The Other Mozart is a one woman play showing at the Rubicon Theatre from June 10-June 18, 2017. With a relatively short run you'll want to get tickets right away. I'd love to see you at the closing reception on June 18 immediately following the 2 pm matinee. The paintings are in the new downstairs gallery.
When I first heard the story of Mozart's sister, the saddest thing about it wasn't that she worked in obscurity but that none of her music survived. Her story is a familiar one. Women's work has often been seen as less important than men's. Even now women often don't get the recognition or compensation men do when working in the creative fields. In creating new work for The Other Mozart I wanted to explore feminine creativity. As the work unfolded I rediscovered that creativity is about human potential which encompasses all genders. I’m following the path that is unfolding effortlessly as I paint. My intention is to honor human potential which is genderless of, to coin a phrase, gender-filled. The creative force within us has innate power.
Below are the three new major works I painted for the show along with the statement for each one.
As paint ran across canvas, these paintings began to resemble a forest backlit by bright sky. Immersing myself deeper as I painted, I imagined myself chasing inspiration just as I captured fireflies as a young girl. Inspiration appeared like flashing, bright green dots. There is a green circle placed very close to the bold pink stroke that anchors the center of Witness. In an impressionist painter’s world the addition of geometry was a bold move. After placing it I walked around Witness studying the dot like a cat pacing back and forth looking at potential prey. I saw more dots as I moved to The Kingdom of Back and Phoenix. They sparked the fire that consumes the later pieces.
The Kingdom of Back
Moving deeper into the paintings I immersed myself in the dark acoustic world of Susan Marie Reeves. I tumbled Mozart and Reeves together in a uniquely 21st Century appropriation. The Appalachian music that influences Reeves originated contemporaneous to Mozart’s music. That and my own mind are the thin threads that tie Nannerl’s story to that of a woman who lost her lover in a forest.I became obsessed with Reeves’ song Black Devil. Its tragic theme reminds me of what Nannerl lost. It’s a story of a woman whose lover tries to save her from a tornado, only to lose his own life. In the painting, The Kingdom of Back, I channeled the whirling, passionate twist of the tornado which I see as the crucible that represents the act of creation. Nannerl’s first love, music, died just as tragically as the man in the song. The dialog between masculine and feminine is eternal. One cannot exist for more than one generation without the other. It can be a wild dance. Sometimes one of the parties doesn’t survive. Therein lies a tragedy. The Kingdom of Back was the imaginary world Amadeus and Nannerl created for themselves as children. The name is an homage to that story.
In Phoenix I allowed myself to follow the path of destruction that is often central to the act of creation. My forest was obliterated by golden powder and black inks. Red exploded across the canvas. In the end Nannerl and her music were lost. Politics, tradition, and masculine pride all buried her in expectations. The woman who acquiesced to those things suffered personally. We as a society lost the possibility of seeing what Mozart and his sister could have created had we let them live in the Kingdom of Back forever.
Living More Creatively
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