LENT: dust

It's on the days
it flashes by in feeds
that someone else has left us;
on the days
we remember 
all those woven into eternity,
a tapestry of the never-forgotten,
the always-loved;
on the days 
we debate over
who's lives really matter;
on the days
we forget it all
or cannot stifle the 
memory,
so we suffocate silently
beneath our coffin lids.

The end is always present
in my flesh and in my blood,
like the burgeoning beginning
behind each closing eye - 
a familiar tingle up the spine
when silence falls
around me -

but it's ever-presence 
doesn't make each passage
any purer.
No, it's all just slowly staining
like the wine within the glass,
licking up the sides
until it spills.

So I grieve again,
I grieve. For what is earth
except to teach us
how to grieve?

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“LAY OUT BEFORE GOD A LIST OF THINGS THAT BURDEN YOU, AND GIVE YOURSELF THE SPACE YOU NEED TO GRIEVE WITH HIM OVER THEM.”

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Simone Bailey Campbell is a Jamaican born, New Jersey-based artist and product designer. Her creative practice is influenced by the bright colors, flora and fauna of her Caribbean upbringing and the urban life and fashion of her life in Miami, Florida, New York City and New Jersey. Although her formal training is in design, her visual art grew from self-development and a need for a more fluid and looser form of expression. It has carried her through many difficult periods of her life. It is Simone’s intention to use her artwork to do the same for others, that is to uplift, soothe and add joy to your life.

She currently uses watercolor, acrylic and latex paint, ink, wood, found objects and beeswax to create mixed media, works on paper and sculptural candles. Murals have become a natural extension of her creative practice. It's an opportunity to expand all the things she loves about creating art as well as interacting and implementing community ideas.

In addition to artwork and murals, Simone co-owns and runs Mahogany Blu Design with her spouse, Campbell.

Chris Wheeler is a poet and storyteller from northwest Indiana. He receives inspiration from the rural landscape of Indiana, his experiences as a father, and his faith. His work has found a home at Barren Magazine, Fathom, Kingdoms in the Wild, The Rabbit Room, and Foundling House, among others. He recently released his first full-length book of poetry, SOLACE: POEMS FOR THE BROKEN SEASON, and posts micropoetry regularly on Instagram @solace_poems and other writing on www.chriswheelerwrites.com.

UNCONTROLLABLE | Rooney Ong Jing Ren

The defenseless body in my new series “Uncontrollable” shows we are all born the same. We are born as embodied creatures. We have no ability to cognize or make sense of the world. We are aware of others and self only through the world. We recognize all needs through our bodies. To be consciousness - or rather, to be an experience - is to hold inner communication with the world, the body, and other people, to be with them instead of being beside them.

From the words of Merleau-Ponty, “…by thus remaking contact with the body and with the world, we shall rediscover oneself.”

Ong Jing Ren, Rooney. “Clandestine.”2019.

Ong Jing Ren, Rooney. "Unseen.” 2019.

Ong Jing Ren, Rooney. “Vague.” 2019.

Ong Jing Ren, Rooney. “Loose". 2019.

Ong Jing Ren, Rooney. “Pret-ty.” 2019.

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ROONEY ONG JING REN

Rooney Ong Jing Ren is an emerging artist who works primarily in acrylic on wood. He’s best known for the technique of applying paint to a wood surface in order to form a pattern or image. As a living material, it incorporates the organic, irregular forms he has always been drawn to.

PIECES: A PARADOXY | Krystal Hart

A semi-truck jackknifed and ran over my car. That moment - encapsulated by metal, glass, and pavement, suspended between the earth and the sky, became the catalyst for the work that engulfs me. My work is preoccupied with the essence of human transversion. I investigate physical, social, psychological and theological constructs of our human existence as we navigate a world in flux. The psychology and physiology of regeneration (resilience) in tandem with cacophonic environments interest me. 

The work rests in duality as I ponder what is and the possibilities of becoming. I stage environments suspended and void of time. For me adversities are human connecting points. I see my process as acts of intercession and networks of human connectivity. The work catalyzes hope and promotes empathy, endurance, and peace through experiential expression. 

In this selected body of work some of the adversities abstracted include: natural disaster, medical diagnoses, auto accident, relationships, loss, trauma, and pain.

