Reflective Qualities

                      Scenes of childhood involuntarily moved through my mind, as I quietly explored the Emerson Cultural Center.  Pausing to appreciate and ruminate on the art, some pieces captured more of me than others.  I was not viewing canvas and paint, I was walking by manifestations of emotion, experience, beliefs, and thought.  Art is multi-dynamic; as much as it is a representation of the author’s personality, it is also viewed reflecting oneself.  The artist certainly guides the viewer, through lines, color, focus, etcetera.  One could even say that is the “point” of art—to represent and communicate.  Yet, it has another function.  It reveals to us what we value, believe, and know.  It helps us recognize how our history shapes our perception, and the lens of our personality through which we observe and judge.  Reflecting art is an essential piece of understanding human history, development, and identity.

                    Were I to own two pieces from my explorations, they would be “At the Gate” by Dana Aaberg, and “Canning Gold,” by Grace Dyk. “At the Gate” was a photograph in an encaustic coating.  The waxy substance covering the piece blurred the edges and spotted the surface, reminiscent of an older image.  The picture depicted a collection of cowboys at a rodeo.  Eight characters stood in the foreground; the background showed a handful more in the stands.  Upon viewing this piece, the attention is immediately directed towards two of the ranchers.  One is walking directly towards you, his weathered hands resting habitually in his pockets.  His head is down, but the visible portion of his face is relaxed, suggesting happiness.  He walks with intention, but not hurry.  The second cowboy stands further back, left.  His body language hints at a younger age, as he leans against the fence with one leg relaxingly bent behind him.  He is the only “curved” cowboy; all the others all stand straight.  Aside from the first character, he is the only other who faces forward.  Additionally, it is noteworthy that his face along is fully visible.  He has an intent, distanced look in his eyes that suggests contemplation of depth.  Dusty gravel lines the ground under their neutral-toned cowboy boots.  The many sets of legs are strong vertical lines, directing your attention upward, while simultaneously grounding the piece.  The distinguished wrinkles in their clothing are a prominent feature.  It suggests not sloppiness, but rather history; the fabric is worn, to the point of creasing with their specific body shape.  The tones are soft browns, blues, greys, and pinks.  A light source steadily comes from above, illuminating the tops of their hats and shoulders.

                 I appreciate this piece, because of the character and culture the artist is meaningfully representing.  A strong common bond, a camaraderie, is perceivable.  These cowboys have a sense of rugged classiness; although their apparel is dusty, jeans and shirts are tucked in, and hats straight.  Being raised in a Montana ranching town helped me to understand and appreciate the cowboy culture.  It is one that values hard work, resourcefulness, team effort, responsibility, and honesty.  The fact that the piece was a photo also bears significance.  The artist did not construct a specific arrangement—he had the eyes to see meaning already existing.  The piece is not chaotic or overwhelming, but its size —about four square feet— allowed for detail, and opportunity to focus on specifics.  It represents the rough beauty in a culture I admire for its values.

                 The second piece was watercolor and simplistic in its nature, but had depth in its formalism. “Canning Gold” depicted three jars of freshly-canned fruit, accompanied by three whole pieces of fruit lying in front.  The jars were arranged in a triangular fashion, and their shining lids directed your attention upward as they reflected light from an unseen source.  Bearing the glass emblem “Kerr,” two of the quarts contained sliced peaches, and one plumbs.  The contrast of the rich purple to light hues of pink, coral, and orange presented both balance and diversity.  The jars and fruit stood alone, against a dark brown background.  I appreciated the artist’s choice of highlighting only the foreground, as it was not distracting and encouraged focus.

                    This piece stood out to me initially because of the brand marked on the jars.  The writing was a contrast to the naturalistic sense of the piece, but added a relative aspect.  I perceived the artist wished to convey sentimentality, a portrayal of affection towards tradition, organics, and intention.  She seemed to paint with a familiarity, perhaps reminiscing personal experiences.  The art subtly promoted the values of responsibility, productivity, and provision.  I recall canning pickles, peaches, and pears as a child, with our neighbors up the hill.  We used Kerr jars and silver or brassy lids, similar to the watercolor.  Canning was work, then patience, then reward.  It also was an opportunity to learn from another’s experience and talent, and hopefully apply it to your own life.  Many conversations were facilitated over fruit chopping and sauce mixing; the kinesthetic element encouraged talk.  I would display this piece in my own home for similar reasons as “At the Gate.”  Viewing such a work of art can remind one of lasting values— community, work ethic, and responsibility, to name a few.  If one never had an opportunity to observe the ranching culture, or can fruit, art is an opportunity to learn.  Displaying these pieces opens a window to share about the value in experiences I have had and the principles I hold.  I appreciate the artists’ talent, and am thankful for the opportunity art is to continually contemplate my identity.  Understanding oneself and appreciating others are two harmonious ventures that, when done together, result in insight and knowledge.