Here is some info...

I don't have any imagery for you right now but here is a little of what I have collected as background and press release information for my piece...

Merissa Sincavage Seminara

"Multi-Tasker Mother"

Strength, Warmth, Energy, Energy, Energy

Silk, Acorns, Buttons, Wood, Leaves?, Wool, Cotton, Stainless Steel, Dyes, Pigments, Wax...

There are 2 components to this piece.

Both of them have objects, existing or created, symbolizing "strength, warmth and energy".

The hanging piece is a mobile representing air, heaven, future, creativity, thoughts, imagination.

The standing portion stands for earth, bound, stable, balance, grounded.

The piece developed from reading the myth of Persephone... and looking at the balancing she had to do between the worlds... heaven, earth, underworld. This resonated with me. I feel like a mother/multi tasker has this kind of juggling act.

masculine vs feminine and materials--

Well, my work tends to be very autobiographical. I seem to sick to what I know and who do I know best? myself (most of the time), a women, artist, mother, human... this is the work that I always seem most proud of and connected to. I love to make beautiful things and for others to view them the same but life is not always pretty and so neither is my art.

This piece is still very much about me but is outside my comfort zone in the fact that it is three dimensional. I tend to work 2D sticking to one surface and building on it in layers through surface design techniques. Strength, Warmth, Energy, Energy, Energy emerged on its own ,seemingly to me in the beginning. But has come to make some sense as a wade through all the materials I have been drawn to, the techniques I am employing, and life I have been experiencing. The materials have been chosen based on intrigue and my necessity to create objects that are symbols for key things in my life. These symbols are my own creation but with the knowledge that some of these objects already have strong symbolism, which I will try to be build upon and grow. I am going to use my objects to build three dimensional layers to stick to something that is familiar to me.

The piece grew from one piece, the mobile(1st component) to two after laboring over the idea of cyclical life. Persephone's life and how cyclical it was made sense and seems to be how most life is lead now. Day to day, beginning to end, life to death. Everything seems to have a start and and a finish. I wanted to be able to illustrate that idea in this work. It will be present in the gradation of color. This is something that is very obvious to me in the change of the seasons. Color changes, temperature shifts, life/daily chores change... another link to the myth of Persephone and and her seasonal life changes.

The grounded piece(2nd component) is an extension to the idea of cycle. The color gradation will continue through this piece linking them together but in some ways it does have a masculine feel to it. It will hold objects that are heavier, darker and more masculine in feel. It is more about strength, which in society tends to be a more masculine trait. So, that is my only link to masculine I am feeling/ feeling at the moment but my work really tends to evolve, especially this piece, so more may come up. I will let you know.

I hope you were able to take something away from all of this and make sense of it.

Happy New Year!

Progress

Well, it is the second day of 2010 and already it is 100% better than 2009. I was happy to host 3 One Stone Collective members and their families for a traditional sauerkraut meal. To be blessed with good food and good friends is something I'm eternally grateful for. And this little holiday vacation has been the best gift. I spent some time in PA with family and was able to come back to Brooklyn refreshed and inspired. I even got in some much cherished studio time. The second 'net' is well underway and things are looking lively. It's not the easiest to photograph so bear with...but I think you can get an idea of what's developing. Until soon...peace and wellness...

A rose by any other name....

Gearing up for the holidays makes me ponder what life was like at different times in history. I often find my mind wandering to some of those classic stories that involve Christmas. I think of "A Christmas Carol" as many do, but oddly, my mind always wanders back to the holiday scene in "Little Women". There was a war going on, but despite a missing patriarch, life seems to have moved on like normal. It makes me reflect on how in many was, despite the fact that we are in what appears to be a never ending war in Iraq & Afghanistan, life here on the homefront seems to continue on, much as it ever has.
With that, I've written my description of the portrait series. Here it is for you all
-Meghan

Archetype: Women of War
A series of 5 Portraits-

1. Revolutionary War- Water Woman, 2010
cotton & synthetic fabric, poly fiber batting, thread
2. Civil War- Bandage Rollers, 2010
paper, cardboard & glue
3. World War I- Red Cross Nurse, 2010
cotton embroidery floss, canvas
4. World War II- Factory Worker, 2010
wool yarn
5. Current Iraq War- Soldier, 2010
rose petals on canvas

