A Thread Runs Through It
A Thread Runs Through It A juried exhibit by members of Studio Art Quilt Associates Georgia / South Carolina Region
Southeastern Quilt and Textile Museum Carrollton, Georgia January 30 - April 25, 2020
Selections from JAM Session: See page 72
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ThisTitle catalog exhibit are projects of ofand content Studio Art Quilt Associates Georgia / South Carolina Region. This is text Catalog designed and edited by Candace Hackett Shively Front cover artists, left to right: Marian Zielinski, Detail Woolgathering Candace Hackett Shively, Detail Through Our Hands
ISBN 9781653254224 Contents copyright Š 2020 Studio Art Quilt Associates
The individual artists retain sole copyright to their art and images except as allowed for use by Studio Art Quilt Associates. Images may not be reproduced or used in any way without written permission. All rights reserved.
PO Box 141 Hebron, CT 06248 www.saqa.com
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Juror’s Statement It was a tremendous honor to jury A Thread Runs Through It for the Studio Art Quilt Associates (SAQA) Georgia / South Carolina region.
stories of the thread metaphor, how actual thread was applied, and how it enhanced the composition, was im‐ portant to my selection.
Jurying is not easy. Creating a cohe‐ sive, strong, and moving exhibit from a set of given submissions can be daunting. You know you are going to disappoint some artists and for me that is really hard. I congratulate EVERY artist that submitted work. Well done for putting yourself out there and taking a risk. As artists, we share this journey of creating work, sharing it, the joy of getting accepted, and the sadness of not getting in. Itʼs a part of our SAQA shared artistic experience. Thank you for allowing me to be a part of your community.
As I viewed each piece, I asked myself how did this work made me feel? Did I get drawn into the thread story, into the composition, into the layers, and to the stitches? I looked at how the “visible thread” enhanced the piece and helped to tell the story. I thought about how the artist used thread to bring out the texture and layers in the work.
A Thread Runs Through It. What an in‐ spiring theme! I have always been drawn to works that have a story. I loved the vision behind the metaphor of “thread.” Connections, anchors, and traces are wonderful words on which to create a composition. The submis‐ sions were strong, moving, and pow‐ erful. As I reviewed the works, the
It was extremely difficult to narrow down the exhibition to only 32 pieces. There were some very strong pieces that clearly needed to be included. Then I slowly added pieces one at a time until I felt the result was cohesive and strong. Some artists submitted three strong works. Since the style of their works was often similar, I ended up choosing no more than two art‐ works per artist so I could include more individual artists and more artistic voices. Incidentally, I chose the work without any artist identities but
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Juror’s statement, cont’d. instead could see artist numbers to know which works were by a single artist. It is my sincere hope that the viewing public will find the exhibit exciting, moving, and that they will be drawn into the thread stories and layers of stitches. I want to thank JoAnn Camp who invited me to jury A Thread Runs Through It And again, I want to compliment all the artists for allowing me to view their work. Lisa Ellis Former President, Studio Art Quilt Associates
Lisa Ellis is a quilt artist, teacher, and lecturer. She is passionate about quilting and using quilts to make the world a better place. She frequently lectures on healing quilts and inspires quilters to get involved in using their love of quilting to improve health care centers and hospitals. She has directed a number of projects for healing-related installations including Walter Reed Army Medical Center, the University of Michigan, Auburn University, National Institutes of Health and the INOVA Schar Cancer Institute in Fairfax, VA. She is a past president of SAQA and the current director of Sacred Threads, as well as serving as Treasurer of the Quilt Alliance.
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Foreword The metaphor of a thread is both rich and ancient. Thread is a path of continuity, a fundamental element of all fabric, a connector. It anchors layers together or traces a conversation. A thread runs through fabrics, conversations, families, or ideas. Threads are what remain when everything unravelsĚśperhaps as a frayed edge or a tenacious connection. A thread can also be an emerging and repeating motif.
This exhibit proudly represents the SAQA GA/SC region in works by nineteen artists, selected through a blind jury process. Special thanks to the juror, Lisa Ellis, and the exhibition committee:
All members of the Georgia / South Carolina Region of Studio Art Quilt Associates (SAQA) were invited to consider the thread of their unique voice and how it connects them and their world to those who are privileged to hear it.
Candace Hackett Shively Fayetteville, GA
JoAnn Camp Greenville, GA Cathy Fussell, Columbus, GA
Marian Zielinski Macon, GA
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About SAQA Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt: "a creative visual work that is layered and stitched or that references this form of stitched layered structure." We are an information resource on all things art quilt related for our members as well as the public.
