If you listen long enough in the forest you begin to hear the untold stories. Three years ago I began to dream of trees on wheels because I sensed that trees wanted to move. They have an intelligence that is as sophisticated as our human species– maybe more so. The mind of the forest is a collective mind which is all underfoot as we walk through the forest, their roots come together to communicate and help each other with a network made up of fungi.
But back to the trees moving- they are moving as a species because of climate change. A recent article in the Atlantic Magazine, informs us that they are moving more West then North as scientists expected. So I’m not crazy, trees do have a life of their own that we barely comprehend, and they are moving.
Thanks to the winter weather the talk for Feb 8th was rescheduled. I’ll be talking on Wednesday, February 28th about the inspiration for the installation “What We Choose to Remember…” based on one of my trips back to Cuba. The piece is part of a group exhibition curated by Alva Greenberg, On Another Note: The Intersection of Art and Music
Feb 9th- March 15th Duets Exhibition at ArtProv Gallery, Providence, RI. This exhibition juxtaposes the works of three artist couples. My husband and I are one of the couples. There will be two receptions for the exhibit: Friday, Feb 9th, and Thursday, March 15th, both from 5-9 pm, gallery is located on 150 Chestnut Street, Third Floor, Providence, RI
Jan 19th-May 10thSchumann Visiting Artist in Environmental Art at the University of New Haven Lyme Art Academy School of Fine Arts. I’m honored to be the first artist to fill this position. The next 5 months will be spent exploring the ecology and history of the estuary landscape of Old Lyme with art students. Old Lyme is at the mouth of the Connecticut River Watershed which extends all the way into Canada. Throughout the spring I’ll also be working on my own installation about my explorations there, I’ll post more as I get to know the area. That installation will debut with an artist talk on May 10th at the Lyme Art Academy.
On Dec 2nd, On Another Note/ The intersection of Art and Music opens at the Lyman Allen Museum in New London, CT. The show will include an installation of mine entitled” “What we choose to remember and what we choose to forget.” The show curated by Alva Greenberg is up through March 11th, for more on the show visit the Lyman Allen Museum website here.
I’m also happy to announce that the exhibit, “Makers Unknown” which opened in Providence, RI at Brown University’s Center for Slavery and Justice in May of this year has been extended until March of 2018. That exhibit includes my installation entitled ” The History of the Coffee Table”.
The Caribbean has been especially hard hit with hurricane Irma this season. The islanders know too well that their weather can be pure bliss or hell and thus has been their history. The word hurricane came into the English language from the extinct Taino language, huracán, god of the storm. The Tainos were an indigenous tribe living on the islands of Cuba, Dominican Republic and Puerto Rico when the Spanish conquistadors sailed in. Unfortunately their resilience to hurricanes proved no match to the devastation of colonization.
This Fall sculptures and paintings from my ongoing Cuba series are in numerous group shows in New England.
Sept 1-29 University of Rhode Island/ Providence Campus, Feinstein Lobby, Cuba Inside and Out, Reception Sept. 21 5 pm.
At the end of June I got on a plane headed for Catalonia, Spain. After completing two demanding projects, Poetry of the Wild/Newport and Makers Unknown I needed a recharge on many levels. The first week I was in residence at the Art Print Residence in Arenys del Mar, a fabulous printmaking studio where I was training in wood lithography and wood cut for future projects. This last week, I’m in Barcelona with the Jiwar Residency creating a poetry box for the city, the second international box for Poetry of the Wild. My timeline is short, one week, and this is Barcelona with its delightful distractions. The residency is based in a historic section of Barcelona, Gracia, with a very strong sense of neighborhood. I’ve come with no tools and must rely on what I find in the city. Miro, and his visual poetry is an obvious inspiration. Here are my notes as the process unfolds.
When we moved into the woods in “South County”, Rhode Island, I remember thinking this is as far away from Havana as I can imagine. As I have dug deeper into this land- this other “island”, I began to encounter layers of buried history. One of them connected South County to the Caribbean and directly to Cuba. Rhode Island was one of the colonies most heavily involved with the “triangle trade”, the neutralizing term used to describe the sea faring trade that connected New England, West Africa and the Caribbean, its most valuable cargo being enslaved Africans. Rhode Island wasn’t just involved in the trading of slaves, the state was also heavily involved in the exports of food, livestock, and textiles needed to sustain the plantation culture of the Caribbean and in the South. Many of those products were made, grown, or bred on land here in South County. Negro cloth was produced at nearby mills, live stock such as sheep and horses were bred on Rhode Island’s Plantations a few miles away from us and closer to the shore.
My most recent project, a collaboration with Brown University’s, The Center for Slavery and Justice helps to address this history. The exhibition “Makers Unknown” / Material Objects and The Enslaved”, is a combination of artifacts and art works opening on May 26th and continuing through the fall until October 31st.