Archives for posts with tag: internationally exhibited

Reblog Number Three

Hollis Hildebrand-Mills's avatarHollis Hildebrand-Mills

Day Sixty-Five/ Image Sixty-Five

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Here I am again, indulging my fascination with tidal waves. And for those of you who have not been following me and my love of depicting natural disasters, here is a picture of a tidal wave about to wipe out a swimmer.

What I like most about this one is the apparent determination of the swimmer in spite of the tidal wave. She is not letting the fact that a tidal wave is coming deter her from her goal.

This reminds me of all those tasks we dread doing and therefore, we avoid them. If only we did not put them off, we would realize how fast the jobs can be accomplished. It is in procrastinating that we do these tasks more than once. Conceptually doing them over and over, rather than merely marching toward them, like the swimmer.

In our minds…

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Reblog Number Two

Hollis Hildebrand-Mills's avatarHollis Hildebrand-Mills

Day Seventy-Three/Image Seventy-Three

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Some people seem to be surrounded by rainbows and moonlight. They seem to have the freedom to fly away at whim. Not me. I get called for jury duty. I have served on about twenty juries, criminal and civil. This is the opposite of moonlight, rainbows and being free.

When I am stuck in the courtroom, waiting to be called for my interview in front of everyone, (of course, having to stand while being interviewed for selection) a slow anxiety permeates the room. It’s always a red room, which, to me makes it worse.

First off, in murder trials, there is the alleged murderer looking at me. Pointing at me, indicating to his lawyer he wants ME to be on the jury. There is this suffocating feeling of never being able to leave.

In civil trials, there is haggling in the jury…

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Day Eighty/Image Eighty

“Afloat” Image. Ceres Gallery. New York. Solo Show.

A plane landing on water. At night.

Almost a week ago, I had sinus surgery. The doctor “ordered” it pretty quickly. Was good because I did not have too much time to worry about it. He told me it would be in my best interest to get the procedure done, and since the three of us had already planned to attend a college interview for our daughter eight hours away, we were hurling down a super scary highway at night. We left at night because I attended an art opening of a group show I was in. The interview the next day, then back home after another eight hour scary ride. I started to get ready.

Two days later, I was on the operating table. Pretty uneventful except for the anesthesiologist. He was interesting.

He told me he loved being the calm one in chaos. I almost pointed out (and this was before the relaxing drip started blurring my thoughts) that my painting, which hovers between abstraction and figuration always has a grid or structure behind the abstraction to anchor it. And to calm people down when they experience the painted turbulence. But I didn’t go into this. He seemed very “normal.” And I did not want to come off as offbeat in such a tense, for me, out-of-control situation. Hairnet on and all my defenses down.

He told me he went to Georgia Tech to become a Scientific Engineer. Then went to medical school and became a Marine in the Special Forces. He performed his duty as an anesthesiologist while hearing bombs fly over and strike near his base in Iraq.

The structural grid I put in my paintings to still the abstracted motion does not compare to his calm amid chaos. Still, I felt a connection.

Day Seventy-Nine/Image Seventy-Nine

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Asparagus. Used here like trees over the California Coast. How can an artist improve on the California Coast? I think I just did.

Day Seventy-Seven/Image Seventy-Seven

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Google captures some of my earlier stuff (Google captures everyone’s earlier stuff) where I went a little crazy with natural disasters. I even had a solo show in Atlanta where, although I did not mention natural disasters in the title of the exhibition, the entire body of work consisted of volcanoes and floods.

I exhibited in a solo show in New York with this kind of work also, but I did own up to the subject matter this time by using the title, “Tectonics”. In both of these shows and in all the work I do with this theme, I approach it from an aesthetic point of view. I love explosions, tidal waves, fire and brimstone. I like the chaos, color, motion and excitement. The nature of natural disasters encapsulates these things.

The above work is one of the collages from the “Afloat: An Installation” series, using this theme. Flames and explosions amid a lovely valley near a snow-covered mountain. I searched extensively to find magazines with fire, explosions and smoke on the printed page. (I do not use photoshop or internet images ever. All of my collage work is cut paper from magazines and other printed material) I like cut printed material for this type of art because even magazines are now on the internet. I am combining what-is-becoming old fashioned materials with an old fashioned medium.