Founded in 1989 by an initial group of 50 artists, SAQA members now number more than 3,600 artists, teachers, collectors, gallery owners, museum curators, and corporate sponsors. SAQA is dedicated to bringing beautiful, thought-provoking, cutting-edge artwork to venues across the United States and around the world.
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The Artists
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JoAnn G. Camp Greenville, Georgia
Looking at a roadmap, the Appalachian Trail appears as a faint broken line, running from Georgia to Maine, much like a row of stitching on a quilt. It is much more, as it represents a goal, a challenge, a dream, to those who have had the privilege of experiencing even a few days there. The trail changes you as it strips life down to the basicsĚśclean water, a dry place to sleep, and the community of fellow hikers.
Photos by Kenny Gray
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Appalachian Spring — The Trail 31 x 23 inches
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JoAnn G. Camp Greenville, Georgia
A small boy enjoys the feel of water splashing his bare feet on a warm, summer day. He is oblivious to the people around him, who watch and smile. They are all bound together for a moment by that thread of a common shared memory.
Photos by Kenny Gray
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Simple Pleasures 37 x 30 inches
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Silke Cliatt
Clayton, Georgia As I approach the eighth decade of my life, the many colorful threads and stitches which fill my elephant connect me tangibly to my post-war childhood and youth in Germany, when sewing and embroidery were our main forms of entertainment. The slow, considered up and down of the needle formed the colorful threads into small stitched fragments of beauty then and now. The elephant represents for me the power of lifelong effort and the stitchery its beauty.
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Joyous Celebration 24 x 29 inches
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Kathy Ellis
Carrollton, Georgia Music is a powerful thread that runs through all of our lives. It makes us happy, comforts us when we are sad, leads us into battle, and lulls us to sleep. We can all relate in some way to it. While we may not agree on what is "good" music, we are all enriched by the music in our lives. Even those who have never heard a single musical note can still enjoy the vibrations created when sound is produced. Those whose brains are ravaged by dementia can still belt out the songs they learned when they were young when they hear the music played. The thread of music bridges cultures and time, and will still be around when this generation is gone. This piece celebrates the life of Stevie Ray Vaughan who was one of the most influential musicians in the revival of blues in the 1980s. It is a private commission based on an image of him that was created by Buddy Finethy, Graphic Designer. It is an exploration of texture, dimension, and the incorporation of non-traditional materials and techniques.
Buddy Finethy, Graphic Designer
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Stevie Ray Vaughan 54 x 36 inches
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Margaret A. Filiatrault Georgetown, South Carolina
Grieving is a natural part of life; just as threads are a natural part of fabric. Both grieving and threads are what remain when everything unravels leaving us frayed. Grieving is often experienced in private over an extended period of time. This piece of art represents a visual experience of the feeling of grief, and how it varies from moment to moment. This is an interactive piece of art with a working zipper that can be moved up and down to reveal or conceal the amount of grieving one is feeling at any one time. It is nonverbal , and yet communicates clearly. The red fibers bubbling out at the top, represent that grief cannot be completely hidden, but bubbles up even when we do not want it to. The red fibers were purposely chosen for the fragility, softness and tenderness that is in the deepest part of ourselves.
Photos by Philip Filiatrault
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Grief: An interactive Quilt 31 x 34 inches
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Molly E. Flowers Bluffton, South Carolina
The animals in the wildlife habitat surrounding my home are unafraid of we humans when we meet. While on a walk through the woods, we happened upon a doe feeding on blackberry brambles. Her eyes showed her gentle acceptance of us in her world, connected as we were by this thread of common existence.
Photos by Tom A. Flowers
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Lunchtime 40 x 40 inches
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Molly E. Flowers Bluffton, South Carolina
Among Mother Nature's glorious creatures who inhabit the South Carolina Low Country are the turtles who sunbathe on the lagoons' grassy banks, lined up like beads on a necklace. The existence of turtles dates back to the Middle Jurassic, a thread that links us to the past.
