A few years back Janet Crawford, owner of Fog Forest Gallery in lovely Sackville NB got in touch with me and asked if I would like to be an artist with her gallery. Heck yah, I answered.
Happy to be a part of this group show...40 years in the art business is something to celebrate.
I am pleased as punch to be one of the artists in included in this book. Like any art form things evolve and it was so interesting to me to see the three waves of artists..I understand my place better now.
So many folk artists I admire are here: Maud Lewis, Barry Colpitts and William Roach to name a few.
I chat about Judy..of course...and Maud and Folk Art and read from an excerpt of the Vernacular Art article in the latest edition of Border Crossings Magazine
“Subversive Judy” emerges as more than just a character in Laura
Kenney’s artistic repertoire; she embodies a rebellion against societal
norms and expectations. For over five years, Kenney has woven the tale
of Judy, a figure both fantastical and deeply relatable, into her art.
Judy is not merely a whimsical creation; she serves as a conduit for
Kenney’s voice and a mirror reflecting the desires and frustrations of
individuals navigating the constraints of social order.
Dressed in black with vibrant red boots, Judy epitomizes freedom,
eschewing traditional domestic duties for moments of carefree abandon.
Kenney’s personal connection to Judy is palpable, rooted in memories of
her mother’s disdain for ironing, a chore dreaded by many. Through Judy,
Kenney explores themes of domesticity, gender roles, labour, and
liberation, challenging conventional narratives surrounding female
identity.
Kenney’s choice of medium, fiber art, adds layers of significance to
her exploration. By utilizing materials traditionally associated with
women’s domestic labour, such as cloth, wool, and thread, Kenney pays
homage to those who have historically been relegated to the margins of
art history. In doing so, she aligns herself with a lineage of artists
who have transformed fiber art from a dismissed craft into a powerful
tool of resistance.
Through Judy, Kenney breathes life into this subversive spirit,
reclaiming the art of fiber work as a means of empowerment and
expression in the contemporary landscape.
Thankful to have “Maud Lewis, Always Happy” included in Matthew Ryan Smith’s article Vernacular Art, The Everyday Monumental in Border Crossings Magazine.
Elissa Barnard had some very kind words to say about "Wool and Wool" at Secord Gallery.
As well as Sara MacCulloch's show at Katzman Art Projects, the Craig
Gallery with Declan O’Dowd and Carley Mullally, the Halifax Central
Library with Marilyn Smulders and painter Danny Abriel
Hooked rug artist Laura Kenney and toy maker/assemblage artist Ian Gilmore are both playful and political in their work.
Their shared exhibit at Secord Gallery is a wonder of detail and
material magic and is strong on thematic connections. Both comment on
the housing crisis, environmental challenges and the threat to
lighthouses while Kenney spins off into a more feminist direction and
Gilmore into moods and an exploration of where the world of the child
meets that of the adult.
There is a delicious irony in Kenney’s use of a traditional, tactile,
homespun domestic art in rugs that are warming to the foot and the
heart to comment on social and political issues.
Her character Judy, party drawn from rural Maritime life and folk
art, is a tall, thin woman with red hair pulled back in a bun. She is
faceless, wears a long black dress and is a feminist keen on social
justice and setting things right. Judy has been a saviour of
lighthouses and a critic of the commercialization of Maud Lewis for the
profit of others.
Maud Lewis’s three cats, framed on Judy’s wall, look on gleefully as
Judy irons a white, suited man on her ironing board in Straighten Him
Out.
Kenney’s sense of humour and her brilliant use of colour with
gorgeous banded backgrounds make her imagery delightful and seemingly
carefree. As gorgeous as the flames and purple and blue banded sky are
in Putting Out The Fires, the depiction of Judy using a watering can to
put out this past summer’s wildfires is disturbing.
The cheerful colours in window panes and pink flowers on window sills
in Our Home on Native Land belie the socio-political comment Kenney is
making about colonization and the loss of Indigenous land and culture.
The door of the quintessential white, country house is red.
Gilson has a darker more fantastical edge than Kenney. His is the
world of making what’s needed from what’s at hand, from digging in the
tool box and roaming in the wood shed or the attics of old houses. He
builds an enchanting world rooted in story and informed by clowns,
carnivals, architecture and toys.
Gilson’s works are delightful in their miniature aspect and in the
“how” of his construction. He builds a tiny towering lighthouse out of a
jumble of miniature, handmade tables and chairs with a lit desk lamp as
the lighthouse’s light. The artwork Poltergeist is an elegant vertical
structure of barely connected, perfectly constructed, doll house chairs
reaching up to heaven.
Notethe exquisite detail in the miniature door in Ian
Gilson’s idea of heaven in Heaven, of reclaimed wood, metal, wire, zinc,
paper, acrylic paint, wax.
Gilson’s toys are comical and not for the faint of heart. The Funt Toys series
of sculpted then cast and hand-painted and hand-packaged objects
includes Billy Bacon – a strip of bacon with eyes and a cigarette in its
mouth. I won’t describe Meat Landscape.
The Rabbits in the Secret Toys for Lonely Children series
are wonderful in a creepy way. These mutant, long-eared stuffies have
perfectly crafted, cranky, adult faces, sculpted hands and little furry
bodies. They look like fairytale creatures or the Japanese Monchhichi
monkeys.