Artists Carolyn Lavender, Monica Aissa Martinez, and Mary Shindell, known for their previous exhibitCreature-Man-Nature at Mesa Art Center, have come together for a projecttitled Unintended Consequences to be showcased at Center Space at Scottsdale Center for the Performing Arts. The project tells the story of life in Arizona through a combination of biology, botany, and zoology, all expressed in paintings done by the three artists.
Registration and directions can be found by visiting the Center Space’s website here. Their project’s opening ceremony is on Friday, February 17th from 7:00PM to 8:00PM Arizona time. Tickets are free. Beyond the opening ceremony, the group’s paintings can be viewed at the Center Space from February 17th through May 28th.
Carolyn Lavender and Monica Aissa Martinez’s drawings were featured in issue 9. Mary Shindell’s artwork appeared in issue 11. Learn more about them and their works: Carolyn Lavender’s website, Monica Aissa Martinez’s website, and Mary Shindell’s website.
My working process is influenced by my experience and interaction with the world around me.
In my studio, I produce layered, linear works that relate the terrains of the desert and outer space. I use botanical imagery of plants collected around my studio in Phoenix and also from the Herbarium at ASU, where I photograph pressed plant specimens from the locations in Arizona where the planetary discoveries were made. In drawing the satellite images of Earth and Pluto, my focus is on the similarities of surface and texture between images of Earth and the dwarf planet Pluto. Pluto was discovered at Lowell Observatory in Flagstaff, Arizona, and I have selected imagery from the Grand Canyon to represent the place of that discovery. After I combined the images, I placed a numbered grid on the surface, as pictured in the sequence of images that follow.
Figure 1: Gridded satellite photographs composed by placing Pluto in the center of mirrored sections of the North Rim of the Grand Canyon
Figure 2: Here, I am using the numbered grid to draw each section from the satellite image.
Figure 3: In the above image, the hand-drawn piece is finished and digitally photographed. It will be printed as an archival Ink Jet print titled “Inflection Point II.”
Figure 4: The digital drawing is then created using a combination of photographed and hand-drawn botanical images from the herbarium specimen pages. Pictured above is an early look at the process.
Figure 5: An enlarged example of the botanical elements in figure 4
Figure 6: Finally, the analog drawing will be layered with drawings of plant specimens from the Grand Canyon. In this image, the plains of Pluto are on the right, the Grand Canyon’s rim is on the left, and plants from the North Rim region are suspended above the terrain.
As the above images illustrate, I will use the botanical elements to connect the experience of the planetary researcher with the sense of physical place from which the scientific research originated and to the physical world of the viewer. As a part of my ongoing concern for the relationship between space and detail in the environment, I am creating a connection between conventional landscape formats in art and the perspectives offered by the study of planets and outer space. By combining the two perspectives with detailed observations of plants, I am creating holistic landscapes that encompass the intimate and the vast. This connects information that we know but cannot see with the reality of the things we can see and touch.
Are you in LA this weekend and looking for something to do? We suggest checking out the last weekend of “Connections to the Natural World” exhibit at the LA Artcore Brewery Annex. This collection features the personal responses to nature through various media of seven unique artists, four of those artists being past SR Contributors. Sarah Kriehn, a printmaker, uses nature as a visual framework for intuitive play. Monica Aissa Martinez works to experience and understand nature through human anatomy in her intricately rendered paintings. Carolyn Lavender explores natural preservation while portraying the fake and the real of flora and fauna in detailed graphite drawings. Mary Shindell reframes nature’s geometry and reorganizes its special relationships in her large-scale installations.
This collection is only on view until January 30th during normal gallery hours (12-5 pm Thursday- Sunday). Be sure to admire these artists’ brilliant work in SR. Sarah’s paintings were featured in Issue 10, Monica’s drawings in Issue 9, Carolyn’s drawings in Issue 9, and Mary’s work in Issue 11.