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Hart’s current series invites prayers and thanksgivings from friends and strangers. These abstract works painted with natural matter are influenced directly from text and imagery taken from personal, social media, and other outlets. Some works are time-stamped with specific notes to persons encountered trauma or adversity. The first works of this series was exhibited in a group show “Escapeism” in early 2019 at Atlantic Gallery in NYC’s Chelsea art district. A body of this work is currently on view in Durham, NC at her recent solo show “Pieces: A Paradoxy.” Hart’s painting processes are acts of intercession and a bridge for human connectivity, catalyzing hope in individual and shared adversities.

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Hart, Krystal. “‘Live in the Already’ He Used to Say. 2338 hr.”

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Hart, Krystal. “Though Mangled She Mingles.”

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Hart, Krystal. “4:10pm Dawn from Death.”

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Hart, Krystal. “Heartstring.”

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KRYSTAL HART

Krystal Hart is a North Carolina native. Hart received her BFA from New York Institute of Technology and is a distinguished recipient of various honors and residencies, including a 2007 Chair Person Fine Arts Award, a 2009 and 2012 Limner Society Residency, a 2011 and 2017 NC Regional Artist Grant, and the 2018 Mass MoCA Masters of Abstraction Workshop in Residency. Hart has a passion for serving her local and global community. Her work often provides a platform for cross-culture and cross-community experiences of a shared human condition. Her aim at shifting perspectives towards restorative and regenerative communities motivates some of her noted exhibition participation.

BROKEN PIECES COME ALIVE | Kristin Kjorlaug

The paintings are what started this all in my mind. I am so very visual, and I must see first. So I began sketching. I brainstorm best in pictures. I had recently spent time with a broken friend who makes art out of broken mirror pieces, and the word “broken” kept coming to mind as I painted.

I was tasked with how the night would look. What would people see as they walk into this anti-trafficking fundraising event? The committee had all agreed on birds and the phrase “Freedom to Fly.”

I continued to play with shapes, forming birds and trees and wings. The birds made of shapes reminded me of origami, and “hanging” them on trees would give the illusion of leaves when the birds were painted green. 

We were now nearing 600 green origami birds with 2 months left before the event. A woman I had just met sat down beside me to fold birds with us. We were all volunteers for Valley Against Sex Trafficking (VAST), hoping to do something to help erradicate human trafficking here in the Lehigh Valley. It’s our local anti-trafficking coalition to raise awareness and work with rescued survivors.

Then, the woman asked the question I had heard so many times. “Why green origami birds?” 

I smiled, relishing these intimate opportunities to make large ideas more tangible, holding and intricately folding small bits of paper together in community with others while speaking the truth.

Asking them to fold origami birds is a simple and beautiful gesture. I explained to her that the birds are a fantastic symbol of flying free. We long for the victims in our community to experience this freedom. Origami, being made of folded shapes, is a perfect representation of broken victims. These broken and folded pieces become beautiful birds in our hands. We desire to re-shape their brokenness and help them fly. 

So this is why we are putting green birds in the hands of those who are generally unaware. The art will be hung where their eyes can’t ignore it -  in businesses and coffee shops. I know the power of a picture to stop busy feet and stir up questions; “Human Trafficking is happening here?” 

Art can begin conversations where words cannot.

And as we hung the folded green birds on the trees the night of the event, it looked like the tree was starting to come alive. 

Fixing brokenness speaks to the desire of all humanity, but we as followers of Jesus know the Fixer of all broken things. This is Who I think of now when I see an origami bird. He became broken so that we could be free - not just free, but alive! That’s the power of a tangible image in front of your eyes and in your hands.

Kjorlaug, Kristin. “Come Alive.” 2019

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KRISTIN KJORLAUG

Kristin Kjorlaug uses her grandmother's artist name in her absence to honor the love for art that has been passed down to her, and the Scandinavian heritage that influences it. She is married to a Polish pastor in a messy city called Allentown, where they have been church planting for 8 years. She is always working on ideas for books, while slowly studying art, raising awareness against human trafficking, and trying to figure out how to be in her community while raising two kids. They love the city, electric cars and biking. They have a yorkie, a white dove, an outside cat and a bearded dragon. Jesus is Kristin’s true love, and they often talk through pictures.

THE ARTIST COLLAGE : VANIA HARDY

At 8 years old, she lay on the kitchen floor of her family’s small apartment in Hawaii, surrounded by crayons, colored pencils and little watercolor paints. She had lined her materials neatly around her. Perhaps if she kept everything orderly as she worked, her mother would not mind the mess. A blank sheet of paper sat ready in front of her.

