Making Things Whole

Our perspective on life is constantly being influenced by external factors. External influence has the capacity to sway the way we act, think, and feel. When it comes to what externalities we assimilate and make part of our beliefs and daily lives selectivity matters. Ana Rendich, an Argentine-born artist based in Virginia, is in tune with these external complexities and how to transform them into the paintings and sculptures she envisions and creates. 

Process 

Study, small work.

The way Rendich presents her artwork is selective, and it all begins with her unique creation process. Much like dissecting information, she is discerning on what matters to her first subconsciously, then consciously. She connects with her inner narrative to turn it into art. This process honors her strong sense for the creative process behind every piece. For Rendich, specific themes come to mind and act as primer for her creations.

She explains:

The base of my art is bringing presence through absence. There are different types of absences: not only physical absence, but also the lack of the fabric that could make us better human beings. All these have created the need to incorporate other elements, according with the sensibility of each piece, like the use or wood, metal and paper, besides oil, silicone, etc. I enjoy immensely the closeness with my materials, the tactile and physical connection too. It takes time to find materials that work with the guiding nature of my process. For example, I often visit lumberyards and I seldom find something that interests me. It takes time to find a piece of wood that I feel I can grow and work with.

Aesthetic 

Semilla, mixed media.

Some of Rendich’s works look like candy on the wall, especially her sculptures. Her use of color acts like an added element of surprise that blends in beautifully and intentionally. There’s structure to the color itself, which creates boundary-like effects on the paintings and sculptures. Where each space is defined within the whole. Almost portraying a sense of individuality to the piece itself and its shape and shade in relation to the rest, including the exhibiting wall space. 

“In both my paintings and my sculptures, color and shape are secondary to the overall composition. They are not separate elements—both form a symbiosis of the whole work. When I make an artwork that contains individual pieces, I always keep in mind that each piece belongs to the other part, and that the space that all the pieces occupy together is what makes the work,” Rendich comments. 

The use of color creates contrast within and around its outer space. Each shade does this in a non-restrictive way, as the edges are soft, yet it makes the viewer aware of the effect. The raised clear surfaces on the resin sculptures do a beautiful job at encapsulating an area and keeping it contained through an almost clear boundary. Every piece is timeless yet frozen in time, as it exists individually first, then in relation to one another - even in the sculptures she showcases as pairs.

Deeper Meaning

Untangling Single Vision, oil on linen.

In her latest exhibit, Untangling Single Visions, at the Quirk Gallery in Richmond, Virginia, Rendich showed how simplicity can unfold. Yes, a single idea can connect through shape or color in art, but these components, much like thoughts themselves, have the power to transform. All it takes is influence, perspective, and time of fill in the absence of what not yet exists in our minds.

She notes:

My creative process is very personal and internal. In general, it is about something that awakens in me and it is then that I have this need to create the work based on a deep-rooted sentiment that came to me. What influences me most probably is the absence of consciousness, the lack of empathy. All these “ingredients” that make us less human…so I need to bring some light, not with the intention of preaching or judgmental, but to reflect and contemplate in our humanness.

When closely observing her sculptures, you begin to appreciate the depth and complexity, much like our own thoughts. This to me is saying that when we unravel a thought or vision, it naturally can lead to more context, more information, more knowledge, to make that vision richer and whole. It provides us with perspective or that consciousness Rendich refers to. It is what we gain here that shapes us to continue becoming who we are meant to be as part of our human journeys. When we open ourselves to these possibilities, we become better versions of ourselves by becoming more aware of the world overall. 

As an example of how Rendich’s mind incites her creativity, she shares thoughts on her current projects:

Right now, I am making a couple works based on an event that happened in Argentina. In September 1976, 10 adolescents were abducted by security forces in the city of La Plata near Buenos Aires, Argentina. It is called the "Night of the Pencils" because they were students between 13 and 18 years old. Six of the 10 were never seen again. I grew up with violence, and the disappearance of human beings has created more questions than answers. I want to investigate visual ideas involving human loss through violence, bringing hope and healing joined together by our common humanity.