On Friday April 5 Superstition Review editors met with s[r] contributors Monica Martinez, Carolyn Lavender, and Mary Shindell to discuss their collaborative exhibition at Mesa Center for the Arts. The exhibition, entitled “Creature, Man, Nature,” explores the formation of bodies—animal, human, and rock—and the voices inherent in each form. When I walked into the exhibition, I was immediately struck by the size of several of the pieces on display. As Carolyn later told me, there is a certain power that comes from artwork that is as big as or bigger than oneself. This was true of Monica’s work, specifically a pair of massive paintings of the male and female forms, hence the “Man” portion of the exhibition title. Monica explained how her intensive study of human anatomy allowed for highly accurate portrayals of bodily structures, as well as a literal frame through which she could explore male and female energies. She challenges the traditional patriarchal energy by including feminine qualities in her male figure (modeled by her husband).
Monica Aissa Martinez describes her work.
Monica’s pieces, “Body Male” and “Female Body,” draw in the viewer through the visceral anatomic imagery coupled with animal figures. In her painting of a female figure, she includes a snake, which instantly brings to mind ideas of the Christian creationist mythos wherein the snake functions as an antagonistic figure. However, the female faces the snake head-on as an equal, accepting of the snake as symbolic of knowledge, rebirth, and sexual passion. Conversely, the male figure is presented with a cat between his feet, modeled by Monica’s own pet. Her husband trained the cat to walk on a leash; due to this curious skill, the cat connected Monica’s family to the rest of her community, a traditionally feminine quality exhibited in conjunction with the male form. Directly beside Monica’s human subjects, Mary’s digital art piece, “There is a Mountain” is a room-wide print of her backyard view, fashioned on the program Illustrator. 26 layers allowed for the tiny details, such as sage bushes and cacti, to be created on a mountainside of elegant color and texture. Mary had had plenty of experience with her subject, having sketched and painted South Mountain multiple times prior to attempting a digital rendition. As she said, South Mountain dominates the landscape with its sprawling hills, and the size of the print, dominating an entire wall of the exhibition room, communicated the grand scale of the mountainside well.
Mary Shindell describes her work.
Mary explained to me the meticulous process of piecing together the different components of “There is a Mountain.” The minor details, like plant life, had to be modified outside of Illustrator in another program, such as Photoshop, so as not to overtax the main image file, and would then be incorporated back into Illustrator as a repeatable symbol. In order to create a soft, rolling effect for the mountain itself, Mary used the gradient feature, which she identified to be her favorite part of the process. As a whole, the intricate and time-consuming details paid off; viewers will be amazed to see the piece both at a distance and up close. The exhibition also benefited from Mary’s input for the lighting. Hanging light sculptures emulate the cacti in Mary’s backyard, functioning as relevant sculptures for the larger mountain view.
I addressed Carolyn’s art last, having finally made my way around the exhibition room. Carolyn’s work focused on the “Creature” aspect of the exhibition title, introducing a variety of animal figures on large panels as well as smaller paper sketches and paintings. She described her love of animals to me as that of childish fascination, a love fostered in her early years and carried firmly into adulthood. Her largest piece, “Preservation Woods,” features animals sketched and painted (acrylic) from photo and taxidermy models onto 10 foam-core panels. Carolyn explained to me how long the piece took to create, requiring 8-10 hours of tracing per panel.
Carolyn Lavender describes her work.
With that in mind, the raw, openness of the piece, fully compiled, hardly transmits the idea of “incomplete” or “unfinished” but of intentional invitation, drawing viewers’ eyes from the broad white expanses of the bottom panels to the detailed shadows of each animal figure. While Carolyn told me that there are still bits that she would like to work on (as with any piece of art), she was pleased with the outcome of her efforts and considered “Preservation Woods” to have been a learning experience, having never worked on so large a scale before this exhibition.
Leaving the exhibition after interviewing these three artists, I felt encouraged to pursue art myself. Each artist approached her craft in a different fashion, and this collaboration no doubt impacted those approaches. I look forward to seeing the future works of Monica, Mary, and Carolyn, and I hope that the exhibition inspires others.
Outside the Mesa Arts Center Museum.
The exhibition “Man, Creature, Nature” is on display at the Mesa Arts Center until April 28.