A series of 5 portraits showing working women of character during great wars in American history. A Woman's place in history has always been defined by what they were allowed to do; their skills were valued differently by the times in which they lived. Each portrait is created using a traditionally feminine craft technique: quilting, quilling, embroidery, knitting and pressed flowers. These skills and pastimes were appropriate for a girl of good upbringing, one who shows her obedience to family and country by doing what is proper. Her value to society was defined by how well she could behave in social situations, and how masterfully she could preform these feminine skills. By using these craft forms as the processes for creating the portraits of these women who stepped outside societal boundaries in times of crisis, women who wanted to give to their country and it's fighting men a helping hand, the artist hopes to highlight the fact that despite historical leanings, women have been contributing members of the war front since the beginning. This culminates in the final portrait of the female soldier in the current Iraqi war. This piece is made using pressed rose petals, which, depending on color have specific meanings and were a way for a man to show his feelings for a lady without speaking the words. Here, being paired with the strongest image of a woman's role in war, of being an equal to the men around her, here she is made from petals, she is truly as delicate as a flower, and as beautiful as a rose.

Through the Woods and Home Again

I had tea with the lovely miss Lindsay Gilmour this morning. She and I will be working together for the piece I'm making for the show. I've worked with her before and I just love the way we look things in such different ways. As a dancer, she's so in her body and tells you her story through movement. I'm always in my head and I suppose I tell my story through stitches. We spoke about narratives - the stories we tell about ourselves and the stories culture tells. Her husband is a death penalty lawyer writing about the importance of telling the story of the person you're defending - what is their narrative and how did that lead them to where they are? She also recalled something from The Power of Myth about how each culture has it's own story that members try and live up to. We wondered about our culture's story. How much of it had been taken over by Hollywood. "Love" defined by the latest Romantic Comedy and not by the wise. Between Hollywood and death row, what are the archetypes we're creating I wondered.

I've been reading From The Beast to the Blond a non-fiction book about story tellers and fairy tales. The archetype of woman as story teller goes back almost to the beginning. Fluctuating between wise woman to the "old wives tales" she tells us what we need to know in order to make it through the woods. She's full of gossip and wisdom. She's an oracle and a whore. She's trouble.

With Lindsay, I would like to explore this storyteller in other cultures, mainly Tibitian and Indian. I would like to see how they carry the burden of memory - the history of the culture embedded within the story - before there were ways of recording it. How are we still burdened by our culture? How can the past story tellers give us what we need to know about our own time. There is more to it then happily ever after. Even they knew that.

Don't Forget This Guy!

denver blog

archetype: crazy cat lady
this polytych is IN PROGRESS!
4 canvases measuring a total of 48x48 inches
mixed media (collage and acrylic paint)

Dear One Stone Collective,
I am very happy to participate in this collective. I do hope one day to see you all in person! I does not look like I will be able to come to PA in the spring, but my art will be there. And it will be finished, unlike the example I am posting.

I chose this archetype because I live it everyday. I have a beyond normal affinity for cats. I could give you the grisly details of my cat infatuation/love, but most likely I would write much more than anyone would care to read.

My paintings contain many personal mementos as collage material, propelling this art from a mere representation of an archetype into a meaningful self portrait. Meaningful to me...hopefully engaging to viewers.

Meow!
Love,
Timi

Woven

So, I have spent this quiet afternoon at my desk watching the sun move across the pale Brooklyn sky and contemplating my installation for the upcoming show. I'm reposting the description I wrote for our press release. There is still some editing and figuring, but I think I'm getting close...

Corey R. Breneisen
The Matriarch
"Woven"
Rubber bands

Using the Native American concept of Grandmother Spider as a jumping off point, Woven, explores the archetype of the matriarch. The keeper of family ceremonies, rituals and stories, the matriarch is both revered and reviled. Her piece addresses the concept of the loss of family connections, traditions and rituals when the matriarch passes. The use of rubber bands emphasizes the fragility of familial relationships as well as the lengths to which the matriarch is stretched in her role as head of family. In a performance to take place ______, the artist will be adding to the installation by weaving new sections of rubber bands. Through the repetitive action of weaving materials together, the artist invokes the establishment of family rituals and routines.