Concluding Thoughts

Untangling Single Visions, oil on linen.

We have the power to compartmentalize everything, be it thoughts, feelings, perceptions, or even material items. These pieces are part of something greater we have created even subconsciously with all the influence that surrounds us. Everything we experience, like these lovely artworks by Ana Rendich, matter.

For more on Ana Rendich’s work, please visit her website.

Today’s poem reflects Ana’s deep connectivity to humanity, what we lack, and what we need:

I Wandered Lonely as a Cloud 

BY WILLIAM WORDSWORTH

I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

Continuous as the stars that shine

And twinkle on the milky way,

They stretched in never-ending line

Along the margin of a bay:

Ten thousand saw I at a glance,

Tossing their heads in sprightly dance.

The waves beside them danced; but they

Out-did the sparkling waves in glee:

A poet could not but be gay,

In such a jocund company:

I gazed—and gazed—but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,

They flash upon that inward eye

Which is the bliss of solitude;

And then my heart with pleasure fills,

And dances with the daffodils.

Pouring Meaningful Colors Into Art

Imagine a world where one’s race or class doesn’t provide a meaningful advantage toward their notoriety. We still have a while to get there. The good news is that today’s world is now taking notes on why inclusivity matters in art. Over time there has been an undermining of creative voices, especially those of women of color. These female artists haven’t been given an equal opportunity for the spotlight in all museums or galleries. By omitting their stories, there’s potential permanent damage to the history of art, which they are an important part of. 

Delita Martin, Soul Keeper, 2016; Gelatin printing, acrylic, conté, hand stitching, and decorative papers on paper, 52 x 41 in.; Private collection; Photo by Joshua Asante.

Virginia Treanor, associate curator at the National Museum of Women in the Arts (NMWA), shares her thoughts on women of color artists’ importance. Also, two movers and shakers in the Latinx and Black art communities and beyond, artists Scarlett Baily and Tenbetee Solomon AKA Trap Bob join our discussion.

Solomon is a beloved artist in the D.C. community, who empowers viewers with her artwork to embrace authenticity and freedom. She has gained national notoriety by working alongside Refinery29, Giphy, Pabst Blue Ribbon, the Elizabeth Warren Campaign, BET, among others. She is also known for her eye-catching murals across the DMV area, and for promoting female creative opportunity through GIRLAAA.

Baily is a muralist and painter based in Mexico City. She intertwines cultural identity and cultural experiences. Baily showcases the duality of being Latinx from a personal and social perspective. She is also an advocate for women muralists through Mujeres Muralistas, a collaborative platform that brings attention to the street art form being embraced by female artists.

Know Your History 

Suzanne Coley, All I Have, 2018; Artist’s book; Courtesy of the artist; On loan from Private collection; Photo by Emily Shaw, Courtesy of Betty Boyd Dettre Library & Research Center.

It wasn’t until the end of the 19th century that a woman of color made her mark in the art world for sculpture. Mary Edmonia Lewis, "Wildfire," was the first African American woman sculptor to achieve national and international accolades. Augusta Savage, a Black sculptor from New York of the 1900s, on the other hand, was rejected from an art program in France during 1923 because of her race, yet became one of the leading artists of the Harlem Renaissance.

Notwithstanding these two documented historical accounts, it is hard to fathom the full extent of unrecognized artistic talent lying dormant in women of color since the 19th century. Challenges persist today in the form of lack of exposure and opportunity. Being a woman of color myself, it is natural to desire to see your cultural peers’ names displayed by a painting or sculpture in a variety of art expressions. 

The National Museum of Women in the Arts (NMWA) is a pioneering entity for representing all women, including women of color artists. During the past 30 years, they’ve held countless exhibits featuring such artists.

