The following post was prepared at the request of the JordanCon Blog before this year's Art Show. It will be shared at some point to the JordanCon family via the blog, but I thought maybe it should be shared more generally as well, particularly after several recent discussions on art, folk art, and inspirations.
Art and music, color and sound, have been a huge part in my life since childhood. I have a bit of synesthesia, where one sense triggers a response in another. For me, colors and patterns trigger music and vice versa. A print of Van Gogh's Starry Night hung in my childhood bedroom, and I used to stare at it, transfixed by the sounds that the colors and brush strokes created in my head. It wasn't until years later, singing in a choir, that I realized, to me, Starry Night looks the way Mozart's Ave Verum sounds. Patterns and repetition, colors and sound all work through me when I create. I have found inspiration in the patterns around me, both in nature and in human creations. For as long as I can remember, I've had a physical need to find a way to express the designs that filter through my brain, and have done so using a multitude of mediums over the years.
The means of creative expression I may be most known for comes from the folk art of pysanky, the intricately decorated eggs often displayed at Easter-time. Pysanky (a word derived from the Ukrainian word “to write”) are created using a wax-and-dye resist process similar to batik, though on eggshell instead of cloth. Though my family comes from Ukraine, writing pysanky was not part of my cultural heritage, although it was for my husband Alan's family. I had long loved the patterns and intricacy of the designs but figured I was incapable of creating such beauty. With encouragement from a Master pysanky artist, I picked up the kistka (the tool used to apply the wax) in my 40's, and have yet to stop. Writing pysanky is a form of meditation for me, the meanings behind the symbols and the music in my head becoming a sort of prayer as I work on each egg. Writing pysanky was a way for me to relieve stress after working long days with disabled children and their families as a clinical nurse specialist. And when I became ill myself, it was a huge part of my healing and acceptance of the changes one takes on with chronic illness. I only began to feel comfortable with the title “artist” after I had several of my pysanky accepted into the collection of the Kolomyia Museum in Ukraine. To this day, I am more likely to describe myself as a folk-artist.
Taking the pysanky art from eggshell to paper and ultimately to interactive art such as Patterns of the Wheel, a coloring book based on The Wheel of Time (Tor, 2016), is entirely due to the JordanCon family. Without the encouragement, enthusiasm, and a bit of nagging, I'd still be only working with eggshells. My art, in all its forms, reflects the wabi-sabi concept of Japanese art (before I became a nurse, I received a degree in history, anthropology, and Asian studies, and embraced some of the cultural ideas I encountered, particularly from the Far East). These ideas reinforce the folk vs formal aspect of my art. I also incorporate aspects from some of my favorite artists: the Impressionists, whose paintings color my memories from childhood visits to museums; Utagawa Hiroshige's marvelous prints and drawings; Warli, Kalamkari, Mehndi, miniatures, and even the painted trucks of India; indigenous creations from all over the world; street art, local works, and artistic friends. Lately, the art of Nigerian-born Victor Ekpuk, both for his designs, and for his exploration of nsibidi (a traditional pictorial writing of his homeland) has been calling me. The similarities between two arts using pictorial language and a transient format (chalk/eggshell) is a thrilling find, as are his artistic talents.
Wheel of Time-inspired art ranges from elegant, elaborate fantasy creations to simple stick figures. Individual taste and perspective guide the way artists approach their craft and the way in which viewers assess the result. One can glory in the art of Michelangelo, whose realistic depictions of the human form captured every nuance precisely, yet also delight in Marc Chagall, whose folk-art style featured casually drawn people and cows seen floating in colorful skies. One artist was a genius whose technical skills were flawless; the other recreated the art of commoners for a totally different purpose and effect. Luckily for me, there is room among the extremely talented Official Wheel of Time artists for a folk artist to explore the world Robert Jordan created. One of my most treasured memories is talking about pysanky with Jim Rigney, and his fascination with the symbols and language of pysanky. His interest in both the history and the art-form, and Harriet's encouragement, is what led to my becoming one of the licensed Wheel of Time artists. I am still astonished and grateful that my folk-art is in the company of such amazing art and artists.
|Pysanky and Pysanky-inspired designs artist Amy Romanczuk, with a guitar she hand-decorated.|