a change of scenery, part I

A change of scenery is good. It stimulates the senses to be in unfamiliar surroundings.  I had the privilege this summer to get out of town and take a few small trips, so I thought I’d finally get around to sharing it with you.

My first trip this summer was to see friends in Kansas City.  My dear friend Terrin had been telling me for a while about the First Friday art walk in KC, and she had a good feeling it would be something I’d be into.  So, I finally made it happen –it was even better than I expected!

Kansas City first friday

It was more like a block party than a gallery walk.  But this block party went for blocks and blocks and blocks. The galleries and streets were so crowded, many times we had to make a single-file line just to get through to the next place.  I’m not kidding, I’ve never seen so many people out for an art event.  They have a lot of good galleries there, all within walking distance, and the atmosphere was fun and casual, not like many of the pretentious gallery walks in Dallas.

photo 5

For hours, we walked from one street to the next, popping into galleries and seeing a new band performing around every corner.  There was the first group of middle-aged performers, happily playing in the corner of a parking lot,  while a range of admirers danced to “you can be my bodyguard, and I can be your long lost pal…”  Later we were greeted by a slick rock band blaring from a more official-looking stage set up.  But probably my favorite was a group of spontaneous break dancers in the middle of the street.  Traffic was at a complete stop, and the dancers and the surrounding crowd could have cared less.  I was instantly in love with this eclectic mix of people, music and art.

Judy Onofrio at Sherry Leedy Contemporary, KC, 2014  via freshpaintblog.com

One of my favorite exhibits was by Judy Onofrio  at Sherry Leedy Contemporary.  My attraction to the sculptural work made up of bleached cow bones was a surprise to myself (and the friends that were with me).  Her ability to take jawbones, vertebrae and ribs and turn them into fascinating works of art was pretty exceptional.  Most of them were wall-hangings, but there were also some large vase-like structures that were very impressive.

 

Judy Onofrio at Sherry Leedy Contemporary, KC, 2014 via freshpaintblog.com

 

I only snapped a couple of photos, but you can see more of her work at  http://www.judyonofrio.com.  And — lucky for me– the artist was actually there during the show!  I got to meet her and ask her about her process.   She told me she has a neighbor that raises cattle and allows her to collect old bones from his fields.

artists Judy Onofrio and Misty Oliver-Foster
Getting to meet artist Judy Onofrio (left).

She said that she enjoys all the parts of collecting, cleaning,  and bleaching the bones before assembling them into sculptures.  Somehow, she has devised a method to conceal all of the joints where the bones are connected, and she told me that’s also a fun process for her.  (Thanks to Terrin for snapping a pic of me talking with Ms. Onofrio).

What a fantastic way to start the summer.  I’m eager to go back up to KC and do it again soon.

 

 

 

Iconic Love

Here’s a look at some of my newest work, hanging in the Iconic Love show here in Frisco.

Iconic Love at Frisco Discovery Center

Here is a look at my work at the Discovery Center (8004 N. Dallas Pkwy).   The reception for that venue is this Friday, February 17, from 6:30 – 9:00pm.  Come see it — they all look so much better in person!  Details (and better pics) on my web site www.moliverfoster.com.

Iconic Love

the gift

I recently received the “Best of Show” award at the Texas and Neighbors 25th Annual Art Show in Irving for “The Gift,” so I wanted to share a little bit about this painting/mixed media piece.
The Gift
The Gift
The composition for “The Gift” was inspired by a historical painting by Jean-Auguste-Dominique Ingres called  “Venus at Paphos.”
Venus at Paphos by Ingres
Venus at Paphos by Ingres
  I am interested in taking art historical depictions of women (typically created by male artists) and keeping the overall composition, but changing the meaning entirely.  These women are no longer in the background; they are no longer simply seen as allegories of beauty and desire.  They are now active participants in their own life, everyday women with interesting stories to tell.
Stylistically, I prefer looser lines and more abstracted forms than used in traditional paintings.  I am influenced by the modernists:  Matisse, Picasso, Van Gogh, Valadon, and Toulouse-Lautrec, to name a few.   I feel a connection to their liberated use of color and simplification of forms.  In this particular work, I first layered paper onto the canvas.  The underlying image (a photograph of a sculpture that I took while in Boston) shows through only near the bottom of the composition — the dark areas in the female’s dress, and under the red garment of the child.
Another influece on my art is stained glass windows.  I believe this comes from my background in Art History, and eventual travels in Europe.   Each panel of stained glass  tells a story through simple lines and bold colors.  Likewise, each canvas or panel of my work captures a simple moment in time (a conversation, an exchange between mother and child), and elevates it to a moment of the sublime.  Although I use the “aura” or halo in some of my work, it not meant to be religious, but rather to bring to light the sacred acts of everyday life.   Using these female subjects, much of my art work deals with my interpretation of my own life: my role as mother, daughter, and wife.
Pablo Picasso said, ” Painting is just another way of keeping a diary.”  For me, at least, this is true.