Staring at it, she remembered yesterday’s hula lesson, dancing to the story of the sea turtle’s return back to the shore - back to the place from where it came after 30 years of swimming through the oceans of its young life. She knew what she would draw. The Navigator.

Using the pencils and crayons, she traced the outline of a turtle, exploring with hues of blended watercolors to fill in its colorful shell. Ripping out pieces from magazines and craft books, she glued together the turtle’s landscape - the island, the shore, the sea. 

“Tousled out of her creative concentration, Vania felt discouraged. She wanted to make a mess, to make things. In times like this she could not quite understand where she came from. But every good story needs tension, conflict.”

The small yellow flowers nestled in the kitchen’s windowsill caught her attention and she hurried over excitedly to look at them. She had planted them from seeds, watering and watching them grow and bloom each day. Bubbling with pride at the reward of her care, she plucked a few, went back to her work, and glued the yellow blossoms to her landscape. The turtle needed something bright to come home to.  

As she created, she felt something deep within her tell her she was at home in this creative space. Perhaps it was here where she was truly born. “Mom! I want to be an artist!” she suddenly exclaimed, accidently spilling her dirty paint water in excitement.

“Vania! Please clean up this mess now,” her mother said as she stepped around her daughter’s makeshift studio. 

Tousled out of her creative concentration, Vania felt discouraged. While her mother was supportive, she often felt lost in the constraints of small quarters and a culture that valued tidiness and downplayed the arts. She wanted to make a mess, to make things. In times like this she could not quite understand where she came from. But every good story needs tension, conflict.

She didn’t know it then, but It wouldn’t be long before her family would leave Hawaii. She would soon have her own ocean to navigates, her own chance to endure, stories to learn, and stories to share.

Today, Vania is an artist and illustrator who enjoys her own space in an “art studio apartment” above a quaint coffee shop in Elizabethtown, Pa. She is free to be as messy as she chooses. She invited us into her space, where she shared with us about her childhood, her faith, and her current exploration into family’s history that has inspired her most recent paintings.

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Who or what inspires you now?

“I actually go back to Story when it comes to inspiration. For all of my shows I think of a theme to work around, and it’s usually tied to a personal story. Right now, my own family history is really inspiring me. I don’t know what thought or event prompted it, but I started to become interested in my maternal grandmother.”

“I do have my artists whose styles I really admire, but I actually go back to Story when it comes to inspiration. Right now I'm creating a lot of work for a show coming up in August called “Worth More.” For all of my shows I think of a theme to work around, and it’s usually tied to a personal story. Right now, my own family history is really inspiring me. I don't know what thought or event prompted it, but I started to become interested in my maternal grandmother, because there are a lot of people in my family who don't talk about her. The part of me that loves stories and mysteries was like, “Okay, no one's talking about this. I want to poke the bear and see what happens.” I've been piecing together more of her life and who she was.  I didn't know this before, but she came from a more prominent family. They had a lot of properties and one of them was a mango farm. The picture that seems to be coming together is one of a woman who, from what a lot of people say about her, was just really nice and didn’t complain. Which is a weird thing to say about someone. It makes me think she probably had a lot to complain about, and she did - my grandpa. A lot of people talked about how charismatic and friendly he was, such a strong personality, yet I thought it was weird that as a side note people would say, “Oh, but he also had a lot of affairs." He was in the US army, because the Philippines was U.S. territory at that point.  I learned that it was really common for those men to have affairs. So my grandmother was all caught up in that. He actually left the family for five years because of an affair. 

My grandma wasn't educated, so she worked on her parent's properties to make money, and she also rallied her kids to get jobs and band together and make it work. Then my grandpa just comes back five years later and expects to be dad again. My grandma couldn't say anything, so she let him. She was known as being very docile. 

My grandfather was a person. Now, I'm working through forgiveness for this person I've never known before. I learned he was actually a guy who loved being hospitable. The house my mom grew up in was the place the whole community went to for parties on weekends. I realized that's where I must get my love for hospitality and having people over. I'm learning more about myself.”

How does your faith prompt you to create?

“I came to know Jesus at four years old, but of course I grew into my faith. My faith is a core part of me, and as an artist I just express who I am, so my faith comes out naturally.  As I've seen art become a platform for hospitality and deeper conversation, I see the benefit in creatively expressing my faith. It becomes a bridge to connecting with other people, even if they don't share the same faith.”

How do you express your faith in your art?

