FRAN BEALLOR wanted to be an astronaut as a child. Now artists, curators and educators have drew a series of glaciers based on NASA satellite images. “Glacier“It is described as a noticeable detail on a color pencil on the paper, and the two works of this series can be seen from April 23rd.Voices of water“And April 24th “Our weak moment”At the Hudson Guild Gallery in New York City.
Part Hudson Guild The two exhibitions of “Art in Respond” Initiative have 38 artists gathered more than 90 works of art. They invite vulnerabilities, elasticity and hopeful artists to explore hope for the environment and reflect viewers in climate change.
Julie ReissInstructors and art history taught at Columbia University MS of Sustainability Management The program mentioned that the interest between artists and young people is growing in exploring how we can adapt to climate change. They are imagining how the new world will look, not “terrible dystopia,” Reiss told Glacierhub.
The picture did not mean that Beallor wanted to do it early as an artist. But after becoming a new mother of two, the painting became the only way to return to her practice. When she rediscovered a laptop full of self -portraits every day at the age of 20, she decided to continue again at age 40 and then continued again at 50 and 60.principal“I grow in conversation with her new series.”Glacier”It provides a proper interpretation of what the self can mean in the melting world.
I talked with Beallor about her artistic choice, reflection of her interconnection of humans and nature, and the deeper meanings of these works for her.
This conversation has been edited and compressed for freezing and clarity.
Why did you decide to represent the glacier as an artist?
When my children were about 6 and 8 years old in 2004, we cruise on a small boat in an internal aisle of Alaska. I always loved the ideas of nature and glaciers, but I haven’t seen them or have not actually experienced them. It was magnificent next to them. It’s hard to explain how vast it is on a small boat. As they approached the ship, they were monumental and magic. I fell in love with the glacier at that moment. And the idea that they are melting and disappearing is tragic.
It accelerates the world from Argentina to Antarctica, which you describe. How do you choose the glacier to include in the series?
Because they are all good, they are almost not important. I was looking for a visually noticeable image. There are not many places with glaciers. They are all in the polar regions of Greenland, Iceland, Alaska, Antarctica, and Patagonia. It was aesthetically aesthetically driven.
Can you tell me more about the aesthetic choice you created?
As we flew on Alaska’s coastline, I looked down at the terminal. They are like living beings moving over time. When they move, they draw the earth with them and create a pattern. On the plane, they were similar to a long road as they used a huge tractor to make plow lines on Earth. In my dream, I took a picture of the ice source, but after a few years I found nothing. The ice source was engraved in my memory, but there was no picture to work. So my husband suggested that I use an open source NASA satellite image.
In most cases for framing, print the entire satellite image and play with him for the configuration I want. At another time, I saw the satellite image and drew the section I wanted. It takes about a week to choose materials, colors and satellites. I will work with them for a week for a week. I like to work very slowly and build color layers. So it can be made in more saturated colors when it becomes pale and reaches the top layer.
What is the portrait of the glacier?
Recently I “We commemorate the sweet grass“Robin Wall Kimmerer and She wrote with me. She is a verb, not a noun, the Potawatomi language, wood, rock, wind, and objects are part of the verb. They are part of our family. They are part of our family. They want the ice age to be lost for hundreds of years. Respect them, apologize to them, and celebrate them to share with people.
My painting is more realistic and sometimes tends to be a bit surreal. But what I’m interesting about drawing glaciers from this aerial perspective is that they actually look abstract when not. They are the realistic rendering of a particular place at that particular moment. For me this is a metaphor for the overwhelming and abstract concept of climate change and planetary loss. But if you really spend a while, it’s intimate. It attracts people and makes them feel more connected.
In “Water ‘S Voice,” photographer Camille Seaman approaches the iceberg picture with an individual portrait. When I read, I “Yes. I feel the same!” She says that the iceberg picture is “very much like my ancestors’ family photos.” She says that she reminds us that the ice and water of this glacier are so old that they are like drawing a very old man with too much personality. To me, the idea of delivering them in ancestors’ portrait was really intense.
“Portrait of Glaciers” seems to be talking with a series of self -portraits, “SELF”. What is the story you want to say differently from the “portrait of the glacier”?
I think everything we do is a kind of self -portrait. No matter how similar the two artists are, they are always slightly different if they use their true style. The style is a fingerprint. It represents our vision and how to see the world. In that sense, art works are always self -portraits. Because they reflect how to identify the subject of the artist.
What does it mean if the glacier disappears in any way?
The glacier melts. And as they disappear, our environment and ultimate survival are the same. Perhaps the glacier does not reflect us, but perhaps we are their self -portrait. Since the earth first came and created us, we are the expression and expression of the living parts of the earth.
