WHERE NEPTUNE SLEEPS, Mixed Media, by Cynthia Brody
HK: How did you get here from there? (I know that's a big question...)
CB: The art I make now is related to how I see the world, which is influenced by my impressions growing up. I've always wondered why things are the way they are, always focused on the details and wondered at the irony of opposites living side by side with each other. My work contains all of those elements as I strive to reveal the ironies by combining elements of beauty with those which are of a darker nature. I have few "only pretty" or "only sad" paintings. Mostly they reflect the beauty of nature or the glimmer of gold leaf combined with the pensive quality of the subject. It is how I see life - a combination of great beauty and equally great vulnerability. I think I was looking at the psychological aspects of life long before I decided to take on a career as a family therapist 9 years ago.
HK: Tell us about working with mixed media.
CB: For about 20 years I mostly worked with photocollage and oil paints. I developed a style of combining the two in such a way that it is difficult to tell the painted surfaces from those that are collaged, even for myself. The delight for me has always been using the photos out of context for their visual texture. I will take a found photo of something like the surface of Mars and use it as a roof on a house, or turn images sideways so that they look like something else entirely. The result is the creation of a story that seems to make sense until you look more carefully and discover that it is made of unrelated elements appearing believable.
Three and a half years ago I was fortunate enough to be given new materials by a friend who thought I could do something creative with them. These included a 50 year old copper roof as well as a slate one of the same period which had both come down from veterans housing being refurbished in Massachusetts. I loved that the materials had history of their own and they were also beautiful because of the natural aging process. This began my exploration of combining multiple materials, which has been very exciting. Ten of my most recent works reflect this expansion.
WOMAN ICON I, Mixed Media, by Cynthia Brody
HK: How has formal training helped you? What do you recommend for the young artist starting out?
CB: I think it is important to learn the basics. One should understand color and design and how to use materials. I'd have to say, though, that I taught myself most of what I do. When I was given the copper I had no idea how to cut or adhere it. This began an ongoing process of learning about new tools, and I've been known to throw a hammer in frustration or break blades because I've purchased the wrong saw for the project. I find that asking questions of those who are working in similar materials is very helpful. I think the greatest tool is keeping an open mind and making use of one's creativity without putting preexisting limitations on it. I continue to surprise myself when I approach my art in that way.
HK: Would you say the body of your work has been more about personal exploration, or an expression of social or historical accounts/concerns, both, or other?
CB: I think my earlier work was a matter of emotional survival and I had little idea what I was trying to say, just that I had a need to say it. I consider those works to be reflective of moods or states of mind. My more recent work is more intentional in that I have an idea of what I want to express and will not be satisfied until I have accomplished that goal. The work has developed with a focus on the experience of being female. I think my own views have become stronger and that is reflected in the imagery. I have created several iconic figures along with what appears to be an altar to women. I have also created pieces which reflect the darkness as well as the richness of my family history. These have been the most difficult to work on, yet I have felt compelled to share the story.
WOMAN ICON II, Mixed Media, by Cynthia Brody
HK: How does your interest in (and practice of?) psychotherapy inform your work?
CB: Listening to the lives of so many people has reaffirmed my feelings about life. Most people seem to want the same things; to be loved, to love, to feel safe, and to make a difference in the world around them. It is never all one way or another, but a combination of many elements and emotions. It is never about superficiality, but about what really matters. That is the same attitude I hold when creating my art. I also feel that doing psychotherapy is a creative process and often view words and ideas as the colors of my palette. I think being an artist helps me be a better therapist, and I often get visual metaphors as people are speaking which helps them "see" what is happening in their lives. I think it is the ideal situation of being able to use both sides of my brain where I can analyze a situation and then plug in creative thought to problem solve and explore.
HK: How do you begin a work? Is there a certain standard process for you or is it different every time? (Do you start with a fully formed idea? Do you let materials and outside sources speak to you?...)
CB: Most often I am inspired by something I find, whether a photo or some new material. The work develops from that starting point, often changing many times while in the layout stage. The exciting thing in working with varied images and materials is that one change mandates a change in the story being told. I find the final, finishing touch stage of the work is where it all comes together. Until that point the struggle is always making sense of all the pieces and making sure no one part overwhelms the whole.
ANCIENT COVENANT, Mixed Media, by Cynthia Brody
HK: How difficult was it at first to get your work shown? Is it always difficult?
CB: I made a decision long ago to do the work because I love to do the work. When I began, only abstract art was hanging in galleries. I decided I would only paint what interested me, and if the time came that my images were interesting to others then they might do well commercially. In the meantime I got training to become a therapist so that when I did do my art there would be no pressure to make money from it. I have always been kind of casual about showing my work. I have been in many galleries, but I have not until recently been committed to finding representation. I think this is mostly about not being able to deal with the rejection on a constant basis. When I do show I tend to get a strong reaction from viewers and lots of support to expose the work to more people. I have worked within a vacuum most of my life, and I am realizing it is not the way to go. In recent years I have come to know other artists and learn much from their experiences including being more aware of opportunities. My suggestion would be to become a part of the artistic community so that there is more awareness and less alienation. I think the commercial part of artistry is usually more difficult for creative people, and I am often amazed at the talent around me which never appears in galleries. Equally despairing, I am often dismayed at what is represented over and over in commercial galleries due to the salability of the artists' names.
ONLY IN DREAMS, Oils and Photo Collage, by Cynthia Brody
HK: What materials or textures do you most enjoy working with?
CB: Although working with sheets of old copper and delicate gold leaf can be frustrating, I find the sheer beauty of the materials add so much to the art that I slog through and feel I have created richer pieces as a result. For pure pleasure, painting is still my favorite activity.
HK: Do you want to let us know about upcoming projects or exhibits?
CB: In the last 5 years I have edited an anthology of art and poetry, Bittersweet Legacy - Creative Responses to the Holocaust. I continue to work on getting a publisher for that. The Sarah Shenson Gallery of the Triton Museum of Art in Santa Clara, CA (1505 Warburton Ave.) will be the site for the first exhibit of art based on that collection. The show (January 20th - February 21st 2000 from 1-4 pm Fridays, Saturdays and Sundays; Opening Sunday January 30th, 1-4 pm) will include the work of 11 Bay Area women artists who have chosen to create in response to the Holocaust. I am pleased to be featured in the interdisciplinary portion of this web site for more information about this show. The exhibit runs January 21-February 20 with an opening on January 30 from 1-4pm.
HK: Website links we should know about?
http://members.aol.com/womaninsf/index.html for my art site.
http://members.aol.com/btswlegacy/index.html for the site related to the anthology and Triton Museum show.
http://members.aol.com/cynbrody/index.html for my psychotherapy site which also has a link to my parenting help site.
Artwork/Images by Cynthia Brody.
No images published herein may be duplicated, printed, or published on the internet or
elsewhere, without the express permission of the artist.
Interview and Page Design by Hilary Kretchmer