“As I've been growing as an artist, there were people in my life who saw the potential in me expressing faith ideas. Yet within that are certain people not really knowing how to relate to things like abstract art. They put art in a box, as if the only acceptable art in the Christian faith is crosses and sunrises. So, some of them are coming at it from that angle. However. they did prompt me to start thinking, “Oh, this could really illustrate a deeper idea.” 

I had one experience where my church wanted me to paint something for our women's retreat, and the theme of it was “being clay in the potter's hands”. Everything in me was saying, “I don't want to paint Christian paintings!” Also, hands are also really hard to draw! I decided to try it, and it actually turned out really cool. The process taught me some things, because one of the hands came out looking kind of like it had certain deformities. I wanted to fix it. But then something in me was like, “You know, what if that's just the person's hand?” It taught me to appreciate uniqueness and beauty. There was something in the process that taught me something. And so, it's almost like art-making is one of the many ways I work out my own faith. 

I spent a year having a space at The Well, a worship night that happens at Folklore. What I ended up doing for that was going in not knowing what I'm going to paint, necessarily. I would feel out the atmosphere and what was coming through in the songs and the prayers, and just seeing where the painting would go. I had some really neat moments of stepping back and realizing, “Oh! this is what's happening around me. This is what I got out of worship.” It challenged me as well, because I'm a planner, and that kind of practice was spontaneous. The idea of painting as worship might be a little out there for some people, but I am really glad for the challenge it gave me - to see differently and try new things.

I had the space open for other people to join in as well. One neat thing I saw in that was people would paint pictures and give it to other people as they felt prompted. They were like, “I think this picture would encourage you. This picture is a metaphor for what God might be doing in your life, or who you are as a person, or how God sees you.” I loved when I saw people doing that, just giving other people paintings.”

In what ways do you feel creating and our humanity go together?

“Creating is such a natural way that we express who God is. The first few words in Genesis were “In the beginning, God created…” And so us creating is just emulating more of God's nature and character. We can’t actually create something from nothing, but in our own way we're reflecting what God did with the world. We’re being our Dad's kids when we create. 

As I was working on this recent show, it’s been reminding me of how stories were passed on through generations, like in indigenous cultures. They didn't have a written language, so they passed on stories. Even the hieroglyphics we have through the Egyptians, we know about them because of what they wrote down or what they depicted. 

So “Worth More” is kind of my way of playing into that. It’s a visual story that tells about a woman who I feel is a buried treasure in history. She did so much and she was so important to who I am now, even though I didn't know her. I want her story to be seen, and her importance to be seen. If she were alive today, it’s saying the things that I would tell her: “You are worth more than what you got. No one would have blamed you if you yelled at Grandpa or didn't take him back. You’re worth so much more. We did you a disservice in downplaying how important you are.” It’s my way of saying how important she is.”

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“ Art and creativity were suppressed in my upbringing, but in having my own space, I came back to who I am. I like to tell people the themes that come through in my art, without even really trying, are community, legacy and identity. That just seems to be what I’m about.”

As an adult, Vania still resonates with the story of the sea turtle. The journey of the great sea navigator is also her journey as an artist. “Art and creativity were suppressed in my upbringing, but in having my own space, I came back to who I am. I like to tell people the themes that come through in my art, without even really trying, are community, legacy and identity. That just seems to be what I'm about. Someone once told me she noticed that Home is a theme for me. She said, ‘I think you were trying to find your way home’. And she’s right.”

Vania’s art show, “Worth More: Letters to My Grandmother” premiered August 2nd at Benjamin Roberts Office Interiors in Lancaster, Pa. You can find a selection of pieces from this show for sale on Vania’s website, along with other prints and originals. You can also follow her on Facebook and Instagram.

UNSUNG HEROES: UGANDA'S RURAL FEMINISTS | Shua Wilmot and Patience Nitumwesiga

The word "hero" often evokes images of powerful white men, but in truth, a hero is anyone who serves a community. The women in this gallery may not traditionally be seen as heroes, but if you take the time to read their stories, you may find there are seldom few more deserving of the title. These women represent three different regions of Uganda, bringing healing to their communities through social and political activism, through providing food for their families and neighbors, through the gifts of art and dance, through parenthood and more. They do what they do simply because they love the people around them, not because their actions give them luxuries, social media attention, or any other type of reward. These acts of selflessly serving one’s community are highly unusual in a nation where the decades-long dictator models corruption, male dominance, and the use of fear and force to control others.

