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Perception is Reality
I'm so honored to have been chosen to have a solo exhibition at The Phipps Center for the Arts! It is on display now in Gallery One through May 22, 2021.
Artist Statement
There is no singular way to perceive the world. The notion that each person’s perception is their reality fascinates me. That means our world – the world of humanity – is a combination of a vast diversity of realities. I investigate this concept through my art.
As I work, I imagine that each person has a window through which they “see” the world. Individually we are never able to see the whole scene. I consider the challenges people have with understanding the world from another person’s perspective. Further complicating things, I consider the contradictory qualities that exist in humanity. At the individual level as well as at the societal level, contradictions are everywhere. As I work, I ponder the ways our various viewpoints interconnect and I explore how our contradictory nature tests our ability to work together.
Through my art, I strive to express these colliding, collaborating, and opposing perceptions.
Setting up the Exhibition
Video Walkthrough of Exhibition
Gallery Hours
Let Me Know What You Think
If you visit my exhibition, please let me know what you think! Write a comment on the Facebook Event page, send me a message, or comment here.
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A New Series
Hey friends, I've started a new project! It's a series called 8x8x8 Faces. Each artwork is soft pastel, they are 8x8 inches square and take about 8 hours to complete.
If you'd like to participate in my new series, it's $100 per face and you provide the photo reference.
Need ideas?
Turn that senior photo into a work of art!
Send me a favorite photo of your child and I'll turn it into something to cherish!
Turn your boring business pic into something worth sharing.
Go here for 7 Tips: How to Choose a Reference Photo
If you'd like to participate in my new series, it's $100 per face and you provide the photo reference.
Need ideas?
Turn that senior photo into a work of art!
Send me a favorite photo of your child and I'll turn it into something to cherish!
Turn your boring business pic into something worth sharing.
Go here for 7 Tips: How to Choose a Reference Photo
Face 1
Work in progress
Face 1 complete
Face 2
Work in progress
Face 2 complete
Face 3
Work in progress
Face 3 complete
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Your White Fragility
by Mary Pow
Are you fragile –
Will you break?
An ooey gooey egg.
Ooze into a hole,
And hide away.
Or is it possible –
Perhaps I’m wrong?
Your fist raised high
You find you’re strong.
And you uncurl.
Your shell is cracked,
You stand up tall.
That precious shell,
The pieces fall.
Thank God, they fall.
Released from shame,
You say his name
“George Floyd”
Again, “George Floyd”
And you move forward.
Look at you –
You’re in the street.
That shell is crushed
Beneath your feet.
And your eyes open.
Silence does harm,
You see. You warn,
“I won’t stay silent.”
You are reborn.
by Mary Pow
Are you fragile –
Will you break?
An ooey gooey egg.
Ooze into a hole,
And hide away.
Or is it possible –
Perhaps I’m wrong?
Your fist raised high
You find you’re strong.
And you uncurl.
Your shell is cracked,
You stand up tall.
That precious shell,
The pieces fall.
Thank God, they fall.
Released from shame,
You say his name
“George Floyd”
Again, “George Floyd”
And you move forward.
Look at you –
You’re in the street.
That shell is crushed
Beneath your feet.
And your eyes open.
Silence does harm,
You see. You warn,
“I won’t stay silent.”
You are reborn.
"Cracked" • 18"x 24" • soft pastel • 2020 • Mary Pow
Cracked is a painting that I completed in the aftermath of the murder of George Floyd, which happened only a few miles away from my home. While I worked on this painting, I simultaneously wrote the poem Your White Fragility. These two works are entwined.
The poem Your White Fragility, along with the painting Cracked equals a third work entitled Your White Fragility, Cracked. This artwork is intended to be a piece about the promise of change.
The poem Your White Fragility, along with the painting Cracked equals a third work entitled Your White Fragility, Cracked. This artwork is intended to be a piece about the promise of change.
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My Art for Social Distancing project - Portrait of a Quarantine - is finished! Thank you to all of you who participated in my quarantine project by submitting photos of your experience during lockdown due to the Coronavirus.
