ALEJANDRA HIDALGO : The Natural Installations

 Interviewed and Translated in English, French and Spanish by Séverine Grosjean, Edited by Yoon Joo Lee

 After studying geography, international relations and sociology in different countries (France, Spain, Portugal, Ecuador, Peru),  Séverine Grosjean works as a freelance cultural journalist. She has published articles in  french, Canadian, British, Mexican, Chilean magazines. She is preparing to inaugurate her  first photography exhibition as curator in Paris in october. 

“Alejandra has insisted that her work was a tribute to the Guatemalan culture…..”

 Alejandra Hidalgo entered the world of creation by different doors like poetry, performance or photography. After much time and perseverance, she seems to have found in the installation what resonates with her.

Alejandra Hidalgo

 In 2003 she was asked to live in a house where she would also create. This will be called “In another time …” After  two months of work, research and 7000 baked (tortillas). It is a monumental installation without specific forms, but whose branches play and spread out  in every inch of the space. This work has created some controversy. In a country like Guatemala, where 40% of children under 5 suffer from chronic malnutrition, some people did not understand the use of this staple food in Guatemala, exposed for a moment and then thrown away. Alejandra has insisted that her work was a tribute to the Guatemalan culture and thousands of women daily cooking tortillas. Right or wrong, that is the question…

Alejandra Hidalgo 1

  It will inspire her,again in 2015 in an installation titled “Dreamlike” in an exhibition suggested by the G & T Foundation, “The interrupted dream.” Taking the form of a spiral from the ground up, dreams are transformed, they transform us and keep us constantly in motion, leaving one point and developing. She redefines the structure, the experimental barriers in a limited space giving the shape of a tree and it unconsciously as she says. In Christianity, the tree is the symbol of knowledge of good and evil and the Mayan culture by the Ceiba, the sacred tree, the pride of the Mayan civilization.

Alejandra Hidalgo 2

 With her work, “Footprints in the three times” composed by 5100 baked (tortillas) representing the number of pregnant girls aged 10 to 14  after being abused, most of the time by a parent, the work is much more committed. She carries a sociopolitical act giving shape to daily violence but unfortunately remaining silent. She allows a reflection on this issue but also on solidarity between the victims and the people fighting with them. This work is a metaphor linking violence and tortillas, food every day for Guatemalan. Activism and aesthetics of Alejandra’s work exposes the issue of commitment.

Alejandra Hidalgo 3

 In other works, Alejandra offers environmental awareness. Indeed, in an installation called “Acidosis”, she uses orange peels to recreate a space and reclaiming it. She creates forms and guide the viewer’s perception, walking with this natural material in a built landscape. There is an interaction, a mutual exchange, an atmosphere where the public may feel confused by this accumulation merging art and life.

Today, Alejandra Hidalgo continues this reflection on what it means to be Guatemalan, and the relationship between our individual consciousness and our collective consciousness.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


 

 Interview in French

Alejandra Hidalgo est entrée dans le monde de la création par  différentes portes comme la poésie, la performance ou la photographie. Après beaucoup de temps et de persévérance, elle semble avoir trouvé dans l’installation  ce qui lui correspond.

En 2003, il lui  a été demandé d’habiter l’espace d’une maison de deux étages. Ce qui s’intitulera «Dans un autre temps…” lui prendra deux mois de travail, de recherche  et 7000 tortillas cuites. C’est une installation monumentale sans formes bien précises, mais dont les branches jouent, sortent, se propagent dans les moindres  recoins de l’espace. Ce travail a créé une certaine controverse. Dans un pays comme le Guatemala, où 40% des enfants de moins de 5 ans souffrent de malnutrition chronique, certaines personnes n’ont pas  compris l’utilisation  de cet aliment de base au  Guatemala, exposé pendant un moment puis jeté à la poubelle. Alejandra a insisté sur le fait que son travail était un hommage à la culture guatémaltèque et aux milliers de femmes  cuisinant quotidiennement des tortillas. Valide ou non telle est la question.

