Bibbidi Bobbidi Boo. Mixed media. 12" x 16" on panel. 2020.
A work in progress.
Self-taught, political painter. Just starting to be able to talk, but unlike my photographs that are steeped in the beauty of Nature, my mixed media is influenced by current events. I'm struggling/wrestling with memory. Narrative. Myths. Fairy stories.
Trump said Covid-19 would magically disappear. Last night Biden optimistically said the country needs to unite (it does!) discounting that 72 million people voted against him and he'll be working with the same people who swore to ensure that President Obama failed, to hell with the country. Our narratives include fairy godmothers, genies in bottles, happy endings. Always happy endings, even if they can be delivered logically. Then we wave a magic wand.
I think I'm sure of one thing: That for the foreseeable future, my work will have dust blown onto it, signifying, harkening Covid-19.
The Curated Fridge's Autumn 2020 show opened yesterday, and I was excited to learn the day before that they accepted one of my images. It's an exhibition I've always admired, and this was my third attempt. Third time a charm? That's my piece all the way at the bottom right.
The curators were Raymond Thompson Jr. and William Camargo.
The theme of this show was "Counter Archives."
See the exhibition here >>
From The Curated Fridge's website: "We want to reexamine the archive with a lens focused on what and who was left out. We are looking for work inspired by archives, whether it be written, oral, family stores, imagine pasts and futures, and beyond. We invite artists that work from archives and as well create a counter-narrative with their work."
So...Counter Archives. 2020 saw me doing a lot of work on memory and family--the family archive in my mind and the one in pictures and in other people's memory--for a couple of reasons. In 2019 I had reconnected with my half-sister who I still haven't seen since I was 12 years old. But she and I have chatted on Facebook and talked on the phone about our past, our childhoods and how we were raised and what it's done to us, how it's made us who we are today. And two years ago I went back to the place of my birth after about 26 years. A lot of people told me they thought it would be good for me, that it would be good for my writing and my art. I was skeptical, and for the most part it brought up things in my past that I would have rather not have revisited. But the one thing that trip did was reaffirm that the best thing I ever could have done for my life was leave Ohio when I did. If I had stayed, I would have died, if not actually died, then metaphorically. The environment and my family would not have been a supportive environment for being and artist, and so much of what I value about the world and myself was not valued there and would have been destroyed, like flowers in the snow.
It's not easy to dig into your past; it's a lot more fun to make ironic paintings of current events. With memory and family, I found myself really digging up old thoughts and feelings and addressing and responding to them, and then...dropping them. I couldn't handle the process without some real breaks. I've said many times, there's nothing like a really good repressed memory or feeling, and we human beings have developed them as defense mechanisms for a reason. There are a lot of things I just don't want to think about anymore. But...but...as hard and painful as it may be, it's important to look into the archive to see what's there. What was recorded, what wasn't recorded, and what was distorted. We are all the person we are today because of our individual pasts. For example, because of my past, I have almost zero trust in people, though I have to admit at times that has served me well, especially during my years as a journalist. (Journalists maxim: If your mother says she loves you, get two more sources.) My current editor told me recently that he assigned me to a certain story because he knew I wouldn't swallow the bullshit.
Since November 2016, I had this feeling that the world is so familiar. All of this craziness and meanness, the lying and the instability that we see daily in the news. And then I realized, as a child this was how the world was in which I lived. I was constantly thinking about my family, "Can't you be fucking normal for one day?" And that's what I kept thinking about the current administration. If I can look at my past and see what it really was--the insanity, the shame, meanness--we as a nation can look at our past and face what was then, and what we've become of us now.
Here's the piece that was accepted:
And here are some of the other images in this series:
It was a working title, I've since jettisoned it, because it's how I'm exploring memory. What does memory look like? But it's something in my head. I'm making marks with carpentry tools. T-squares and carpenter pencils. On a bigger piece I'll use a blue line; I'm anxious to see the chalk wisp along the line. I'm making lines like a child who thinks what he's doing is so important, so grand, but isn't. That's how I see America being made better right now. I like seeing lines dissolve, fade, into dust. Even real dust from pastels.
I love process. I love reading about other artists' process. How did you do that? Today I read about an artist who just won a big prize who fills maybe three sketchbooks before she starts a painting. But then the painting doesn't change. I'm not so capable. Today, I tore three pages out of a sketchbook, and then took a nap. When I woke, I filled the three. That's all. The last three above. The ones with color. I want to learn how I feel about these lines. I want to understand what they are capable of doing.
I have a little Fujifilm point-and-shoot that I bought while I was traveling in Canada when I once again had broken I think it was my third Nikon Coolpix. It's shock and water resistant and I carry it just about all the time. It's my little friend, my little sketchpad, and what I like most about it is I never know exactly what it's going to do. It gives me a lot of control, but many times it, well, it doesn't take over, but it's almost as if it says, wait a minute, why don't you look at it this way?
It's still during the pandemic, when it seems it's still going to to be a year or more when I'm trapped in my apartment, on my porch, in my garden, when I'm almost too frightened to walk to the post office. When you jack the ISO all the way to 3200, the results look like charcoal drawings.
John Greiner-Ferris is an artist in the Boston area. Sometimes he makes images. Sometimes he writes. Sometimes he does both.