Boombox in Sky with Diamonds: a curated exhibition by Kandace Manning and Ian McMartin
IN RECENT years, the work of Northwest artist Anne Marie Grgich is more likely to be seen in galleries of New York City, New Orleans, Victoria, Sydney, and in Europe. However, during the next two months, over 20 of her most recent collage works will be featured at Kala in Astoria, along with the paintings, ceramics, and carvings of 7 other artists in the group show, Boombox In the Sky With Diamonds. Joining the skate bowl carvings and photography of Ian McMartin, the ceramics, quilt and paper craft of Portlandâ€™s Kandace Manning, the dense phantasmagoric graphics of Seattleâ€™s Paul Gasoi, the comic yet naÃ¯ve painted boards of Swedenâ€™s Marcus MÃ¥rtenson, the photo realism of L. Miscoeâ€™s painted birch panelâ€™s to the intensely vibrant and playful drawings of Soho artist Daniel Belardinelli, the exhibition offers an opportunity to see Anne Marie Grgichâ€™s dense and multi-layered portraits that have made her well known in the international Outsider Art movement, consisting of self taught artists who coexist for the most part outside the realm of the established art world.
Her large portraits are often paradoxical in nature; deceptively simple faces reveal, after closer examination, layer upon layer of images attached to the canvases with water based adhesive, giving them a liquid and mysterious quality. Dark color washes give the paintings a luminescence.
The images hover over each other obscuring and only partially revealing what lies beneath. Akin to the ancient practice of palimpsest where parchment or waxed tablets were scraped to rid them of the previous text and image so that the material could be reused, you can see evidence of the old text behind the whitened area. In Anneâ€™s work, previous layers bubble up thru the paint and the thickly applied adhesive to partially reveal hidden meanings.
Shards of tissue paper rubber stamped and printed with baby heads and doll parts, jellyfish, Victorian garb, hieroglyphics, anatomical drawings, alchemical symbols, third eyes, old bicycles and butterflies. Seahorses used as ears. A wallpaper motif becomes a hat. Bird feathers morph into a dress. Often juxtaposing the modern with the ancient, Anne uses metaphor to play with archetypes, showing â€œpeople from the inside outâ€.
â€œIt just so happens that I started painting faces. I donâ€™t know why. Before that, I was making all these creatures out of found stuff in 1981-82. When I gave birth to my son, I felt I couldnâ€™t have all this trash and junk around a little baby. So I got really into drawing while I was carrying him on my backâ€. It was Anneâ€™s painted books that first brought her to the attention of the Jamison Thomas Gallery in Portland in 1989, and subsequent shows there catapulted her career. Old library books with each page becoming a canvas encrusted with layers of paint, magic marker, and collage until the book swells up to four times itâ€™s size, with thick textures, fold out pages and bold, defiant faces. â€œI started doing collage books back when I was a punk rocker, using stuff I found, even cheese whiz! My art developed over time from poetry books to these picture books. I am a kind of visual poet. They are like journals. I could keep everything in my purse, and work wherever I went. Bring some of my books and a box of art supplies and go traveling across the country and to other countries. Iâ€™d go to New York and find a piece of wood on the street, then buy some nail polish at Woolworthâ€™s, then find something else. Then Iâ€™d make a paintingâ€.
At the Kalas Gallery exhibit, you can see one of her recent books. Like many of her books, it is a work in progress, adding new elements overtime. â€œI started this book when I had my hysterectomy. So its how I felt at the time. On this page, you can see a uterus and here a womb. I am turning it into this powerful image. I am sort of making my own icons of my feelings. When I feel frustrated or angry, I donâ€™t want to act out how I feel. I am more likely to try to transcend that by working with it. In a way, I am creating an edificeâ€.
On another page, Anne has collaged the image of a human body, upon which is layered an image of electronic circuitry. On top is applied a tissue with a drawing of the human nervous system. Other layers have images of plants and antlers. â€œThis is all under painting. Later I will re-apply a photo of the body so as to bring it back. Its like I go â€œIn & Outâ€. I used to organize my collage by color but now I am really into black and white. And then doing color washes on some layers.I am using the images as form, sort of juxtaposition of meaning. Metaphor becomes an element. Like combining the nervous system with the circuitry. As I am building it, a lot of it is intuitive and the rest is just what I am experiencing in life. With my piece â€œFlight or Fightâ€ which is in the show, itâ€™s about a time in my life, whether to flee or fight it out. Sometimes my work is prophetic. Iâ€™ll do a portrait and then eventually meet that person! My art is whimsically put together. There is a lot of irony. But sometimes they have themes. My art has an overall themeâ€.
At one point, Anne started incorporating baby faces and dolls into her work. â€œI had a kid and I feel that gave my life a lot of magic, beauty and joy. For me making art is a way for me to experience magic and a way for me to have a 2nd childhood. I had a head injury in 1981 and went into a coma. Afterward, I could only remember some of my previous life. Through art, I was able to remember more and more from the past and it gave me something to do. I would just go into this other world. And create all these drawingsâ€.
Eventually those drawings filled her journals and painted collage books and then grew into the larger canvases. In the show, you can see portraits such as Larissa, Victoria, and Rismone. Their penetrating eyes stare back defiantly but with a sort of innocence. These are eyes that have seen too much, reveal little and stare questioningly at your world. But there are new works exhibited, such as The Masquerade, Whale and The Baby (Underneath It All) that show new metaphors and multi-layer iconic images that point to new themes as well. â€œLately, I have become obsessed by trees, as I walk in Forest Park, near my other studio. I have a grasp on how short a human life is compared to a tree thatâ€™s 5,000 years old. Meanwhile, art is my lifeâ€. And, if you catch her making art while at the Kala Gallery, sheâ€™s likely to throw down some Sharpie pens and push a notebook in front of you and say, â€œLetâ€™s make art!â€. She often teaches workshops on her techniques when she is home in Portland and her travels elsewhere.
Next month, Anne packs her typical â€œon the roadâ€ kit of paper, collage books, art supplies and bags of tissue paper printed with various collected images and will be creating art while running workshops and exhibiting at the International Outsider Art Fair, Gallery Bourbon Lally, NYC. And beyond that, a solo exhibit at the Barristers Gallery, in New Orleans followed by a month long artist residency and solo exhibit at the Olaf Gallery in Amsterdam.
Steve Lippincott has an online music magazine at earcandyarchive.com celebrating â€œmusic that mattersâ€. He has worked in the publishing industry for 15 years, as well as being a chef. He is currently working on a cookbook called The Harmonious Dish.