Elle s’en inspirera de nouveau en 2015 dans une installation intitulée “Onirique” dans une exposition proposée par la fondation G & T, ” Le  rêve interrompu.” Prenant la forme d’une spirale venant de la terre vers le haut, les rêves se transforment , ils nous transforment et nous gardent constamment en mouvement, sortant d’un point et gradissant, se développant.  Elle redéfinit dans ce travail la structure, les barrières expérimentales dans un espace limité lui donnant la forme d’un arbre et cela inconsciemment  comme elle le déclare. Dans la religion chrétienne, l’arbre est le symbole de la connaissance, du bien et du mal et dans la culture maya  par la Ceiba,  l’arbre sacré, de la fierté de la civilisation Maya.

Avec son oeuvre,”Empreintes dans les trois temps” composée de 5100 tortillas représentant le nombre de  jeunes filles enceintes  entre 10 et 14 ans après avoir été abusées, la plupart du temps par un de ses parents, le travail de Alejandra est beaucoup plus engagé. Elle réalise un acte sociopolitique donnant forme à une violence quotidienne alimentant le pays mais restant malheureusement silencieuse. Elle permet une réflexion  sur cette problématique mais aussi sur la  solidarité entre les victimes et les personnes qui se battent avec elles. Ce travail est une métaphore liant la violence et les tortillas, nourriture de tous les jours pour les  Guatémaltèques. Le militantisme et  l’esthétique du  travail d’Alejandra expose  la question de l’engagement .

Dans d’autres travaux, Alejandra offre une conscience environnementale. En effet, dans une  installation  appelée “Acidose”, elle utilise des peaux d’orange pour recréer un espace et la réappropriation de ce dernier. Elle créent des formes et  guide la perception du spectateur se promenant  avec cette matière naturelle dans un paysage construit. Il ya une interaction, un échange mutuel, une atmosphère où le public peut se sentir confus par cette accumulation fusionnant l’ art et la vie.

Aujourd’hui, Alejandra Hidalgo continue cette réflexion sur ce que signifie d’être Guatémaltèque  et la relation entre notre conscience individuelle et notre conscience collective.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


Interview in Spanish :

Alejandra Hidalgo entró en el mundo de la creación por diferentes puertas como  la poesía, la performance y la fotografía. Después de mucho  tiempo y perseverancia, parece haber encontrado en  la instalación monumental  lo que le corresponde.

En el 2003, se le pidió  habitar un espacio en una casa de dos pisos. La que se llamara “En  otro tiempo…”. Dos meses de trabajo, de  investigación, de interrogaciones y 7.000 tortillas cocinadas más tarde, una  instalación gigantesca sin formas  muy definidas, pero cuyas ramas juegan, salen, se extienden en los rincones del espacio. Este trabajo creó cierta controversia. De hecho, en un país como Guatemala, donde el 40% de los niños menores de 5 años padecen malnutrición crónica, algunas personas no entendieron  el uso estropeado  de este alimento  básico de Guatemala, expuesto por un momento y tirado en la basura. Alejandra insistió en que su trabajo fue un homenaje a la cultura guatemalteca a través del consumo de tortilla reuniendo a  todos los guatemaltecos y en especial  rendir un  homenaje a las miles de mujeres que cocinan todos los días tortillas, siendo la base alimenticia de miles de guatemaltecos. Válida o no válida  es la pregunta?

Ella se inspirara  de nuevo de esta acción en el 2015 en una exposición de la fundación   G & T titulado “El Sueno interrumpido”. Se redefine la estructura, las barreras experimentadas en un espacio más limitado dándole  la forma de un árbol y esto inconscientemente porque como lo declara ”no era mi propósito”. Símbolo del conocimiento, del bien y del mal, el árbol representa la vida en la religión cristiana como en la cultura maya por la Ceiba, el árbol sagrado, motivo de orgullo para los Mayas.

