Male dominance in western art, and in particular portraiture, has been a critical element in denying women ownership over our own identity. It also has caused some of the most significant crimes and injustices against women to be ignored, dismissed, or worse glossed over as something entirely different. Sober Jockey confronts this head-on by singling out and reinterpreting Henri Fuseli's, The Nightmare from a female perspective. In doing so it directly confronts issues of violence towards women and the shock, trauma, stress, depression and haunting that so often comes with it. A scene which for so long has been presented and interpreted as a “Nightmare” is now shown to be a reality for the protagonist, as it is of course for so many millions of women.
Sober Jockey will be exhibiting, as part of Art in an Age of Anxiety, at the Arts Guild of Sonoma in Sonoma, California between August 30th through October 1st, 2018. Opening reception Saturday, September 1st, 2018. See Details Here.
Art in an Age of Anxiety
August 30 - October 1, 2018
*Opening reception Saturday, September 1st 5:00pm-7:30pm
Arts Guild of Sonoma
40 E Napa Street
Sonoma, CA 95476
Open Sun, Mon, Wed, Thurs 11am-5pm
Open Fri & Sat 10am-6pm
I'm honored to be included in Persistence, an exhibition at the Museum of Northern California Art celebrating and recognizing women artists. "Persistence" has become a byword for women standing up and I'm passionate about promoting the work of female artists past, present, and future. This was my kind of exhibition.
From blank canvas to a semifinalist in consideration for the 2018 BP Portrait Award; this is the journey of my piece from creation to London and a behind-the-scenes look at my artist life.
Last year, I specially made time over the summer to explore new themes in my portraiture. One hot June evening, I glanced at myself in the mirror and something about the lighting, angle, and mood created an intense inspiration to paint a large self portrait related to my experience as a female. So began my two month journey creating Reduction (Self Portrait).
As I began work on my portrait, I had two goals in mind:
This piece was challenging to create because its meaning existed within me as a collection of memories, experiences and feelings, rather than something easily articulated. In the early stages of my portrait, I came across a poignant quote by John Berger in Ways of Seeing: "Men act and women appear." My mind went to years spent studying art history and the lack of female representation in Western art as it is taught in school and books. Most nudes are female, but most painters of them are male. The male gaze has dominated our understanding and formed our conception of not only the female form, but of a woman’s value, role within society and view of self. I wanted to challenge this.
My self portrait presents myself in many ways, including: one view of me looking outward directly at the viewer, and another, my reflected figure contained in an antique gilded mirror. My face, turned out to confront the viewer, is active; my reflected figure is passive. My piece takes on the complexity of subjectivity and objectivity, suggesting and provoking many layers of understanding of the relationships between viewer, artist, and object.
I used a limited palette of colors because I wanted to focus on the subject matter. This created simplicity and harmony on my canvas. I used warm and cool representations of each primary color, plus titanium white for tinting and toning.
From more than 7 weeks I obsessively toiled over my painting. Translating my gut feeling into a composition that articulated my experience both as a woman and an artist proved to be a difficult journey that consumed my every waking moment. Furthermore, I had never painted myself at such a large scale, and the concept was complex. It was hard to put my brushes down finally and declare it done because I am a perfectionist and I knew this was one of my most important paintings to date.
I documented the work on the day of the eclipse, August 21, 2017, only it was overcast so there was nothing to see in the sky. However, the overcast conditions made for excellent lighting to document my painting. A short while after photographing the work, I applied to the 2018 BP Portrait Award, but I didn't tell anyone I had applied because it's such prestigious competition, literally the show for the best contemporary portraits in the world, run by the UK's National Portrait Gallery.
