Work on Display for CIC Arts Week Kickoff Exhibition Party
On Monday, May 1, from 5:30-8pm the Kickoff Exhibition Party of CIC Arts Week takes place on the 4th floor of One Broadway at Kendall Square, Cambridge. A collection of my drawings will be on display along with a number of works by Boston and Cambridge artists. This event will also feature my friends from El Taller Vagabundo, who will be selling their planters, pottery, and handmade books. Click here to RSVP!
Venture Cafe: Creative Industries - Demo Table
On Thursday, May 4, from 5:30-7:30, I will be holding a demo table at the Venture Cafe: Creative Industries event. Below is a description of what I'll be sharing with attendees. You can RSVP here.
Demo Table: Making Paint from Raw Materials
Ever wonder where paint comes from? Join a classically trained painter for demos on how to produce and use oil paint, watercolors, and mediums using raw materials, traditional tools, and techniques that began centuries ago. Producing paint at home saves money, gives the artist more control over the properties of the paint used during the creative process, and forges a stronger bond between artist and materials.
Please note that while you are encouraged to RSVP for planning purposes, you can also just swing by to either event.
One Broadway is easily accessible via the Red Line Kendall stop. When you arrive at One Broadway, you will just need to stop by the security desk on the main floor and check in with a photo ID. From there, you can head up to the 4th floor (for the kickoff exhibition) or the 5th floor (for Venture Cafe) and check in at the event table/kiosk.
For more information on each event, the full listing with links to EventBrite pages is here. Check the flyer for the other exciting events happening this coming week! I recommend stopping by all of them :)
Grandma Rose made most of the eggs in this jar over the course of her life. Each year she puts them on display for Easter. She no longer makes eggs, but she has a few coloring books that she works on each day to help keep her mind busy when she starts to miss Grandpa Andy. She takes each page one at a time and goes in order from front to back.
We had a lovely afternoon together working on our respective projects. When I started this sketch, my mom sat across from me writing letters, and shortly after, Rose took her place. I ended up focusing in on the detail of the eggs, and took my mom out of the background. (Sorry, mom!)
Grandma Rose, My mother Sharon, and me, all as young women. Rose's portrait was given to my grandfather with the note, "To Andrew, With All My Love Always".
Over the last few years, I've used these two boys calmly playing as a visual shorthand for my artwork. They represent a playfulness and curiosity that I feel while making things, but that I struggle to find elsewhere. Where else can I freely play and experiment without fear of failure or consequence?
As an adult, years of making mistakes and learning to tame my expectations has narrowed my will to try new things, learn new things, and explore new places. I seek the comfort of the familiar and find it difficult to traverse into the unknown.
But when I was a child, the world was big and full of hope; not limited by caution. When I was four years old, my friends and I spent an afternoon plotting how to tricycle from New York to Florida. I told them that my family had done the drive a few times and it only took a couple days, and imagined us tricycling on the shoulder of the Virginia highway, small enough to squeeze by traffic jams. I imagined us pulling up to my grandparents' house and docking our bikes in the garage. I never considered that it was a 1,300 mile journey. I was disappointed when my dad chuckled that he didn't think it was a great idea.
The two boys above I observed playing in a sandbox in the Place des Vosges. While their guardian read the paper on a nearby bench, the boys faced a stone ledge and quietly played and built with the sand. I couldn't see what they were building, couldn't hear what they were saying, and I never saw their faces.
In literature, it is the protagonist's experiences and how they see the world that we relate to most - not their appearance. Their appearance is suggested, but ultimately they are invisible and our mind creates a rendering of them that is filtered by our own experience. In this drawing, the absence of a face and an expression offers the same loose definition, so that it is easier to project one's experience onto a group of characters and their relationship. And while we may not know what exactly these playmates are building because their bodies obscure their work, the viewer faces the world from their perspective and their imagination is triggered to fill in the blanks. Much like we used our imagination as children to dream big and see where we end up.
To me, I relate the boy in the yellow jacket to creativity. I imagine him sitting comfortably, looking out past the benches and trees and his mind traveling well beyond the park. I see the boy in the black jacket as the mind wondering whether to keep the imagination in check, but for now letting it roam free. He crouches, rather than nestling into the sand and getting too invested. In a way, I see the teetering back and forth of the brain while making something new, pushing past doubt, and deciding how to feel.
What do you see?
Hannah Dunscombe is a painter and portrait artist based out of Mansfield, MA.