El titulo de la pieza es “ensueno”,  una espiral que sale de la tierra hacia arriba, los sueños dan vueltas en nosotros, nos transforman y nos mantienen en constante movimiento, salen de un punto y crecen, se expanden. Las tortillas tienen marcado el sueno de miles de mujeres que a diario se paran frente al comal.

Con la obra titulada “ Huellas en los tres tiempos” compuesta de 5100 tortillas.una cifra no  inocente ya que representa el numero de casos de ninas entre 10 y 14 anos embarazadas despuès de haber sido abusadas, la mayoria del tiempo por uno de sus parientes, el trabajo  de Alejandra es mucho màs comprometido. A traves de este homenaje, realiza un acto socio-politico dando forma a una violencia que alimenta cotidiamente  el pais y que por desgracia se queda callado . Ella  permite  una reflexion “ politica”  por la visibilidad de esta problematica pero tambien de la solidaridad entre las victimas y las personas luchando con ellas.  Este trabajo es una metafora vinculando la violencia diaria y las toritllas, alimento del dia a dia de los guatemaltecos. Sin duda, con la relacion del militantismo y la estetica de su trabajo, Alejandra expone la cuestion del compromiso apelando las emociones del publico.

En otros trabajos, Alejandra ofrece una consciencia  ambiental. De hecho, en otra instalación monumental titulada “Acidosis”, utiliza la cáscara de naranja para recrear un espacio y la reapropiación de este. Utiliza el material encontrado en las calles para crear formas y orientar la percepción que tenemos de este objeto natural en un paisaje no natural. Se trata de una interacción, de un intercambio mutuo. Recrea una  atmósfera donde el público puede sentirse confundido por esta acumulación fusionando el  arte y la  vida.

Hoy, Alejandra Hidalgo continúa esta reflexión sobre lo que significa ser guatemalteca hoy en día y de la relación entre nuestra  conciencia individual y la de los demás.
Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.

BOOK REVIEW / ME AND MY DADDY LISTEN TO BOB MARLEY BY ANN PANCAKE

Ann Pancake Me and My Daddy

Ann Pancake’s newest book, Me and My Daddy Listen to Bob Marley, is a collection of novellas and short stories set in the small towns and rural places of the American outskirts. In Pancake’s stories run-down barns, warped farmhouses, and neglected campgrounds come to vivid life. Take, for example, this passage describing a motorcycle ride from the book’s first story, In Such Light:

When they didn’t ride along the river, Nathan favored an east side outskirt of abandoned or almost abandoned warehouses and factories, the streets there usually empty, and always of cops. The structures formed a three-story sheet metal ravine, their echo spectacular, the motorcycle a contained and rainless thunderstorm ricocheting between walls. The deserted hulks seeped not just eeriness, but somehow anger, even surprise, but Janie and Nathan were shielded from that by the speed of the bike. Them rocketing past enigmatic geometries, cylinders and chutes, cupolas and cones, past towering red letters threatening head injury and limb loss, past windows, if not shattered, so spider-infested Janie could make out webs at fifty miles per hour. These were places that used to make things, not chemicals, electricity, gasoline, but things you could actually touch, and now the vegetation rising, the weeks shrouding, pressing fecund, wanton, “plants” and “plants” Janie’d think in her alcohol haze, noticing for the first time how the word had been stolen, but ultimately the first plants had won.

Many of these stories are set in Pancake’s native West Virginia. Readers who know Southern Appalachia will recognize the scenery – simultaneously lush, poor, grand, and confined – and the politics. Pancake’s first novel, Strange as This Weather Has Been, dealt with the crisis of mountaintop removal mining. In Me and My Daddy Listen to Bob Marley the story Arsonists revisits this subject most explicitly. In it we see that those trapped by the economics of the coal industry stick together as best they can.