Photos by Tom A. Flowers
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The Sunbathers 18.75 x 41.5 inches
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Cathy H. Fussell Columbus, Georgia
In 1944, commissioned by the U.S. Corps of Engineers, cartographer Harold Fisk rendered fifteen maps depicting the historical meanderings of the Mississippi River, from Cape Girardeau, Missouri, to the Gulf of Mexico. Though it was probably not his principal intention, FiskĘźs renderings resulted in a compelling artistic rendering of the threads of time on the earthĘźs surface, which serve to visually connect us to the past. This is my cloth version of Fisk Map #1, Cape Girardeau to Carlisle County, Kentucky, where the Ohio River joins the Mississippi. The 1944 course of both rivers is depicted in brown; the other colors depict earlier meanderings.
Photos by Fred C. Fussell
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Fisk Map Number One 43 x 67 inches
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Cathy H. Fussell Columbus, Georgia
This quilt was inspired by visits to Providence Canyon in Southwest Georgia, not far from where I grew up. The site features a dramatic display of colored soils and deep gullies. Threaded throughout are the veins of geologic time. Considered to be one of the Seven Natural Wonders of Georgia, Providence Canyon actually is not a purely natural feature. Rather, some of the more recent and most massive of the gullies are the result of erosion that was inadvertently caused by 19th and early 20th century farming practices. Providence?
Photos by Fred C. Fussell
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Providence 34 x 42 inches
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Virginia Greaves Roswell, Georgia
The threads that run through the majority of my work are portraits and me, and what better way to show the threads of my work than to present a self-portrait. Portraits are a way to give insight into an individual spirit, and a self-portrait gives you a glimpse into mine.
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The Canary 43 x 36 inches
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Maxine Hess
Woodstock, Georgia Repairing the world is the “thread that runs through” my artwork, the “repeating motif.” Tikkun Olam, a signature theme of Jewish tradition, is often translated as repair the world and often used to describe acts of social justice including how hate speech can lead to hate crimes. Hate, fear, and divisiveness have escalated towards people of different race, color, ethnicity, and religious practices. Sonya King was delivering food to a customer for Door Dash when the customer grabbed her head scarf and began strangling her. Fortunately, she was able to fight the customer off. This artwork is the second in a series about hate crimes resulting from hate speech. My intention is to create portraits of hate crime victims to encourage dialogue about how to change the focus from berating and belittling people who may look different from themselves to accepting and appreciating differences.
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Sonya King 30 x 28.5 inches
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Maxine Hess
Woodstock, Georgia Repairing the world is the “thread that runs through” my artwork, the “repeating motif.” Tikkun Olam, a signature theme of Jewish tradition, is often translated as repair the world and often used to describe acts of social justice like sex and human trafficking. In 2012 I became aware my city was a hub for human trafficking; the average age of a child being trafficked was fifteen. With two granddaughters between the ages of thirteen and fifteen I felt compelled to create artwork on this topic to promote public awareness to reduce and ultimately eliminate human trafficking. During Super Bowl, I delivered information including a hotline number to hotels in the city traffickers might use. We Are Not Dolls was my attempt to repair the world, to remind the public young girls subjected to trafficking are not “dolls.” They are very real people!
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We Are Not Dolls 40 x 37 inches
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Jeanne HewellChambers
Cashiers, North Carolina Threads of Grit and Grace run through stories of my Pink Galoshes Women. When calamity strikes, these inspiring women pull on their Pink Galoshes and tromp on through the mud and the muck to get to where they want and need to go. Nothing stops my Pink Galoshes Women, they always find a way. Take my Aunt Addie, for example . . . “Hush up, Addie,” Uncle John barked when she crawled back into bed after an 0-dark-thirty trip to the bathroom. “Iʼm trying to sleep.” When the sun came up, he woke to find a trail of blood linking Aunt Addieʼs side of the bed to the bathroom and the gun she used to try to kill herself. That afternoon, six men committed her to the insane asylum where she lived out her days reading the Bible and writing letters and poems.
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Pink Galoshes Women: Aunt Addie Ballard McLean 19.5 x 22.5 inches
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Jeanne Hewell-Chambers Cashiers, North Carolina
We all have them - moments that startle us into utter clarity about the need for significant change. And if weʼve made enough trips around the sun, we know that itʼs up to us to create the life we are meant to live, so we grab onto the thread that has guided so many before us̶the thread that is being offered to us now̶and begin. People̶even those who initially quake in fear at how our change might affect their lives fall in beside us, cheering us on. Ancestors gather round to aid and abet. People weʼll never know grab onto the thread, vowing to live a self-determined life. I immortalize the spark and the resolve in art quilts I call The Rinse Cycle, Pivotal Epiphanies in a Woman’s Life. This is the sixth quilt in the series. I call it Cannon Ball.
