Foot Bridge

FOOT BRIDGE

Evonne and Yvette purchased the first camera that they ever saw. In 1888, the camera was an exciting novelty displayed in Evan's General Store. They saw it in the store. They had heard about cameras, new fangled contraptions that captured a visual moment in time, freezing it forever. They admired it in the store. That night they chirruped in their private musical language about the new invention. Their talk is translated here. "We can stop time in its tracks", Evonne exclaimed. "We can still the slipping away," Yvette said. "We will purchase it tomorrow", they sang.

Their older brother, Emmett said, "You cant work that newfangled contraption, you two are just air heads. You will never be able to make it work."

The twins ignored the insulting remark. Emmet was always trying to put them down. His sarcasms went in one ear and then evolved, in the crystal mist of their heads. "Poor, dear Emmet, he really is trying. But he has a long way to go", the girls sang.

Behind the plantation mansion, to the west, there was swampy forest acreage that was not suitable for growing cotton. A wooden foot bridge crossed over a bog to a light trace of a path. The forest was said to be haunted. People said that a giant hairy wild man lived there.

Estelle, mother of the twins, died during their birth. Her blood leaked out, followed the babies out of her body. The double childbirth was the crowning achievement of Estelle's life, there was no need to go on after that. Her vital fluid slipped away. The twins did not need her. Servants cared for the two infants. The twins did not need anyone but each other.

Over the years, the father, Esau, occasionally saw the girls in the dining room. When Esau was home from the hunting camp, or home from doing business or dissipating in New Orleans, father and daughters happened to be taking meals at the same time. He noted that they were healthy and happy. Except for the unusual heads, they were normal.

One time, after he had been at the hunting camp for three months, in New Orleans for six months doing business and another six months doing dissipation he came home. His sweet strange twins were eighteen years old. Surprised, he was, to see that they had turned into young women. "I should have obtained tutors for them years ago", he thought. "Time just slips away."

The servants and town people considered the girls strange, but sweet. Once the people got used to the bubble heads, they realized that the girls were pretty. And that weird singing was beautiful.

Evonne and Yvette were happy to be left on their own. From the time that they first learned to walk, they spent hours alone together, in the forest, beyond the footbridge. Once they were gone for three days. The cook happened to notice that she had not seen them, that they had not eaten for three days. The kitchen gardener was sent to find them. When he saw them coming back, over the foot bridge, they seemed to be levitating. "But", he thought, "sometimes my vision is blurry".

Emmet was wrong, they were not air heads. Their minds were clear light. Cloud free. No shadows. Their minds were gently humming with the atmosphere of immediate intimate impressions.

Emmet was a block head, a normal person, his brain constipated with notions and resentments.

They took the camera to the footbridge behind their house. For the twins, the wooden walk way was a bridge between two different ways of being. A short stroll over the bridge was always a clearing remedy for the occasional heavy concepts that were impressed upon them from the world at large. In this way they erased unwanted thoughts. They could control the data in their brains and maintain a Zen calm.

In the end, ironically, Emmet was correct. They could not make the contraption work. They aimed and pressed the button. The negatives were mailed to New Orleans to be be developed.

The photographs arrived back by mail. Evonne opened the mail with keen anticipation. Yvette carefully removed the photographs from the box. Together the twins gazed at the beautiful photograph paper, which had a satin finish. They saw white. Softly shining white. Simultaneously they said, "Ahhhh-haaaa". Yvette said, "It is so beautiful". Evonne said, "This is perfect!"

Emmet stomped into the room. "So, your photographs arrived, let me see." He snatched the pictures. "There is nothing here, no picture, blank white."

"We know, they are perfect," the twins chimed.

One last time, the twins strolled over the footbridge to another reality. They evaporated. They slipped away. Their bodies were never found.

Mother and Child

MOTHER AND CHILD

MOTHER AND CHILD

This painting, as you can see, is heavily influenced by the Christian Mary and Jesus. It is an updated version of the historically popular image. The mother here, looks like a model with exuberant, fan blown hair. The baby is mischievous and spunky. He is a hand full, looking for trouble.

I think the halo, a kaleidoscope of comb like sea shells, is beautiful. In the background is a Gothic church, another allusion to Christianity.

The painting is called "Mother and Child", because my intention was to represent universal, ideal mother love. The picture references Christianity, but portrays, not specifically Mary, but the yearning desire for a loving mother. It serves as an illustration and receptacle for our human longing for unconditional love. Mother Mary and Child pictures are a personification of human needs. They are a concept made visible. The concept that is illustrated is that vacuum in our minds, in our spirits, in our physicality, that desires unconditional love. It is the vacuum within, the yawning hole, the deep void, that is seldom satisfied.

When people worship Mother Mary they may internalize the love that she signifies and experience some relief from the desperate desire for love. Compassionate love Goddesses are universal. In China she is Quan Yin, in Tibet she is Tara. These images used as a spiritual practice can facilitate blissful meditations.

The archaic Italian word madonna was originally a formal address to any woman. (Wikipedia)

Lately, the past year or so, my art has been exploring, "the human need to worship", Historically humans worshiped deities, currently many worship CELEBRITIES. Humans have a worship need. A psychological need for a bigger than life entity. We need heroes to identify with, to emulate, or in order to express deep psychological issues.

Lead by my muse, my art work has been exploring the persistent attributes of worshipees, a term that I have coined to group deities and celebrities together.

My picture "John Belushi was the Human Incarnation of Bacchus", draws attention to the hedonistic characteristics of both these entities. They are a sublimation of our wish to throw caution to the wind and embrace decadence. We enjoy Belushi acting like an undisciplined slob. Watching "Animal House" satisfies our desire to eat, drink and be merry, but, with out the hangover. Bacchus, as the patron God of Mardi Gras, permits unrestrained acting out during a prescribed period of time. After the holiday most of us return to sober work a day behavior.

"Oprah is the Reincarnation of Cleopatra", correlates the Queen of Egypt with the Queen of Television. And plays on the exotic African similarity. We desire the power of Oprah and Cleopatra.

Many of you may note the influence of Carl Jung and Joseph Campbell. I read these authors a few decades past. Their theories sounded a note of truth for me. Their principles have been deeply entwined in my personal belief system. They expressed these concepts much better than I can.

This series of art has afforded me much food for fantasy, contemplation, and expression. I am curious to see where it will lead.

Peace, Love and Art,

Janet

(File under the "I am not going there category": what happens to people who emulate Kim Kardashian and Paris Hilton. Both got their start from a sex tape. Both are now famous for being famous. Both have no fear of being tacky.)