “the mortars again;”
Christine Hamm’s magnetically surreal texts, in which “You said the antlers in the bucket were part of you, asked me if you should burn your necklace, the one with someone else’s name;”
Zeke Jarvis’s masterful short story about art, artifice, and free enterprise, Las Vegas style;
Halvard Johnson’s disturbing ode to The Art of Deference with its haunting last line, complemented by the resonant compression of 14 Interventions, in which “poem grenades,” like “old leaves,” “turn to / reservoirs of life;”
Carlos Lara’s virtuosic excerpt from Several Night, a “monologue of another destroyer” “ready for whatever’s next play” and populated by “numinous projectile clouds” as well as “music looping the dream archer of dreams;”
Anna Leahy’s “exacting forms” “pregnant / with possibility of motion” mirroring the beauty and menace of nature as well as “the spark of brazen imagination;”
Christina Mengert’s mind-meld with Spinoza, yielding remarkable hybrid philosophical/poetic ‘Definitions’ “by virtue of mental trampoline, / bouncing into idea as a consequence / of grace” via a collaborative “intelligence / conceived through something / more itself / than itself;”
Carol Shillibeer’s magnificent “loyalties to worlds, words and their pleasures…” posing the question, “What work has there ever been but perception?”
Danielle Susi’s brilliant juxtapositions, in which “Volume sleeps on my tongue today / because teeth can sometimes look / like pillows,” provoking us to wonder “When two sides of an abrasion stitch / back together, what do they say?”
and Derek Updegraff’s haunting and suggestive story Café, “about him and her. That’s all” although it somehow manages, in 350 words, to open itself to the far reaches of the universe.
As always, thank you for reading.
—Susan Lewis and Bernd Sauermann
It is my pleasure to introduce another wonderful selection of painting, photography, sculpture, and video in this issue of Posit.
Meryl Meisler has been taking photos since she was a teenager, chronicling her youth in Long Island and young adulthood in NYC in the 70’s and 80’s. Her keen eye has captured moments that are funny, moving, and offer wonderful portraits of an era.
Helena Starcevic’s carved and fabricated sculptures reflect a distinctly modernist sensibility. Cool and stripped down to their essence, these are elegant objects. Working with a restrained palette, she conveys the beauty of the form, using the contrast between matte and shiny surfaces to allow light to caress the contours of her sculptures.
The haunting videos of Pierre St. Jacques delve deep into the psychological realm of human relationships. The Exploration of Dead Ends, from which we present an excerpt, as well as still photographs and video installations, is a beautiful portrait of a man caught in the endless cycles of his life. The result is visually stunning and deeply moving.
The sweeping gesture of Heather Wilcoxon’s hand can be seen in all of her energetic and evocative paintings. Strong and committed markings typify these works. Human and animal forms live harmoniously amidst swirls of color and form in compositions dreamily reminiscent of a life lived near the sea.
The sumi ink drawings of Katarina Wong are bold, thrilling and often a bit frightening. She brings us face to face with an Inferno of emotions that swirl and whirl across the page. Recognizable human and animal features emerge and then sink into the energetic darkness.
I hope you enjoy!