During the past three months I completed 12 paintings for this project, and in the process raised over $600. Half of these funds went to the Emergency Relief Fund for Artists and the other half went to support my studio. I am so grateful for your support during this time.
During the past three months I completed 12 paintings for this project, and in the process raised over $600. Half of these funds went to the Emergency Relief Fund for Artists and the other half went to support my studio. I am so grateful for your support during this time.
Portrait of a Quarantine
Things have been challenging, but I hope my project spread a little bit of joy.
Thank you!
Thank you!
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I'm working on another painting about the line between imagination and reality. This is something that has always interested me, but more and more lately I'm understanding what it's all about for me. I've come to believe that, if we practice thinking differently, we will see that the solid walls that form barriers in our lives, are actually bars that we can slip between.
As children, we're so connected to our imaginations. Magic is real, unicorns and fairies really do exist. We're filled with wonder about the world and excited because we know anything is possible. I'm reading "The Secret Garden" to my daughter and it's this idea, that there's something magical and secret lying in wait just behind the wall that I'm really interested in conveying in my art.
As we grow up, we have to learn the rules. We're taught the structure of society, the way things need to be, and we learn our place within that structure. Rules are necessary, of course, but we forget that all things are possible. The rules forms walls around us that we think are real and solid. We live with those wall surrounding us for so long that we aren't able to see any other way. They are our reality.
It takes a new kind of thinking to snap us out of our adulthood, to give us back our imaginations and to realize the rules are just rules, not walls. In fact, if we remember how to truly see the possibilities, how to follow our hearts, we'll find a key. If we listen to ourselves, deep inside, we'll find the door. We can get through the wall, to a secret place that was there all along, just waiting to be discovered.
As children, we're so connected to our imaginations. Magic is real, unicorns and fairies really do exist. We're filled with wonder about the world and excited because we know anything is possible. I'm reading "The Secret Garden" to my daughter and it's this idea, that there's something magical and secret lying in wait just behind the wall that I'm really interested in conveying in my art.
As we grow up, we have to learn the rules. We're taught the structure of society, the way things need to be, and we learn our place within that structure. Rules are necessary, of course, but we forget that all things are possible. The rules forms walls around us that we think are real and solid. We live with those wall surrounding us for so long that we aren't able to see any other way. They are our reality.
It takes a new kind of thinking to snap us out of our adulthood, to give us back our imaginations and to realize the rules are just rules, not walls. In fact, if we remember how to truly see the possibilities, how to follow our hearts, we'll find a key. If we listen to ourselves, deep inside, we'll find the door. We can get through the wall, to a secret place that was there all along, just waiting to be discovered.
A detail of my current in-progress painting, "Blackbird and The Blue Guitar"
Want more?
Here's what I'm reading and listening to as I work on my current artwork.
The Man with the Blue Guitar by Wallace Stevens
Thirteen Ways of Looking at a Blackbird by Wallace Stevens
Between the Bars by Elliot Smith
Little Fires Everywhere by Celeste Ng
Blackbird by The Beatles
Thirteen Ways of Looking at a Blackbird by Wallace Stevens
Between the Bars by Elliot Smith
Little Fires Everywhere by Celeste Ng
Blackbird by The Beatles
UPDATE!
11/4/2019
This piece is now finished! After struggling with two title ideas, I decided to go with "Between the Bars". The original is available, prints will be available at some point. Contact me for details.
"Between the Bars" • 18"x 24" • soft pastel • Available, unframed $840
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"Possibilities" • 14"x 25" • soft pastel on La Carte sanded pastel card • 2019
The idea for "Possibilities" came to me while I was on a walk. I was taking a break from another painting of this same girl, getting some exercise and reflecting on things.
I know how important it is to get outside, to free my mind while moving my body. I quite often discover a new perspective on a problem while I'm on a walk or run. So, when a vision for this painting popped into my head while I was walking, I laughed out loud, because how funny - it seemed so, almost predictable, actually.