We asked each woman featured in this gallery to describe herself and what she does. These women speak for themselves and present themselves to the world the way they want to be seen. In their portraits, many are looking directly into the camera, acknowledging the audience, taking the story into their own hands, and telling it the way they want it to be told.

It is our hope to raise funds for a documentary that will further extend the reach of these women and their inspiring actions within their communities. All of us on the creative team for this project strive to amplify the reach of their voices, knowing the world can learn from their wisdom. We need their stories to be told for our sake, not for theirs. Each of these women is an influencer in her community; may they inspire us to be heroes within our communities as well.

If you see the value in the stories of these women and would like to help further their reach when crowdfunding for the documentary becomes available, contact Executive Producer Shua Wilmot at shuawilmot@gmail.com.

Adongo, 52

“I’ve been taken to police twice but they just wanted to shut me up. But you can’t shut me up. You can’t do this work if you don’t love the community...”

“Mother of 4 biological and 2 adopted children. Widow for 18 years. Bakes samosa, mandazi, cookies, etc. Roasts and fries soybeans. Activist for 13 years on issues of violence against women, gender equality, governance, gender and violence, and anti-corruption. Most famously known around her constituency for starting citizen parliament—neighborhood assembly—where people gather to discuss issues affecting them and decide whether they can solve them as a community or need to call the authorities to do their job. She is proud to have addressed issues of male dominance and violence (which was excessive in her community) and girl-child education (which was neglected). “It’s a powerful gathering!”

Also carries out civic education and teaches her people about the constitution, their rights and responsibilities, taxation in Kumi (her district), and demanding for services. Has addressed poor performance in schools, public health, poor roads, etc. Has advocated for improvement of numerous sectors and become a “pain in the ass” for politicians and local authorities. She monitors service delivery by government agencies.

‘Those policemen don’t like me. When they see me entering the station, they say ‘this terrible woman has come.’ But I use the constitution and quote acts they don’t even know and yet they’re police officers. Even when I go on radio, I quote the constitution and prove I’m not doing anything wrong. I’ve been taken to police twice but they just wanted to shut me up. But you can’t shut me up. You can’t do this work if you don’t love the community... I refused to enter the cells and asked them to prepare a file for me and make me write a statement because I told them I had acted within my rights. You must have facts and do evidence-based actions. They just say ‘this old woman is big headed.’”

Ayebazibwe, 30

“You have to be yourself. You don’t just go with the crowd. You have to believe in you and then get advice from the right people.”

“Single mother of 2, recently widowed.

School director; Rukararwe partnership manager; supports environmental protection, women’s groups, youth and widows’ rights; aids others with traditional medicine.

Studied management at Kyambogo university and started working at Rukararwe where she was one of two women on staff. She was the youngest but was in top management.

Married in 2014 and lost her husband in 2017. He left her with a 2-year-old school and she’s had to do aggressive marketing to maintain the school. She doubled enrollment within one year after losing her husband. Her biggest challenge is men (old friends of her husband, relatives, etc.) who think she can’t lead and want to take over. But when her husband was around, they did everything together. She did not inherit anything from him; they acquired all their achievements as a team.

‘You have to be yourself. You don’t just go with the crowd. You have to believe in you and then get advice from the right people.’”

Teddy, 49

Single mother of 8, farmer. Brews local beer.

Was tortured and imprisoned for protests against grabbing their land. Participated in a protest where they stripped naked, a cultural omen that deterred their oppressors. Their crops, houses, etc. were bulldozed and this forced her to become an activist.

Justina, 58

“You have to let people be, because they’ll always want to insult you. I’m a man and a woman. I’m not a destitute widow...”

Omutambi, part of Abatambi, traditional healers, at Rukararwe. Specializes in traditional medicine for children. Mother of 8. Widowed in 2000 when her first child had just finished secondary school. Had nothing; no land, no house. Her husband had been an alcoholic. She had to lead the family alone, educate her 8 children, and be the best at what she does, trekking forests and hills, looking for traditional medicine for children.

“You have to let people be, because they’ll always want to insult you. I’m a man and a woman. I’m not a destitute widow.”

Alunya, 53

“We wanted to sensitize people nationally with our songs…We decided to use our voices to express our anger against our oppressors.”

Mother of 9, pre-marital counselor. Helps brides-to-be to prepare for marriage. Teaches women and children songs about social and political change. She has taught people over 60 songs that she wrote. Also teaches people traditional instruments like the thumb piano. She’s the chairperson of Awei Women’s Network Against Land Grabbing.

