On Jurying an Exhibit - Part III - Talking with Artists

When I accepted the invitation to jury and judge two simultaneous art exhibits in July, it didn't occur to me at the time that I might be accosted by artists rejected from the shows.  And, whew!  thank goodness I wasn't. I DID have a few noteworthy conversations with several of the artists following the awards presentations on opening night.  Here are a few:

After presenting the awards for the "Reigning Cats and Dogs" show, we moved to the gallery on the other side of the building to present awards for the bi-monthly All Media show. One gentleman in particular was staring at me, listening intently. I found it a bit disconcerting. As he introduced himself, and we shook hands, I realized who he was and I knew what was coming next.  "I would like to know why you did not accept my painting into the show.  Do you know my painting?"  "Yes, I do.  I know exactly which was your painting." I proceeded to describe it.  and explain.  

This gentleman is a realist painter - a trompe l'oeil artist.  Which means "to fool the eye."  This type of painting can appear as if you can touch and move the objects around.   His pieces are distinct - usually on board and, painted as if on wood, the backgrounds are often dark and LOOK like wood. I've never seen him show a bad painting. Although (in only my opinion) it was not one of his stronger paintings, there was nothing wrong with it.  In putting the show together, it simply didn't fit in.  If he'd had more than one, or had there been another group of similar pieces, no doubt I would have included it. It remained as an option until the last rounds of elimination.  It simply did not work in the exhibit as it evolved. He seemed satisfied that I did know his painting and could express honestly why it wasn't included.  I am sure he disagreed. I saw him later in front of my wall of art in the gallery, scrutinizing my own paintings.  I would have done the same thing.  It made me smile.  

My next chat was with a gentleman who created an amazingly complex piece with multiple layers.  A ghostish figure resides in the center, and the corner edges of the piece were intentionally cut off.  Quite crudely.  I almost eliminated the piece because of that, but everything else was so thoughtfully placed, I knew it had meaning.  I honestly thought the creator was a college student.  Instead he was a 70+ retiree who loves making art.  Indeed he confirmed the sharp edges were meant to be part of the story.  I thoroughly enjoyed talking with this animated man filled with ideas. 

The next encounter caught me off-guard.  It was the first place winner of the animal show, Jeanne Minnix.  This is her work : 

"Hound" copyright Jeanne Minnix, used with permission

I had just left the gallery after chatting with Mel Talley, 1st place winner of the all media show. He shook my hand and thanked me, then laughingly told me "You must have been in a very dark place when you selected this exhibit."  To see what he means, you have until September 9th to see the show at Crossroads Art Center.  This is his work:  

"Life Force" copyright Mel Talley, used with permission

So back to Jeanne.  I heard my name called as I walked back to my studio. My head was filled with thoughts from talking about the show I'd just left, so I didn't connect who she was.   I did, but my brain wouldn't transition to carry on a sensible conversation about her piece.  It was a little awkward as we exchanged hellos. It wasn't until later that it all clicked and I was back in my own studio.  What I would have said was " I loved your work and am fascinated with your process. Let's go take a look."  I would have enjoyed talking to her with her painting in front of us, to learn more about it.  A lost moment I regret.  I hope we meet again.  

The last encounter was with a fiber artist. Milica Decker. I chose her necklace, "Peaceable Kingdom," for an honorable mention in the "Reigning Cats and Dogs" show.  Because I had at one time been a fiber artist of sorts, doing weaving and quilting, I had  appreciation for her piece and how perfectly it was put together.  Little did I know her story, until my friend Sarah and I found her selling her woven jewelry at a table near my studio.  

"Peaceable Kingdom" copyright Milica Decker, used with permission

I introduced myself to Milica and she began her tale by thanking me for the award.  As she correctly noted, fiber artists don't often receive accolades for their work.  She then proceeded to show me her process, along with a book of photos of many of her pieces, along with the work she had on her table display. One of the pieces in the photo images had quite a story and history. 

This work, a series of three, The Trilogy of Tears, was created after the death of Milica's husband, in order for her "to finish the grief cycle and find closure." Each was in the shape of a tear, the Tear of Grief, the Tear of Remembrance and the Tear of Joy. (Her story and explanations are long, so I'll not retell them here.)  The pieces were sold together to a friend of Milica's, to give to the girlfriend he'd broken up with, because she was unable to cry. This man wished for his former love to understand how important it was for her to cry. 

Later, Milica realized the piece might be able to help those in hospice, or their families, after learning of another person going through a grief issue.  Although the original is long gone, she had photos and the explanations she'd written for the gentleman who bought the  original.  Milica put together a packet and donated it to Hospice care, to share with anyone  dealing with grief whom it might help. A full circle and lovely story about how one woman's emotional journey translated to art. 

"Trio of Tears" copyright Milica Decker, used with permission

I would have known NONE of this had I not paid attention to her necklace in the first place and then stopped to talk with Milica at the end of the evening. The ability of art to heal, to soothe, to entertain, to speak, is universal.  

To those who believe that judging an art show is about "picking the pieces you like," my experience has been quite the contrary.  I would not choose to live with most of the works I chose for the shows, but I appreciate all of them.  From the rough "outsider" tiger painting, to the found assemblage, to the exquisite colored pencil rendering of a single dog, and many others that didn't make it to exhibit.

All in all, this was an enlightening experience for me and one I'd not hesitate to take on again.