Treanor from NMWA comments:

There is no particular narrative that drives us to showcase a particular artist - it's the work itself that is the deciding factor. It's important not to pigeon-hole artists of color by showcasing work that is only about identity. There are many artists of color who make work that is not specifically about identity. This was explored in Magnetic Fields, which highlighted abstract works of art by African American and Caribbean women artists. Also, Colombian artist Fanny Sanín works exclusively in geometric abstraction.  

Scarlett Baily in front of her beautiful mural in Mexico City.

Artists should get a fair shot at having their work displayed, without being corralled into an identity-based category. Sure, there are cultural aspects of works that allow audiences to learn more about the artist’s journey and reason behind the work. Fairness also calls for a delicate balance between works that represent culture and those that do not. Some artists do share their through cultural identity, as Solomon and Baily do, and that should be represented by art entities as organic expression without labels. 

Baily expands on her vision of culture and art:  “Everything I read about Mexico was negative, you never really heard about other things. I wasn’t really  taught to value my own culture, but instead to negate the noise. This is when I felt the strong need to tell our story of what makes us unique, to talk about the journey, and to diversify how people are perceiving Latin culture. I felt I had so much work to do to recuperate this. You have to work from the heart. I hope my kids are born loving their heritage instead of having to recreate it. It’s okay to be bi-cultural. It’s cool and it’s a superpower. This is the time to use your art as a benefit.”

Making a Difference

Magdalena Cordero, Poems by Gabriela Mistral, Translations by Ursula K. Le Guin, Long Chilean Gaia, 2016; Artist’s book; Photo by Emily Shaw, Courtesy of Betty Boyd Dettre Library & Research Center.

There is so much depth to be explored artistically aside from how women of color choose to express their cultural identities. These artists should prominently be part of all museums and galleries as they are telling an important story, the artists’ story, that is frozen in time in their art. Through abstraction (like renowned artist Alma W. Thomas), minimalism (like Zilia Sánchez Dominguez), and installations (like Teresa Burga). 

Solomon comments, "I think in the past women of color's voices were not accounted for as they are now, so it automatically will create change and influence moving forward. Our perspective and creativity is not subtle, it's impossible for us to not make noise. Most importantly, I think it will open the flood gates to other women of color wanting to enter the industry, but maybe never saw a place for themselves or didn't have anyone they could relate to, to look up to. I myself was in that position before I became an artist, never even thought it was a possibility for me. Now things are so different, it's beautiful and really gives me a sense of pride." 

An inclusive stance creates a rich, collective art history, one that future generations will share and learn about. Inclusivity should, like justice, be “blind,” and that calls for more opportunities for women of color artists. Through fellowships, scholarships, art gallery and museum exposure, and in art careers generally. 

TRAP BOB alongside her colorful, empowering artwork.

“There has clearly much more of a push among galleries and museums to showcase artists of color over the past few years - and women, too! As demonstrated in my response above, NMWA has been dedicated to doing this from its beginning (the museum opened in 1987) but we are thrilled to see such a commitment from other institutions and we hope that this trend will grow and continue,” says Treanor.

Treanor is right, as it is not a trend, it is a call for a consistent implementation of art practices going forward that will make a difference. The current need for more inclusiveness within the art world will lead to increased demand for women of color artists, which will then lead to two important things: increased value of women of color artworks and leveling out the legacy women of color artists leave behind as part of the collective art narrative, which will then become part of art history.

Baily recognizes recent changes in the art scene for women of color artists. “It’s changing. Female artists have fought their way to be in a man’s territory. It has been incredible to see this fearlessness, you just see that women are not waiting for permission anymore, they’re just doing it. For many years, we haven’t been celebrated the way we should have,” she points out. 

According to artnet News, “Just 11 percent of all acquisitions and 14 percent of exhibitions at 26 prominent American museums over the past decade were of work by female artists. According to a joint investigation by artnet News and In Other Words, a total of 260,470 works of art have entered the museums’ permanent collections since 2008. Only 29,247 were by women.” An astounding fact that shows the challenges women artists face as a collective. These numbers also show the imbalance women of color artists face, as they make up a lesser percentage of the total works displayed by women artists.