“We wanted to sensitize people nationally with our songs. So we started the group. We realised we could get support to do the things we believe in… we decided to use our voices to express our anger against our oppressors.”

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PATIENCE NITUMWESIGA & SHUA WILMOT

Patience Nitumwesiga, the director of a feminist art company based in Uganda, is the photographer of this gallery. All her life she has lived in Uganda where she has been utilizing art to create social change. Shua Wilmot, the gallery editor, is also a social activist and former Lancaster City resident.

THE ARTIST COLLAGE : KAREN CHANDLER

She spent the afternoon lying in the grass, staring out at the Tennessee river, a thread of blue that nestled her family’s rural farm. From where she sat, the water - ephemeral and always on the move - appeared still and solid. It might trick you into thinking you could walk across to the other side, just like that. How did Jesus walk on water? She had a sudden urge to be out there, in the middle of the blue. A few large tree trunks bobbed up and down in a small alcove at the river’s edge, collected by the waves one by one. She watched them intently. An idea came.

A surge of energy bubbled up from somewhere deep within her and she leaped up to wrap her arms around her horse’s neck in excitement. “Sugar, I’m going to build a raft!” She fumbled in a delightful sprint toward her father’s tool shop.

She spent the next week in her father’s shop, sorting through scrap lumber, rummaging through the nails and screws. It was summer and there was no school. She enjoyed sifting her fingers through the pool of nails, the metal cool against her skin in the humid heat of the southern summer.

“Karen!” She could hear her mother call her for supper but she couldn’t be bothered. Inspiration quenched her appetite. Creativity was her food. “I’m building a raft!” she called back.

Her older brother chuckled from the kitchen table. Inside, her father exchanged a playful look with her mother, as if to say, “you did this.” Her mother had enrolled her in numerous private art and music lessons, further influencing her creative sprints.

Finally, the day came. The raft was finished. Today she would surmount the water. She grabbed the front of the raft and attempted to drag it toward the river, quickly discovering it wouldn’t budge. It was too heavy. She moved to the back of it and pushed. Nothing. She backed away and stared at it for several minutes, breathing heavily. Suddenly, she sprinted to the stables. “Sugar, I need your help,” she whispered in the horse’s ear, arms wrapped around her solid neck.

The horse helped her pull the raft to the river. When she approached the bank, her heart began to beat in anticipation. Adrenaline gave her the strength to push the raft so that it’s nose was floating on top of the water. With one last ounce of strength, she pushed it the rest of the way, and quickly jumped on top. It stayed there, afloat, perhaps for just a few seconds before she realized she was immersed in the water. She swam back to the shore and watched the waves, her raft now on the river’s floor.

Like the raft, her heart sank in disappointment. She thought about the huge fallen trees, effortlessly floating in the water, thought maybe they knew more about miracles than she ever would.

For Karen Chandler, creating has always been about wonder, adventure, and taking chances.

“My family always thought I was strange,” laugh’s Karen, “because I was an artsy type.”

Soft-spoken and unassuming, she talks with my friend Ally and I from her home studio, demonstrating the process of clay-printing in between our story-telling, laughter, and playing with her beloved dog Mylee. There is a subtle humor interlaced in everything she says.

From poured acrylics to stone carving, artist Karen Chandler has tried it all. But she has forged for herself a sweet spot in the unique medium of creating mono-prints using a clay bed.

What inspired you to begin clay-printing?

“Having explored many types of art with private classes, I found an artist who most inspired me with his non-traditional print-making using clay. I studied with Mitch Lyons of London, PA. A really outstanding individual. He’s a potter in Philadelphia. He had a Master’s in clay pottery and ceramics. You name it, he was good at it all. When I met him, he was doing a demonstration on clay-printing. He actually pioneered it himself. I was just fascinated with it. He said he was doing some workshops, so I signed up for one. I drove down both days and I came home excited. I just loved it, absolutely loved it. The basic idea with clay-printing is simply to be free and have fun. Mitch always told us it was like a kid playing, and it kind of is because you do a lot of stuff that’s just really fun. To hear him talk about how he was excited every day to work with clay in his studio made me want to do that too. I felt I had found my medium and thus, identify myself as a clay-printer. Although I still enjoy working in all types of medium, art-making, and teaching. If he left me with anything, I hope I became a little like him.”