I know how important it is to get outside, to free my mind while moving my body. I quite often discover a new perspective on a problem while I'm on a walk or run. So, when a vision for this painting popped into my head while I was walking, I laughed out loud, because how funny - it seemed so, almost predictable, actually.
"I Dare You" • 12"x 19" • soft pastel • 2019
Side note: You can probably guess, but I was also inspired for the previous painting of this girl (the piece shown here entitled "I Dare You") while on a walk.
Of course.
I was noticing the shadows the leaves cast on the ground when it suddenly occurred to me how I wanted to paint her sunlit hair.
Of course.
I was noticing the shadows the leaves cast on the ground when it suddenly occurred to me how I wanted to paint her sunlit hair.
"Possibilities" in Progress
I thought it might be interesting to show the progression of creating this piece. This is my largest pastel painting to date and it was, to be honest, a little brain-straining. I really enjoyed creating it, but I had to step back and take a lot of breaks from it so I could keep my original vision clear through to the end.
Week 1: I lay out a basic sketch.
Week 2: I refine the face and add more detail. It's a challenge to get the hair the way I imagine it should be.
I start to put in color, using intuition.
Week 3: I think I'm almost done. I set it aside for many days in order to get a fresh perspective.
For me, this painting is all about what could be possible - if we don't limit ourselves to what we think is true. In art we can easily blur the lines of "reality" and "imagination". Why not in life as well?
Imagine the possibilities. :)
And P.S. Take a walk. ;)
"Possibilities" completed.
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Material Honesty is a term I learned while studying architecture at the University of Washington, Seattle. They were very big on teaching us future architects how to be true to our building materials.
We were shown examples of exposed concrete walls with imprints of wood grain to illustrate the idea of "material honesty".
We learned that during building construction, wooden forms are built solely for the purpose of having something into which wet concrete can be poured. After the concrete has dried, the wooden forms are removed and discarded. One may never know about the type of forms used, but preserving the wood grain imprint on the concrete is a way to give a nod to the construction process. It's a way to be "honest" about your materials.
We learned that during building construction, wooden forms are built solely for the purpose of having something into which wet concrete can be poured. After the concrete has dried, the wooden forms are removed and discarded. One may never know about the type of forms used, but preserving the wood grain imprint on the concrete is a way to give a nod to the construction process. It's a way to be "honest" about your materials.
"Material honesty implies that materials should be used and selected on the bases of their properties, and that the characteristics of a material should influence the form it is used for. Thus, a material must not be used as a substitute for another material as this subverts the material's 'true' properties and it is 'cheating' the spectator."
from the Wikipedia entry for Architectural Design Values
Although I'm not designing buildings now, I do think about material honesty quite a bit while I work. I've come to love the idea of hinting at my process and using materials in the way that works best for them.
Using the idea of Material Honesty in my art
If I'm using pastels atop a colored paper, then when I'm finished I feel that one should be able to determine that I used pastels and a colored paper for the piece.
Here are some ways that I accomplish the idea of material honesty with pastels, illustrated with details from my artwork "I Dare You".
Here are some ways that I accomplish the idea of material honesty with pastels, illustrated with details from my artwork "I Dare You".
Exposing the paper
Sometimes I choose my paper based on its color. Other times, I randomly pick out a paper color and it becomes an important element in my color scheme as I work. Either way, the paper color is important to my creative process, so I allow parts of it to remain exposed on the finished artwork.
In this detail, you can see bits of the brown paper through the pastel application. The brown paper very much influenced the colors I chose for this piece.
Sometimes I choose my paper based on its color. Other times, I randomly pick out a paper color and it becomes an important element in my color scheme as I work. Either way, the paper color is important to my creative process, so I allow parts of it to remain exposed on the finished artwork.
In this detail, you can see bits of the brown paper through the pastel application. The brown paper very much influenced the colors I chose for this piece.
