influences

UMMA has introduced me to some amazing artists in the past couple of

years. I almost always find myself stumbling upon artwork that

really strikes me; whether it's a new exhibition of a contemporary

artist's work such as Jakob Kolding, or experiencing a master in a

whole new way, such as James McNeill Whistler. However,

there are two artists' work which I've seen at UMMA that

completely changed the way I looked at my own work.

Betye Saar is an assemblage artist who uses items which

draw on various cultures, reflecting her own mixed heritage -

African, Native American, Irish, and Creole. This view into one's

history and ancestry is what initial drew me to Saar's work.

In the 1970s Saar explored ritual and tribal objects from Africa,

evoking magical and mystical atmospheres, but after the

death of her great aunt, Saar began to work more with

family memorabilia. In the 1980s Saar moved toward larger

installations - alter-like shrines. These more sculptural works

are similar to my ideas for my IP project - something rather

substantial and incorporating three-dimensional objects.

I was delighted to learn from Janie that Betye Saar's

daughters are also artists. Alison Saar uses the female

figures in conjunction with natural forms. She is said

to enjoy building beauty from cast-off objects.

Betye Saar's other daughter, Lezley Saar began her

art-making with books - using them as containers and

canvases for paintings. Her work fixates on duality

and contrast. Generational connections interest

me as well because both my mother and father

are in the art field. I also spent much of my semester

last winter working on pieces about my grandmother

and her influence on me regarding fiber works, as

she was a talented seamstress.

The other artist that really influences me is

Christian Boltanski. His work uses found objects and

photographs as well, often in quantity. Boltanski's

work plays with memory, intimacy, and humanity.

His works are both haunting and incredibly spiritual

at the same time - he has been known to exhibit his

installations in churches, a very interesting context

in my opinion. Boltanski said he wants to make "art speaking

of the humanism of a religion freed of a powerful

God, to make way for each individual." I really can't

decide whether I like his view on afterlife or religion,

but I know that it's intriguing and I think that's the most

important thing. Christian Boltanski often seeks to

memorialize the anonymous - the direction I head for IP,

so I'm very excited to look at his work further.