Although the book vibrates with Southern Appalachian air, these stories speak beyond the region. Demographic change is turning small town and rural America into a memory. Or a fiction. Today little of the real world of rural America shows up in mainstream media. Reality television shows mythologize the rugged and macho “dirty” jobs of those living outside American cities. And we have a paucity of writers treating rural American communities seriously. Pancake shows us the beauty, tragedy, and poetry in these endangered lives.

Natalie Axton is the editorial director of Critical Read, a new platform for original writing on the fine and performing arts.

Lucy Christiana, Lady Duff Gordon

By Jiin Kim

LadyDuffGordon-1919

Lucile in 1919, photographed by Arnold Genthe

Lucy Christiana, Lady Duff-Gordon (née Sutherland) (13 June 1863 – 20 April 1935) was a leading fashion designer in the late 19th and early 20th centuries, best known as “Lucile”, her professional name. Lucile, the first British-based designer to achieve international acclaim, was a widely acknowledged innovator in couture styles as well as in fashion industry public relations.

1912_evening_dress

Evening dress, Spring 1913, Lucile (1863–1935)

Apart from originating the “mannequin parade”, a precursor to the modern fashion show, and training the first professional models, she launched liberating slit skirts and low necklines, popularized less restrictive corsets and promoted alluring and pared-down lingerie.Opening branches of her London house, Lucile Ltd, in Paris, New York City, and Chicago, her business became the first global couture brand, dressing a trend-setting clientele of royalty, nobility and stage and film personalities. Duff-Gordon is also remembered as a survivor of the sinking of Titanic in 1912, and as the losing party in the precedent-setting 1917 contract law case of Wood v. Lucy, Lady Duff-Gordon, in which Judge Benjamin N. Cardozo wrote the opinion for New York’s highest court, the New York Court of Appeals.

DuffGordon06MannequinParade1913London

George St garden, mannequin parade, 1913

 In 1912, Duff-Gordon travelled to America on business in connection with the New York branch of Lucile Ltd. She and her husband, Sir Cosmo Duff-Gordon, booked first class passage on the ocean liner RMS Titanic under the names “Mr. and Mrs. Morgan”, a possible explanation being that they hoped to avoid publicity on landing in New York. Lucile’s secretary, Laura Mabel Francatelli, nicknamed “Franks”, accompanied the couple. On 14 April, at 11:40 pm the Titanic struck an iceberg and began to sink. During the evacuation, the Duff-Gordons and Francatelli escaped in Lifeboat 1. Although the boat was designed to hold 40 people, it was lowered with only 12 (seven of them male crew).

1024px-RMS_Titanic_3

RMS Titanic departing Southampton on April 10, 1912.

Some time after the ship sank, while afloat in boat 1, Lucile reportedly commented to her secretary, “There is your beautiful nightdress gone.” A fireman, annoyed by her comment, replied that while the couple could replace their property, he and the other crew members had lost everything in the sinking. Cosmo Duff-Gordon then offered each of the men £5 to aid them until they received new assignments. While on the RMS Carpathia, the Cunard liner that rescued Titanic’s survivors, Cosmo Duff-Gordon presented the men from boat 1 with cheques drawn on his bank in London (Coutts). This action later spawned gossip that the Duff-Gordons bribed the crew in their boat not to return to save swimmers out of fear it would be swamped.

These rumours were fuelled by the tabloid press in the United States and, eventually, in the United Kingdom. On 17 May, Cosmo Duff-Gordon testified in London at the hearings of the British Board of Trade inquiry into the disaster. On 20 May, Lucile took the stand. Their testimony attracted the largest crowds during the inquiry.

Cosmo Duff-Gordon faced tough criticism during cross-examination while his wife had it slightly easier. Dressed in black, with a large, veiled hat, she told the court she remembered little about what happened in the lifeboat on the night of the sinking and could not recall specific conversations. Lawyers did not seem to have pressed her very hard. Lucile noted that for the rest of her husband’s life he was broken-hearted over the negative coverage by the “yellow press” during his cross-examination at the inquiry. The final report by the inquiry determined that the Duff-Gordons did not deter the crew from any attempt at rescue.