Retaining my mark-making
Unlike wet media, like paint, that will show the brush strokes used during application, pastels are a dry media and they leave other types of marks, as shown in this detail. I choose to retain these marks in my finished pieces, both because I like how they look and because they indicate the way the artwork was made.
A bonus for me is that the marks are like a record of who I was and how I was feeling at the moment I made them.
Unlike wet media, like paint, that will show the brush strokes used during application, pastels are a dry media and they leave other types of marks, as shown in this detail. I choose to retain these marks in my finished pieces, both because I like how they look and because they indicate the way the artwork was made.
A bonus for me is that the marks are like a record of who I was and how I was feeling at the moment I made them.
Showing Layers
I've come to really love working with my pastels on a gritty, sanded paper. This unique type of paper allows multiple layers of pastel to be applied. I can achieve an honesty in my material application by exposing the multiple layers of color I use in my work.
Applying layers of color also allows me to give a painting more depth. If you've ever noticed a painting that appears "flat", it may be due to an absence of layers of colors.
I've come to really love working with my pastels on a gritty, sanded paper. This unique type of paper allows multiple layers of pastel to be applied. I can achieve an honesty in my material application by exposing the multiple layers of color I use in my work.
Applying layers of color also allows me to give a painting more depth. If you've ever noticed a painting that appears "flat", it may be due to an absence of layers of colors.
Being expressive; not photo-realistic
For me, my art is about expressing a mood and getting at the heart of what inspired me in a subject in the first place. For the painting shown here, I had taken multiple photos of my model. In one of the photos, her eyes really drew me in. They seemed to be almost daring me, the viewer, to take her on. I absolutely love the strong, determined expression on her face. Of course, the gorgeous sunlit hair only added to my desire to paint the image.
I'm not interested in creating a photographic replica with my work. It's much more interesting to me to express myself and the media I'm using. For this piece, I used a specific set of colors and very expressive mark-making to get those original inspirations down on the paper. In the end, I do feel that I captured the ideas that prompted me to paint this image in the first place.
For me, my art is about expressing a mood and getting at the heart of what inspired me in a subject in the first place. For the painting shown here, I had taken multiple photos of my model. In one of the photos, her eyes really drew me in. They seemed to be almost daring me, the viewer, to take her on. I absolutely love the strong, determined expression on her face. Of course, the gorgeous sunlit hair only added to my desire to paint the image.
I'm not interested in creating a photographic replica with my work. It's much more interesting to me to express myself and the media I'm using. For this piece, I used a specific set of colors and very expressive mark-making to get those original inspirations down on the paper. In the end, I do feel that I captured the ideas that prompted me to paint this image in the first place.
"I Dare You" • 12"x 19" • soft pastel on La Carte sanded pastel card • 2019
With each new piece I paint, I'm learning more and more about pastels and their specific abilities. I hope to continue to add to my list of ways to use them honestly.
Of course, the best thing about art is there are so many different ways to approach it! What do you think? Do you think it's important for artists to be "honest" with their materials? When is it fun to fool people by being "dishonest" with materials? 😄
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Having a portrait painting commissioned is fun and exciting. The process shouldn't be stressful! If you'd like me to take photos for you, I offer a convenient photoshoot option for Standard Portrait Commissions. If you'd like to use your own photos, here are some helpful tips to make choosing a reference photo easier.
How to choose a Reference Photo for a Portrait Commission.
1. It is best to choose a photo where the subject looks most natural.
2. Look for a photo where the camera caught the subject unawares. A natural expression when the subject looks most like themselves is best.
3. Do not choose a photo where the subject is smiling "cheese!" for the camera.
4. Consider a photo where the subject is not facing the camera straight on.
5. An angled face, an interesting expression, and good lighting are great.
6. You do not need a perfectly framed head shot. I will crop your photo and change the composition.
7. Most importantly, be sure the subject is clear and in focus. Zoom in on the face to be sure that it is not pixelated or blurry.
2. Look for a photo where the camera caught the subject unawares. A natural expression when the subject looks most like themselves is best.
