- Painting: My goal lately in the studio has been to work intensely and quickly as possible in order to capture that thing in front of me in a single day-long painting session. A lofty goal. I'm not anywhere close.
- Biscuit-making: Sure, it borders on an act of treason, but I fired up the Cuisinart today.
- Painting: I altered my medium.
- Biscuit-making: Sure, it borders on an act of treason, but I'm working toward vegan biscuits.
March 09, 2014
I'm in the South now so I'm riffing on the phrase, "Time to Make the Donuts." Donuts are fine of course, but in the early morning hours, I've been perfecting a biscuit recipe before heading to the studio. And becuase I am loathe to adjust to the "new" Daylight Savings Time, early morning is subjective. My biscuit to paint/work analogy doesn't stop there. Allow me:
March 03, 2014
Iced in this morning- a bonus day of no school. Cowboy coffee in a Pyrex measuring cup over the gas logs. Ground the beans with my Molcajete. Suddenly realized that the firewood that's been on the front porch for 4 decades was for an emergency. Grateful for a fireplace in the kitchen and a stack of hand-knitted wool clothing from the 70's. I am a survivalist.
Mastered enough social skills to complete two openings in a row at David Lusk Gallery in Nashville. In the words of the late great Huell Howser, "It's ahmaazing." Really, both event were swellegant. It's a large group show giving a preview of the works to come and the artists represented. The show is up through March 29, or, the day after my birthday, if that's easier to remember. Another reason I am happy to be with David and crew… 40% of his artists are women.
I met the lovely Megan Kelley who interviewed me for a piece she wrote in Nashville Arts Magazine and Tamara Reynolds captured my Andy Griffith pants leg in her portrait of me in my studio. And speaking of my studio which is where I am right now, I'm gearing up for a solo of new work in October. Updates coming soon.
Reconsiderations: Through Painting, Mary Addison Hackett Rediscovers the True Language of Things
by Megan Kelley
Mary Addison Hackett’s studio threshold is more than just a doorway: I find myself entering into the mind and work of a treasured collection of items, perspectives, and moments, all reimagined in new ways and captured in the act of letting go.
Though the brushstrokes I meet are dynamic, gestural, and fast, it is an intentional experience for both audience and artist. “I spend a lot of time digesting the idea of something before approaching the canvas,” Mary Addison says. Working quickly after being so thoroughly engaged gives her a way to impart the idea of an object without overloading it with the emotional weight of sentiment or the representational burden of overworked paint. “I set rules for myself in painting,” Mary Addison explains. Though her recent series of work draws from familial objects and personal moments, it’s important to Hackett that she shed her own sentiment from the memory, preferring to return the object into something that belonged to itself.
“It’s not the substantiality of an object,” she explains, describing unpacking her family’s estate and being drawn to using the studio as a way of processing these items and histories, “but just what’s there. I wanted openness. I knew too much and I wanted discovery. There’s art inside of that object that takes up space in our lives.”
These acts of rediscovery also edge into psychological territories, reconfiguring seemingly unrelated details into mental still lifes composed of these collected moments of notice. With rococo riots of color and curve, paintings such as The Meeting (Attachments) and Blind Man’s Bluff begin to evolve the simple sensation of memory into the complex desire to have events, objects, and experiences make sense within a larger context. “I choose something less due to its history and instead focus on [finding] its connection to other objects and their places and opening that to others.” Small material decisions form moments of visual excitement—letting the artist celebrate a bouquet of flowers through heavy paint or to suggest compliant blindness through a single sweep of white across the eyes—and there’s an obvious delight in the process of deconstruction and reappropriation. Ultimately, these disparate moments are remnants—the ghosts of meaning, detached from their objects and left behind during the act of being processed—whose purpose, through the act of being reconsidered, is woven into something larger and new.
Mary Addison Hackett’s work will be on display for a solo exhibition with David Lusk Gallery in October, but if you can’t wait, experience her painting Blind Man’s Bluff as part of David Lusk Gallery’s grand opening group show on March 1, between 6 and 9 p.m., at their new location in Nashville at 516 Hagan Street. For more information, visitwww.davidluskgallery.com.
February 25, 2014
I audibly gasped with delight when I looked out the window and saw the box. Street legal at 13 pounds and yes, I already weighed a canvas so I know what my limit is.
In other news, I took a painting off life support, made two small drawings for the SMMoA shindig and stretched and primed some more supports.
A relatively boring day at the office.
#AmtrakResidency, I am still here. [tap, tap tap.]
February 23, 2014
Yes, it's true, one of my more interesting gigs was as a dining car waitress one summer. And in case that's not enough to bag this gig, I met my half-sister for the first and only time when we had an overnighter in Seattle. And the guy who gave me his copy of Willa Cather's My Antonia out in the middle of nowhere when I told him I was an artist and a writer— I should bag a couple more points for that anecdote as well. And to take it back even further, right now in the studio, I am using a Pullman dining car towel from the last train ride out of Nashville. We didn't steal it. Promise. I swear I remember my mom asking if we could have it. There's more, but let's get me on that train with a laptop, shall we?
Mary Addison Hackett
February 21, 2014
Escapism is mental diversion by means of entertainment or recreation, as an "escape" from the perceived unpleasant or banal aspects of daily life. It can also be used as a term to define the actions people take to help relieve persisting feelings of depression or general sadness. http://en.wikipedia.org/wiki/Escapism
Rx: Treated myself to a new field easel.
If I'm going to escape the banalities of life, I should have a bigger easel and a tank of diesel.
Mary Addison Hackett, 2012
oil on canvas
16" x 14 "
February 15, 2014
David Lusk Gallery
sat 1 mar, 5:30-9 pm
1-29 mar, 2014
OPENING, on view through March 29, includes approximately 40 works in a broad mix of media, including painting, sculpture, photography and installation. Artists are featured in OPENING: Bruce Brainard, Carroll Cloar, Maysey Craddock, Hamlett Dobbins, Wayne Edge, William Eggleston, Ted Faiers, Beth Foley, Huger Foote, Mary Addison Hackett, Tyler Hildebrand, Kathleen Holder, Leslie Holt, Paul McLean, Greely Myatt, Kit Reuther, Rana Rochat, Peggy Root, Mark Bradley-Shoup, Anne Siems, Jared Small, Kelly S Williams, and Tad Lauritzen Wright
For further information, a tour, and/or visuals, please contact Veronica at firstname.lastname@example.org or Dane at email@example.com