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The Rinse Cycle, Pivotal Epiphanies in a Woman's Life: Cannon Ball 45.5 x 41.5 inches
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Susan Lenz
Columbia, South Carolina Staking Her Claim was stitched during an art residency at Homestead National Monument outside Beatrice, Nebraska. While there, I learned of the hardships faced by those settling more than 270 million acres of wilderness. Women, former slaves, and immigrants proved their land claims and became part of the fabric of America.
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Staking Her Claim 19 x 24 inches
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Cindy Loos
Columbia, South Carolina Thick thread, thin thread, silk thread, thread on a grid, circular thread. Threads in layers on fabric that was stitched together with thread.
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All About Thread 42 x 19 inches
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Cindy Loos
Columbia, South Carolina Inspired by a treasured photograph taken at Octoberfest in Munich, the quilt gives a snapshot into a fun and happy day shared by my husband and me. I wanted the viewer to see the simple raw emotion of the scene, feel the thread of time in the moment, and feel comfortable to be in the same place. I hope the viewer also sees a balance between the emotion of the two figures in the foreground and the embroidered handwork in the background which gives a folksy comfortable edge to the storyline. The simplicity of the design was intentional and the colors were kept muted to relate to the simplicity of the theme. The current theme of my work is "stories." Stories of my loves and life in general are reoccurring themes. With so much negativity going on right now, I have purposely chosen to concentrate on what is positive in my life. Hence, themes like walking in the woods, good times on vacation, and nature scenes, are what I have chosen to remember and portray in fabric.
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Family Stories 26 x 31 inches
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Sara L. Quattlebaum Lexington, South Carolina
The hand-dyed background of this quilt was my first dying experience and became the driving force for the design of this piece. Breathing, breeding and feeding can all be accomplished by living species using each othersĘź resources to exist and flourish. They tie or thread each other together in their own separate worlds, always relying on each other.
Photos by Tim Dominick
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Tropical Living 50 x 35 inches
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Sara L. Quattlebaum Lexington, South Carolina
Hydrangea is one of my favorite flowers that I use in many ways. One day while walking in the Wisconsin north woods, I came upon a different species of hydrangea, wild hydrangea. I photographed the plant and later designed this piece. I was awe-struck by how prolific they were and knew instantly why; each plant has thousands of seeds, ensuring other plants will emerge in the wood next year. Those threads created by growing and flowering and seeding for the next magnificent show awes me.
Photos by Tim Dominick
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Wild Hydrangea 35 x 21 inches
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Candace Hackett Shively Fayetteville, Georgia
Hands trace the thread of our lives. Our hands are the visual evidence of physical growth but also of growth within. As we follow life's thread, our hands reach and grasp. We stretchĚśand sometimes lose our grip. We clasp hands in relationship and release to let go. The thread winds as we leave childhood guided by parents through life's slow reversal, twisting to where we parent our own parents. Hands trace the thread of each generation from comfort, through isolation, and through inevitable tensions. Just as the thread leads us to parent our own parents, it also guides us to greet the small hand of the next generation.
Photos by David W. Shively
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Through Our Hands 73.5 x 31 inches
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Candace Hackett Shively Fayetteville, Georgia
What about the children? Follow the threads and jagged edges of their fear. They flee from dangers only adults can begin to understand. They hide in silence. They withdraw in fear from bombings, hide in camps among surviving relatives, mourn lost parents, or even drownĚśto be washed ashore as unidentified bodies. In the cruelest twist, children are torn from their parents' arms and caged in solitary, terrified darkness, living a trauma they will never outgrow or comprehend. They hide their heads and suffer: unsafe, unheard, and unseen. Can you see them reaching through the fence? Can you hear them crying?
Photos by David W. Shively
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Unsafe, Unseen, Unheard 33 x 37 inches
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Cynthia Steward
Simpsonville, South Carolina The act of hand stitching thread is meditative, and the hand stitched threads help connect my modern day work with traditional quilt making while also creating textual elements. Pearls is the first in a series inspired by the art of old and new masters. This abstract work draws upon Johannes Vermeer's Girl With A Pearl Earring for inspiration, especially his luscious palette of blues and yellows along with the strong light and dark contrast. In this piece the hand-stitched undulating gold thread evokes the beautiful drape of the headscarf and the long parallel red stitches hint at the enticing parted lips in the portrait.