3. Do not choose a photo where the subject is smiling "cheese!" for the camera.
4. Consider a photo where the subject is not facing the camera straight on.
5. An angled face, an interesting expression, and good lighting are great.
6. You do not need a perfectly framed head shot. I will crop your photo and change the composition.
7. Most importantly, be sure the subject is clear and in focus. Zoom in on the face to be sure that it is not pixelated or blurry.
Example
Left to right: Original photo taken by me, cropped and zoomed in photo, final completed portrait.
Let me know if you have any questions about how to choose a reference photo! I'm happy to help. Contact me here.
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As I continue growing and expanding in my art career, I find that I'm ready to take the next step with my pastel painting. And that would be selling them, of course.
So, I've decided it's time for: outdoor art festivals!
I always used to say that I didn't want to do outdoor fairs. Unpredictable weather was a big drawback, as well as the fact that they use up valuable summer weekends.
But, my kids are growing and my life is changing, and I'm ready to tackle taking my art to the great outdoors.
So, I've decided it's time for: outdoor art festivals!
I always used to say that I didn't want to do outdoor fairs. Unpredictable weather was a big drawback, as well as the fact that they use up valuable summer weekends.
But, my kids are growing and my life is changing, and I'm ready to tackle taking my art to the great outdoors.
Getting Ready
I'm currently in preparation mode for this new endeavor. And, what do you know, I think I really like the preparation part of the process. I have enough experience at doing shows that it's not too challenging, but it's still new and fun.
Step one, I've had about a dozen of my pastel paintings framed. I think they turned out wonderfully. I'll have a few more done soon, I think.
Step two, I've been working on some marketing materials so I can offer portrait commission information at the show. I do love painting portraits, so hopefully this will be a good way to encourage commissions!
Step one, I've had about a dozen of my pastel paintings framed. I think they turned out wonderfully. I'll have a few more done soon, I think.
Step two, I've been working on some marketing materials so I can offer portrait commission information at the show. I do love painting portraits, so hopefully this will be a good way to encourage commissions!
Step three - and very importantly! - I've got to purchase a tent. It'll happen soon. I'm doing research.
Edina Fall Into the Arts
And so! This September, I'll be at the Edina Fall Into the Arts Festival. This will be my first ever outdoor art fair! I'll have a tent full of my new work in pastels, both originals and prints, along with a nice selection of my textile art work. I'm very excited. I'm hoping for nice weather and a great crowd!
Examples of the work I'll have at the festival
Pastels on sanded paper • "Black Swallowtail Visits the Garden" • 9" x 12"
Pastels on sanded paper • "Royal Candles" • 9" x 9"
Pastels on paper • "June, Again" • 12" x 15"
Textiles, cotton and linen • "Two Views" • 40" x 30"
Textiles, cotton and linen • "Reflection: Sometimes They Get Along" • 30" x 62"
I hope to see you at the Edina Fall into the Arts Festival this September!
Find more of my upcoming events here.
Find more of my upcoming events here.
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Work in progress. Reference is a photograph taken by Tanya Ketchum.
I find that I'm drawn more and more to painting people. I've been inspired by a number of photographs taken by friends and family and have used their photos, with permission, to create artworks. However, I believe it's time for me find willing subjects (my own kids really don't like getting their photos taken!) so I can have a variety of my own photo references to work from.
I'm looking for models!
Being a model is fun and easy. Here are some things to know.
Being a model is fun and easy. Here are some things to know.
- You do not need to be a professional model! In fact, I'm really inspired by the look of an average person.
- Photo sessions last about an hour.
- You'll have to be able to meet me in Minneapolis for the photo shoot.
- You will need to sign a model release form to allow me to use your likeness in my art. If your child is modeling, you'll need to sign the release for him or her.
- You'll receive a free 9"x12" print (or smaller) of any artwork I create from the photos of you or your child.
- If you choose to purchase any original artwork created from the photos of you or your child, you will receive a 25% discount.
If you, your kids, or someone you know is interested in being subjects for my art, please contact me via email at mary@marypow.com.
