Three of my meditation drawings which together reflect upon the phrase “open heart” are included in Darkest Before Dawn: Art in a Time of Uncertainty at Ethan Cohen KuBe, opening this Sunday.
Click here to schedule a visit either during the opening reception on November 1st, or throughout the duration of the exhibition. If you do visit, please let me know what you thought (comment below or send an email).
please note: admission is free; registration is required in order to ensure social distancing in the galleries
Click the button below to view a PDF of the catalogue put together by the Thinking Through Drawing Research Network. This is my first time being included in an exhibition catalogue! See p. 43 for my drawing, Meditation XIX (the return of the repressed) – after Louise Bourgeois. As I wasn’t able to visit in-person, it’s been nice to be able to look through all of the drawings and get an idea of the exhibition as a whole.
(details) Perfect in Weakness, diptych, 36×24″, ink on paper/acrylic on paper, 2019
While working on the painting portion of this piece, I considered the way that small pieces (of the composition, of life) can feel out of place or broken, especially when observed from a place that is close-up and contained. With a more spacious point of view, there can be a perfection in observing the way things fit together that wasn’t previously apparent.
This drawing is 19th in a series of textual meditations I’ve been making since 2014, and was selected to be part of the exhibition Visual Thinking at the Ronald L. Barr Gallery at Indiana University Southeast. Methodical and meditative, these drawings have proven a constant over the past five years, and I imagine will continue to be so in the years to come.
I first saw this phrase of Louise Bourgeois’ in an exhibition at MoMA which include, among many books, paintings, and sculptures spanning her career, the fabric book Ode à l’oubli. (Here‘s a photo of her piece in the exhibition Louise Bourgeois: An Unfolding Portrait.) Her prolific body of work fascinated me, and her mantra offers hope that I too might return to openness from areas of repression.
This spring, I worked with Etta and Aaron (both seniors in the printmaking department) to create our joint thesis show, entitled Fine Lines. Completing a painting thesis at Herron includes several elements: an exhibition, oral review, and paper; the pieces displayed at Fine Lines represent several years of (conceptual and visual) idea development. Creating this show helped bring together components of my art practice which I’d previously seen as separate and difficult to reconcile. It provided space to consider the works in relationship to each other, the typically unseen elements of my art-making process, and real people who interacted with them. In the end, this portion of the thesis work was simply an extension of the rest of my years of Herron – art as process, as teacher, as connector.
The photos / statements below recap the visual part of my thesis work as seen at our show, which took place on April 15, 2016 at The Oilwick.
Show Statement: Marietta Miller, Aaron Green and Lynnette Sauer’s thesis exhibition is a celebration of line in drawing, printmaking, and painting. The work is thematically varied but unified by their love of mark making. Fine Lines references the idiom “There is a fine line between x and y.” It is in the fragile in-between, the gray areas, that Marietta, Aaron, and Lynnette find inspiration for their work.