The Titanic episode is one of the most tangible aspects of Lucile’s life, thanks partly to motion pictures. The films, however, portrayed her without great attention to accuracy: in cameo by Harriette Johns in A Night to Remember (1958), produced by William MacQuitty, and again by Rosalind Ayres in James Cameron’s 1997 blockbuster Titanic. In the latter film, the role of Lucile’s husband Cosmo was portrayed by the actress’ own husband, Martin Jarvis. In the 2012 British miniseries Titanic, Lucile was played by Sylvestra Le Touzel.

Duff_CCP_FIG130e_WFP-DUF011

Lady Lucy Duff-Gordon (Lucile) New York, 1916

A faded grey silk kimono with typical Fortuny style black cord edging, for some time thought to have been worn by Lucile as she escaped the Titanic, is now understood to have belonged to her daughter Esme, Countess of Halsbury. The distinctive print on that garment, designed by Mariano Fortuny, dates the item to post World War One. Fortuny suffered from failing sales following business problems in 1915, when his business assets were seized. The company reopened with a new name later that year, and following further changes, opened a new factory in 1919 with more commercial designs using new patented techniques. Letters written by Lucile reveal the features of two bathrobes she wore off the Titanic. One was pink, one purple, and both were chosen “for warmth.” One was a partially made garment she described as grabbing in a rush from the Paris branch of her salon. She also described wearing a pair of pink Yantorny slippers, a blue head wrap and a squirrel coat and her ‘motor hat’. An apron said to have been worn by Lucile’s secretary, Laura Francatelli, can be seen at the Maritime Museum in Liverpool, and her life-jacket was sold, along with correspondence about her experiences in the disaster, at Christie’s, London, in 2007.

Lucile had another close call three years after surviving the Titanic when she booked passage aboard the RMS Lusitania on its last voyage. It was reported in the press that she cancelled her trip due to illness. The Lusitania was sunk by a German torpedo on 7 May 1915.

fitldg1917afternoongown

Afternoon gown light organza, 1917, Lady Duff-Gordon

Duff_CCP_FIG130F_WFP-DUF111

Lily Elsie (a) (left) & Lady Diana Manners The Great Love (1918), Lady Lucy Duff-Gordon

Lucy Duff-Gordon’s connection to her design empire began to disintegrate following a restructuring of Lucile, Ltd in 1918–19. An acrimonious battle emerged in the press, culminating in Duff Gordon’s public acknowledgment that since Spring 1921 many Lucile dresses had not been designed by her. By September 1922 she had ceased designing for the company, which gradually diminished in success after her departure. Meanwhile, its founder (who continued to be known as Lucile) worked from private premises designing personally for individual clients. She was briefly associated with the firm of Reville, Ltd., maintained a ready-to-wear shop of her own and lent her name to a wholesale operation in America.

daily_sketch_1919_robinson

Daily Sketch, London, 4th January 1919

Lucile also continued as a fashion columnist and critic after her design career ended, contributing to London’s Daily Sketch and Daily Express (1922-1930), and she penned her best-selling autobiography Discretions and Indiscretions in 1932. She died of breast cancer, complicated by pneumonia, in a Putney, London nursing home in 1935 at the age of 71. The date of her death, 20 April, was the fourth anniversary of her husband’s death.

Source:

http://en.wikipedia.org/wiki/Lucy,_Lady_Duff-Gordon#cite_note-41

http://www.worcestershireregiment.com/wr.php?main=inc/vc_w_l_robinson_page9

https://wfpp.cdrs.columbia.edu/pioneer/ccp-lucy-duff-gordon/

http://sensibility.com/vintageimages/1900s/lucile.htm

http://melbourneblogger.blogspot.com/2010/04/lucile-duff-gordon-couturier.html

Valeria Thomas, art and plastic

DSC_9110

Recycling is an essential part of her life.