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Pearls 42 x 20 inches
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Cynthia Steward
Simpsonville, South Carolina Thread meanders across a quilt as will water and wind across rock, creating textures and designs that can delight and inspire. I incorporate the look of hand-stitched threads in my quilting to create additional texture and also connect my work with the traditional quiltmakers of our past. This work is inspired by the landscape of buttes and canyons created by wind and water in the Western U.S.
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The Gap 31 x 25 inches
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Sherry L. Watkins Jacksons Gap, Alabama
This tranquil imaginary scene of a weeping willow as its leaves gently stir the water leaving ripples across the lake like a word or look effects oneĘźs life. They can be ever so gentle or violently harshĚśreminds me to leave a tender wake to all who my thread touches as our lives are woven together.
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Tear Drops 52 x 17.5 inches
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Sherry L. Watkins Jacksons Gap, Alabama
A needle, thread, a piece of fabric, and some quiet time magically came together to portray The Fishin' Hole. A sweet childhood memory, a mere thread running through the story of my life, of summer days on the Chesapeake Bay as a child fishing off the dock with my family. The sparkling mesh fabric recreates the magical illusion of looking through the sunlit ripples of silver as my toes wiggled beneath the surface.
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The Fishin' Hole 30 x 17 inches
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Peg Weschke
Hilton Head Island, South Carolina I retired to the South Carolina Lowcountry and fell in love. As a New York City native, it took me a while to adjust to a slower paceĚśto really start to see and appreciate the culture, rhythm and beauty of my surroundings. The colors, light and critters of the ocean and salt marshes fueled my need to create. It has become the consistent thread that inspires my art. Lowcountry Living is what one should do on a hot southern, summer afternoon. Sit in the shade of a large Live Oak, ponder the wonders of nature and preferably, sip a little bourbon.
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Lowcountry Living 24 x 36 inches
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Peg Weschke
Hilton Head Island, South Carolina My love affair with the coastal south is the consistent thread that inspires my art. Shadow Surfing captures a flock of terns taking to the air. The birdsĘź flight along with their dark and light shadows reflects this thread. It shows the rhythm of the southern coastal area: ocean, nature and colors combined to sooth and inspire.
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Shadow Surfing 24 x 36 inches
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Jody B. Wigton Savannah, Georgia
Something so repetitious and monotonous to some can be viewed by others as attractive and interesting. The relationship between color, shape, texture, fabric choice, raw or frayed edges, shiny or soft, thick or thin is the constant thread that weaves the piece together. Bringing all of these elements together so they are appealing to the eye of the viewer is how I choose to tell my story as a fiber artist. The love of these things are the threads that have woven me into the artist I have become today.
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Monotonous Yet Interesting 20.5 x 47 inches
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Margaret Williams Tucker, Georgia
A thread can connect people who have something with people who need something. In the case of hunger, a food bank can be that thread. Food banks reclaim products that are cleared from store shelves during re-stocking and distribute those products to organizations and people in need. All materials for this quilt top were salvaged from the Atlanta Community Food Bank. Strips of food packaging were woven through plastic onion bags to create the "fabric." The black lines are the onion bag ties.
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Enough for Everyone 61.5 x 62 inches
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Margaret Williams Tucker, Georgia
A spiritual practice can be the thread that connects you to something much larger than yourself. Whether it be the stillness of meditation, the intellectual study of scripture, or the physical act of a walk in the woods, the intention to connect opens the door to divine guidance.
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Twice In A Blue Moon 35.75 x 46.5 inches
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Marian Zielinski Macon, Georgia
55 Worlds consists of 37 quilted mono-prints depicting or suggesting microcosms and the 17 spaces between them within 1 macrocosm. The worlds are impressions of geological, vegetative, astronomical, astrological, elemental, skeletal, fractal, and geometric forms as I imagine them seen through either a telescope or a microscope or perhaps a dream. Nevertheless, the title of this piece is intentionally ironic, pointing to the infinite and indefinable quality of the universe and my own human perceptual limitations in observing and participating in the world(s) I inhabit. In this universe, I am the thread that sews these worlds together.
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55 Worlds 55 x 55 inches
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Marian Zielinski Macon, Georgia
Woolgathering is a reverie about the matrix and meaning of home as the thread that runs through our lives and anchors all our real, imaginary, and symbolic journeys. It is about habit, habitat, new places, spaces and interstices, movement, cycles, depletion and restoration. Our travels, our daydreams, our exposure to new experiences serve as our spirit's circulatory system carrying reoxygenated blood to our lives, our ideas, and our imaginations. It is about longing for home, seeing it everywhere, and carrying it within us.