Who or what inspires you now?

“I am happy to have the opportunity and purpose of teaching at the Friendship Heart Gallery, an extension of Friendship Community. Friendship Community is a faith-based organization providing home care and life enhancement for people with autism, physical and intellectual disabilities. The Friendship Heart Gallery is a part of that organization, which has provided a working studio and art outlet for these folks who are able to make art with the help of employed instructors, and market their work in the gallery.

I have learned so much about teaching and making art by working with these wonderful students. With the challenges that come with having a disability, how could you not be inspired by their efforts to paint? They make me a more creative teacher because of their disabilities. They look to you for guidance and are sensitive to making a mistake. I tell them every mistake is fixable with paint. Now that sounds a bit like our lives with God. We should look to Him for guidance and forgiveness to fix mistakes.”

How does your faith prompt you to create?

“I was a member of a wonderful artist outreach group that eventually dissolved after three years. I really, really liked that. It was a really nice program, and every year they had this awesome show at Easter. It was nice to work toward it. We had meetings and we kept a journal every day for plans for our work, long before we actually started doing our work. I was journaling most every day with prayer. It was a long process with months of developing. That journaling and devotion time was a process that gave me ideas of what to try and achieve. So I guess you could say there was divine guidance with the artwork. It was amazing that when you take that time to do that, your work is much more worthy.”

How do you express your faith in your art?

“I have worked on paintings, sculpture and stone carvings from Biblical scripture as a part of that art group. Each show was filled with Christian artists’ works and music and presented at Easter. The last show was held in Lancaster City at The Trust Performing Arts Center.

When I was journaling, the idea came to me to work at carving an alabaster stone. Some years before, I was fortunate to meet and study under Ramon Lago, master sculptor, who now lives in Miami, Florida. Even though years had gone by since I worked with Ramon, he totally inspired me to try something over the top for the Easter Show. I chose to work abstractly and was inspired by the stone of the tomb.

I worked on three separate stones entitled “The Tomb, The Light, and The Spirit”. They were exhibited in several churches after the initial show. It was the most challenging project I ever did. The stones were carved in the old style without many power tools so it took me months to complete.

My ultimate art experiences have come from working with God’s creative presence of the Holy Spirit. These three stones were the evolution of a project for the Lord. His direction and power was needed to accomplish the task, after much prayer. Working with stone is a slow and challenging task. I would never have attempted this without His purpose at hand. With God all things are possible when we go forward in Faith. “

For you, in what ways do creating and humanity go together?

The type of art I do is more of an experience. I like to experiment and do new things, try new stuff. I love going for a special discovery, a refreshing style, a certain pop of color. It’s about having an experience and enjoying it. At the end of my experience I always want that rewarding, pleasing result - a divine touch of serendipity. Sometimes, you kind of just get a surprise and that’s what it is. A lot of it is just not considered worthy to be kept.

I think experimental or non-traditional art is at greater risk for aesthetic critique because art principles have not established a recognizable sense of value or appreciation for their results or for just the creative experience. How could it, really? It sounds like I’m talking from the 60’s, which I can of course.

The thing is, when you get something and it starts to look cool, you know it may not come out that way.  If the art piece is not pleasing, I try to make it so, and if it gets worse, I know it is time to break. As I always tell my students when they get a little timid, go for it! You can always paint over it again. Taking my own advice, I have been painting over old artworks lately.

I’m one to keep a lot to myself, but life experiences, often messy, serve as powerful opportunities to learn and to build foundations for how we live our lives with God’s grace. In a nutshell, without God’s grace, I would not be on earth. He has blessed me with healing and graced me with each new day I wake and I am so thankful for the opportunity to be here.

But best outcomes are those that are driven by purpose, with a planned process. When I have a worthy mission, my work has better results for success. Then, the experience is greatest.

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For Karen Chandler, art is a lifetime of learning, experimenting, trying, and putting that knowledge to use for a worthy purpose. Her life has been enriched and inspired by the opportunities, collaborations, and meaningful relationships the world of art has given her. “There is such reward creating with like-minded individuals in the arts.”

Today a mentor in her own right, she feels fulfilled by being able to guide others in the creative process through laughter, experimenting and play.  She hosts poured-acrylic workshops for the public in her home studio.

If you’re interested in participating in one of Karen’s workshops in Lancaster, Pennsylvania, you can sign up here.

Follow Karen on Facebook or Instagram at @clayprinter.