Yes, things are improving and it’s important to constantly promote inclusiveness in the arts. Not just for artists, but also for people who work behind the scenes in the art community like curators, museum directors, and creative directors. The path is there for these women artists to have a bigger voice, but it needs a collective effort originating behind the scenes, including from those in prominent positions within the art world.

Today’s poem illustrates the hope and beauty that is found in diversity:

Give Me Your Hand

by Gabriela Mistral

Give me your hand and give me your love,
give me your hand and dance with me.
A single flower, and nothing more,
a single flower is all we’ll be.

Keeping time in the dance together,
you’ll be singing the song with me.
Grass in the wind, and nothing more,
grass in the wind is all we’ll be.

I’m called Hope and you’re called Rose:
but losing our names we’ll both go free,
a dance on the hills, and nothing more,
a dance on the hills is all we’ll be.

A Mesmerizing Thought

Artist Meg Biram is an artist of many traits who is constantly observing, exploring ideas, and putting them into motion. The resourcefulness of her creative process engages her audiences in her abstract leaning pieces. That sense of transparency is rare in an artist, but it is also greatly appreciated by those who follow her work.

She explains, “My brain never stops. I'm constantly getting ideas. I have notebooks and sketchbooks filled with ideas and also type them into the Notes app on my phone. I will even sketch stuff on my phone in the middle of the night and find it in the morning. I've learned that any spark of an idea, no matter how small, write it up, sketch it in the moment. You will forget if you don't. You might not execute it immediately, but the day you have a creative block you have so much to go through for inspiration.”

Aesthetic

There is playfulness and lightness in Biram’s work, which allows for an ease in connectivity with the viewer. Biram’s work exudes versatility, having experience in a variety of mediums from painting on canvas, murals, to creating stylish Christmas ornaments, and modernly ornate acrylic trays. In her paintings, Biram is great at portraying polarities in a contained manner, where opposite hues become part of the narrative just as much as the background. 

She is skilled at drawing your eye to the entirety of the piece. The repetition of patterns and lines are done in an endless way so that there’s no beginning or end per say. Biram states, “I like texture. It's not always included but it often is. I also love a little mystery. People ask me how in the world I made something, and I love that.” She applies texture and focus to all moving parts to allow for flow and motion. This technique makes patterns hold that collective feeling of belonging together, but also existing separately within the whole. Each piece exists within the represented collective space. 

Deeper Thoughts

The soft tones interlocked with stronger ones show how each piece has moving parts and how they work together in a neverending manner. It’s that sense of fragility as well that makes Biram’s work unique. “Concept and meaning is very important to me. If I connect with something or it's emotional to me, there's a good chance I'll paint it at some point,” she says. These pieces are also held together by the textures and the small nooks and turns you find in between, along with symmetry and a sense of organic perfection. You get a sense of that because the works feel like she’s doing them from the heart, even if they’re abstract. She is painting from within in an intuitive way to express what matters.

Conclusion

Biram’s vision has a sense of deep knowing. Like a connection she holds dear to who she is, what she has experienced, what is important to her, and how she conveys that in her work. She says, “I like to have a plan — for my business and for my work. I rarely just do pure expression painting, but sometimes do. I like to go into things with at least some idea of what I'm doing, it doesn't happen that way all the time but it makes me feel better.” We can see how this idea translates into her work with each movement on the canvas, mural, or ornament as having a deeper meaning, and that creates an important visual connection with her viewers.

All photos courtesy of the artist. For more on Meg Biram’s work, please visit her website.

Today’s poem reflects the sensibility and form we see in Meg’s work:

It's all I have to bring to-day

By Emily Dickinson

It's all I have to bring to-day,

This, and my heart beside,

This, and my heart, and all the fields,

And all the meadows wide.

Be sure you count, should I forget, --

Someone the sum could tell, --

This, and my heart, and all the bees

Which in the clover dwell.