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Woolgathering 48 x 44 inches
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What is a JAM? In SAQA, a JAM is a Juried Artist Member. In order to achieve JAM status, an artist must submit samples of their work, as well as their resumeʼ and an artistʼs statement. A review panel of other JAMs conducts a review and evaluation of these submissions to determine whether the artist has com‐ piled a body of work and professional resume worthy of JAM status. Our Georgia / South Carolina Region boasts four members who have achieved JAM status.
Much as a group of musicians gathers for an impromptu performance, all GA/SC Regional JAMs were invited to gather and “show their stuff” in this JAM Session. This exhibit is an opportunity for our Juried Artist Members to display selected work in an exhibit coinciding within walking distance of the SAQA Regional Exhibit,
A Thread Runs Through It.
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Selections from
JAM Session Carrollton Center for the Arts Carrollton, Georgia
February 21 - April 2, 2020
Photo by Lamar Camp
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JoAnn Camp Greenville, GA
JoAnn Campʼs art is a very personal expression of who she is. Working with fabric and thread instead of canvas and paint, her sewing machine is an integral part of what she does̶almost an extension of her hands. She honed her technical skills by making traditional quilts, loving the color and the tactile nature of the materials she used. Then, she discovered that she could use those fabrics and threads to create art̶finally̶the fusion of her skill and her passion. Her photographs are the basis for much of her work. She is influenced by her surroundings in rural Midwest Georgia̶often stopping by the roadside to reach for her camera. An old barn, a tree, or a hayfield can be the basis for her next art quilt. Detail: Along the Flint
Photos by Kenny Gray
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Along the Flint
Photo by Kenny Gray
24 x 24 inches
Downtown 25 x 33 inches
Photo by Beth Buchweitz
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Virginia Greaves Roswell, GA
My mother was a painter, and I grew up surrounded by the creation and discussion of art. It was a part of our lives. When I got older, I enjoyed working with fabric to make my art. I started with monochromatic portraits and kept going, and now I use a full palette of colors and love the printed textures in the creation of pseudo-realism. Portraits are my muse, and IĘźve done people as well as dogs, horses, birds, and cats. I have learned through the process, and I have enjoyed the journey.
Detail: Justice&Freedom
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Justice & Freedom
Photos by Ron Witherspoon
49.75 x 66 inches
Minerva 35.5 x 36 inches
Photo by Forrest Clont
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Susan Lenz Columbia, SC
As a fiber and installation artist, Susan Lenz uses layers of polyester stretch velvet, metallic foiling, and recycled acrylic packaging felt to reflect her passion for historic buildings, especially historic stained glass windows and the colors and eco-friendly ideals of Friedensreich Hundertwasser, a 20th c. Austrian artist and architect. The work is the result of hand-guided, freemotion machine embroidery and unusual melting techniques. Susan始s tools include three sizes of soldering irons and an industrial heat gun. This is a unique process that Susan developed herself over a decade ago. Each piece builds on the last in an exploration of design motifs and stitched symbols. Susan始s work has appeared in national publications, numerous juried exhibitions, and at fine craft shows including the Philadelphia Museum of Art Craft Show and the Smithsonian Craft Show. She has been featured on art quilting television programs and on South Carolina ETV始s Palmetto Scene. Susan始s work is in the permanent collection of the Textile Museum in Washington, DC and the McKissick Museum in South Carolina. Susan is represented by the Grovewood Gallery in Asheville, and her solo shows and installations have been mounted all over the country. Detail: Seasonal Leaves, Spring
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Seasonal Leaves, Spring 38 x 22 inches
Box CCCXXX 26 x 38 inches
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Marian Zielinski Macon, GA
My work explores the elemental energies of earth, air, fire, and water as the fundamental basis of human imaginative perception and experience. I am seeking to create dramatic worldsĚśplaces that are syntheses of real, imaginary, mythological, and poetic spaces, infused with the complexities of time. In my art, I am searching for the connective tissue of relationship, focusing on some aspect of presence and absence of self and other. I have discovered that in the essence of composing images lies the heart of the mysteries of life and death, and as such, a place to explore the meaning and grace of human life.
Detail: The Curtain Rises
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Griffith and Broadway 43 x 58 inches
The Curtain Rises 45 x 60 inches