Valeria Thomas, French artist,passionate of melted plastic , began working with plastic bags in 2002 with the challenge of making “something” with the many bags that can not be recycled and are declared “public enemy No.1” for the environment.

And after a few trials with the iron… it melts. And it’s beautiful!

Valeria then splurged  into the creation of small objects, starting with jewelry, then larger pieces, then assembling them with the sewing machine, welding them, molding them. She creates fashion accessories,house decorations and real pictures. Her latest creations are sculptures of jellyfish, with this wonderful material.

A network of supporters has formed around her project in the city of Les Lilas (near Paris) where she lives. She collects bags sorted by color, cutting them, composes and overlaps and melts them with the heat of the iron!

The resulting surfaces are bold colors , graphic. Renewing her original profession : textile design.

Today, plastic bags are rarer in France, it’s true, and that’s good for the environment! However, ValeriaThomas still has a few years of recycling ahead of her… And when they disappeared completely ? She will do something else!

3 coupelles

—–

La récup fait partie de sa vie depuis toujours !

Valéria Thomas, artiste française, passionnée de plastique fondu, commence en 2002 avec le défi de fabriquer « quelque chose » avec les nombreux sacs plastiques qui, non recyclables sont déclarés « ennemis publics n°1 » pour l’environnement !

Et après quelques essais avec un fer à repasser… ça fond. Et c’est beau !
Valéria se lance alors dans la création d’objets de petite taille, à commencer par des bijoux. Puis des surfaces plus grandes, modelées ensuite en les cousant, en les soudant, les moulant. Elle réalise alors des accessoires de mode, de décoration, puis de vrais tableaux. À présent, ses dernières creations sont des sculptures de méduses, avec ce merveilleux matériau.

Un véritable réseau se forme autour de son projet dans la ville des Lilas (près de Paris) où elle habite. Elle récupère des sacs qu’elle trie ensuite par couleur, découpe, compose et superpose, puis fais fondre à la chaleur d’un fer à repasser !
Les surfaces obtenues sont solides et naturellement colorées, graphiques. Ainsi elle renoue avec son métier d’origine : le design textile.

Aujourd’hui les sacs plastique se font plus rares, c’est vrai, et c’est tant mieux pour l’environnement ! Cependant, Valéria Thomas a encore quelques belles années de récup devant elle… Et lorsqu’ils auront totalement disparu ? Elle fera autre chose !

valeriathomasplastiquefondu.blogspot.fr

Interview / Mary Coss

“My sculpture explores narratives that are personal, yet globally informed meditations on our cultural landscape”.
-Mary Coss

3 Graces

3 Graces

This week we present Seattle based artist Mary Coss who makes artwork inspired by life’s stories. Born in Detroit and raised in an atmosphere of politics, art, and spirituality she has lived throughout the United States collecting stories and telling them through her artwork. Coss received her Master of Fine Arts from Syracuse University and has accumulated an extensive national exhibition record, focusing on alternative venues and community and public art projects. Coss has received residencies and grants from institutions such as the Candyland Arts Center in Stockholm, the National Endowment for the Arts, the San Juan Island Museum and Sculpture Park, James Washington Foundation, and Seattle’s Office of Arts and Culture. Mary Coss’s public art experience encompasses a wide range of commissioned installations and written community art plans. Her public work is in numerous collections including King County and Seattle Housing Authorities, McNeil Island Corrections Center, and Port Angeles Fine Arts Center. Coss’s curatorial experience includes exhibitions at METHOD Gallery, North Seattle Community College Art Gallery, the Columbia City Guest Gallery, Another Roadside Gallery, and co-curated projects for the New City Gallery.