What is not hard to find, however, in magazines, are flowers. And I love how I put the foreground flames side-by-side with over-sized flowers. As if to say, hey, all is okay.

Day Seventy-Six/Image Seventy-Six

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Ah Barbados! When our daughter was very young and could ride on our laps, my husband and I used to go to Barbados. It is very far east and is, in fact, in a different time zone. It is also very far south, near the equator. So the water goes counter clockwise down the drain and not clockwise as it does here.

Exotic differences. Real African food because of its proximity to Africa. Sugar fields with waving tall grasses and birds that sing beautifully at night. Our daughter and I had little watercolor sketchbooks where we painted in the landscape of Barbados. We used up all the blue in our paintboxes.

I look at these little paintings now and think of what a sweet time it was.

The almonds I am not too sure about. The kind of tree, not too sure. But in the collage above, are embedded memories of this magical place and time visited long ago.

Day Seventy-Five/Image Seventy-Five

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Pink. Looks like an advertisement for a cosmetic company. I cut out pictures of cotton balls on the plastic of cotton ball bags. Bubbles, baubles and a pretty face. Fun. A flower in the middle.

How I love its superficiality and innocence! And, as an art form, I love the integration of colors and shapes.

Day Seventy-Four/Image Seventy-Four

“Afloat” Image. Ceres Gallery. New York. Solo Show.

This collage was the signature piece for my “Afloat” show. I used it on all eblasts, the brochure and the invitations.

Day Seventy-Three/Image Seventy-Three

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Some people seem to be surrounded by rainbows and moonlight. They seem to have the freedom to fly away at whim. Not me. I get called for jury duty. I have served on about twenty juries, criminal and civil. This is the opposite of moonlight, rainbows and being free.

When I am stuck in the courtroom, waiting to be called for my interview in front of everyone, (of course, having to stand while being interviewed for selection) a slow anxiety permeates the room. It’s always a red room, which, to me makes it worse.

First off, in murder trials, there is the alleged murderer looking at me. Pointing at me, indicating to his lawyer he wants ME to be on the jury. There is this suffocating feeling of never being able to leave.

In civil trials, there is haggling in the jury room over the amount of money the plaintiff wants in the case. We always agonize over this one. Trying so hard to be fair. One jury I was a part of, we figured out the woman was due two million dollars! Because we took so long, the poor woman panicked, and told her lawyer she would settle for three hundred thousand. All those hours going over facts for nothing!

It is always in the fall of the year. The notice comes. And that get-away plane looks pretty good. I usually am feeling like I am coming down with something. One year I was in a health food store and I told the person behind the check out about my always being called. She said “It’s your energy field.” And handed me the card of some healer and energy mover.

I told my friend in San Francisco. And how, I said, will I know if my energy field has changed? She said, you won’t be called for jury duty anymore.

Day Seventy-Two/ Image Seventy-Two

“Afloat” Image. Ceres Gallery. New York. Solo Show.

This is a tuna steak. Raw. In front of a building in China. I did it only for aesthetic reasons. Don’t you get that? Loving the colors.The photographer who painstakingly took these pictures for my records knew it was a tuna steak. I don’t think I would know that.

He is a gourmet cook and therefore probably has it cooked on the grill or some other luxurious way. And doesn’t think of tuna the way I do. In a can or presented in the form of an ice cream scooped mold on a lettuce leaf.

I am highly impressed with people who cook. I used to cook. I made desserts from Northern Italy and I stuffed curried mashed potatoes into eggplant skins. I used to make my own spaghetti sauce and not ever used sauce in a bottle. (I think pasta companies put that stuff in see-through jars so we can see the finished product is not corrosive.)

Cooking used to be an elegant expression of myself. Since our daughter came into our lives, and the pediatrician told me, a shocked vegetarian, to feed her Gerber’s veal and lamb in a jar, we eat things I never would have begun to eat. Meatloaf and spaghettios. Granola bars and Nutella. Nuggets. Corn dogs. Even sloppy joes. On white bread buns.

Now that I am gluten free and our daughter is going off to college, I think I am easing back to more culinary ways.