Fast forward to February 9th, 2018 when just as I was checking my phone before heading to my studio to work I saw the word "congratulations"! It was notification that my painting was one of 215 portraits (out of 2667) selected by the curators at the National Portrait Gallery to travel to London for consideration for the exhibition. I was instantly floored-bouncy-hyper-happy-stunned and then after my brief celebration I realized I had about 2 weeks to:
Not long after I received the good news, and by not long I mean that same morning, I was off to my framer, Hammerfrier. We looked at frame options, but there was only one clear choice and by some miracle we were able to do the impossible; frame up Reduction (Self Portrait) in a beautiful custom gilded frame in a week's time (it should've taken 4+ weeks minimum). The frame was made on the east coast, and shipped west in a crate that was perfect for sending my painting abroad as well. Whew! Thank you so much to Charly and Glenn at Hammerfrier for all your work and support!
After much research I decided to work with FedEx Air Freight. I had a background check for homeland security purposes while setting up my account and then was set to go... filling out a number of forms, applying for licenses, etc... I was both excited and nervous when FedEx arrived - it was scary to hand over my painting, and I had never shipped such a large piece with such a tight window for delivery. Everything was moving along perfectly as I tracked my painting's progress from Healdsburg to Oakland to Memphis and then Stanstead Airport in the UK and then... it just stayed there for hours and then days. I was held up in customs, but after a number of middle of the night calls to the U.K. everything was squared away and my work made it with two days to spare!
I had to wait until March 9th to find out the results, and it turned out that I was not one of the 48 works selected to exhibit this year, but I'm not feeling too shabby because it is a HUGE honor to have been a finalist and considered by the museum curators - wow. Byron and I celebrated the news straight away with champagne at 6:30am - I'm really proud of my painting, Reduction (Self Portrait), and happy that myself and my painting had such an outstanding opportunity.
P.S. I was successful in bringing home my painting too - it just arrived in ship-shape and Bristol fashion on Friday!
Two of my paintings, "Sami American" and "Sami Reindeer," will be shown in Highland Park, Illinois at The Art Center, as part of what the organizers describe as "two extraordinary exhibits juxtaposing Contemporary Native American Art and Journey to America. The exhibit will voice two individual stories side by side, to create a dialogue in the context of the native population, each personal history and heritage affecting the true American Story. We hope to shed light on the America where diversity, with the differences of each journey at the core, shape our view and vision of how we look at immigration in America."
My work explores the complexities of ancestral identity and how it threads together the past, present and future. How can I relate to something that was never mine because it was never passed down in the way of traditions? My portraits contemplate the loss of Sami culture through oppression and my family’s emigration from Finland, as well as, the significance in reconnecting to the land and customs of my ancestors. My pieces are endeavors in understanding what it means to be Sami American.
In January, I set out to complete 100 self portraits. I required that all my work be the same size (17x14 inch gessoed paper), created from life, and completed in 15 minutes or less. The small size made it possible to "finish" the work, and my self imposed 15 minute time limit prevented fussing, yielding a direct and immediate result.
I began the project working with oil, then transitioned to pastels, and then moved around between graphite, sharpie, charcoal and gouache. Initially, my portraits were very much a traditional 3/4 profile and explored color, but I challenged myself to play around with scale, perspective, line etc. Eventually I found my way to graphite and created some very interesting contour line portraits.
I learned quickly that my time restraint prevented me from having any exacting detail, and instead, forced a very raw, in the moment, emotional result. Throughout the process, my entire catalog of feelings and experiences were accessible. Initially, I saw each portrait as a different person, but then recognized that each work is a reflection of how I felt in those 15 minutes. These faces are evidence that our sense of self and identities are constantly shifting and evolving, however big or small. The complexities of which aspects of ourselves take the drivers seat to lead, push or pull us forward at any given time is fascinating.
I am inspired to add my voice and view to the subjects of portraiture and identity because the female perspective is largely missing from the sum of our history as told through art.
A friend told me about an artist who, for their birthday each year, paints a self portrait. I love painting portraits and I love that idea. So, here it is, my 2015 birthday self portrait. I painted this alla prima using a mirror.
I created this space to showcase my past work, chronicle my current projects, and share my inspiration.