My sculpture explores narratives that are personal, yet globally informed meditations on our cultural landscape. I am interested in the intersection of nature and the human made, nature and the sociopolitical. I explore issues through the universal commonalities of ancestral bones, feminist struggles, and artifacts from nature. Often my projects engage community or create interventions in nature.

I am working in the space between the real and the imagined; abstractions from our lives are reworked using metaphor, nostalgia, humor, and ultimately, reflection. Poignant interpretations use the unexpected, navigating scale or unusual material that reflects and builds on the intention of the work. The layering of text and sound has organically evolved from my use of story as inspiration. Integration of sound and story with the visual creates a third form of experience.

Where do you gather most of the inspiration for your works?

People are my inspiration. I have done a lot of work around issues of identity, both others and my own. I’m inspired by stories and also simple things I come across in life. Strewn broken umbrellas on the street in NYC inspired my umbrella formed skirts. A long saw blade in a trash pile inspired a protective hoop skirt.

Finding an incredible overgrown tree with thick Ivy growth inspired ladderwalk- I wondered how a calculated machined wood intervention would appear inside such rich organic growth.

The Frameworks of Who I Am

The Frameworks of Who I Am

Serendipity Installation with video

Serendipity
Installation with video

How do you look at your previous pieces?

I see them in the same way I look at my memories, they are poignant, sometimes naive, sometimes worth revisiting and sometimes not.

How does your cultural background affect/inspire your work?

My recent work is a lot about this. Bloodlines is a  body of work on cultural inheritance and an investigation into my ancestral history. Blood and Water was inspired by genealogical mapping. Plotting the emigrant points of my ancestors on a map revealed a pattern; most of my family lived near the coastlines. Water has guided my personal moves from the great lakes to the east coast to the west coast. Finding I had a commonality with centuries of ancestors living near the water inspired this work. The poem Blood and Water is recorded in four voices, dialects from my ancestral countries of Ireland, Scotland, and France, layered with the sound of waves crashing. You can read the poem here. Here is an excerpt from the soundtrack.

Artist installilng blood and water

Blood and Water mockup

Blood and Water mockup

Blood and Water

Blood and Water

Blood and Water

Blood and Water

What’s the best thing about being a woman artist?

Haha well I do think women have a tendency to be able to multitask which is a required skill for artists. I think I have to think a while on this one.

What is the most difficult part of being a female artist?

Ha ha again, all the multi-tasking. because we can, we take on too much.

How do you manage in such a situation?

Lately not so well, I’m trying to say no to things. But I stay afloat by making lists and staying up very late at night.

What do you think is the artist in society?

To make people reconsider, question, it’s a way to communicate and have others rethink their assumptions on life. To understand the world in a different way to see it differently to push the culture forward socially and politically and through what we value and to keep in touch with what is important and has meaning- beauty, nature, life.

Layers of the hijab

Layers of the Hijab

Layers of the hijab

Layers of the Hijab

Layers of the Hijab

Layers of the Hijab

Did you ever feel like giving up? What’s the best piece of advice you’ve been given at that time?

Only say yes to the things you really want to do. No matter how difficult it is to say no to things- if they aren’t on your chosen path, say no, otherwise those very things you do not want to do will fill the path.

Once I started saying no to the things I didn’t really want to do, the things I did want to do started filling up my time.

What advice do you have for aspiring artists?

Follow what has meaning for you. That is what keeps you going.

This Birds has Flown

This Birds has Flown

What is your dream project?

Not sure, have to think about this.

What do you want to do next?

I am working on some female imagery that is inspired by a mix of social issues and whirling dervishes.

bebés la leche

bebés la leche

#

Her exhibitions are going on now in Seattle. You can check them in our blog!

Images of the Homeland by Mary Coss / January 14- Fabruary 7, 2014
Public Debt to the Suffragette by Mary Coss / January 2- February 15, 2014

Also you can see more in Mary’s website and our Women Artists of the World website.