Edge of Faith May 2017 - Page 56

God’s healing power from that, but I had a ruptured appendix, and gall also other times too. The main thing stones, and so forth. They had given there was that he marked it with his up on me at one point. An extremely image. He marked the account, that important thing in my life is that time, with his image, so that nobody I had a ruptured appendix, perito- could say, “No, it wasn’t him. Oh nitis, and chicken pox, and every- thing at once; blocked kidneys, back when they h ad no kidney machines, and so forth. They thought I was gone. They asked my moth- er to leave the room. She went down to be with the family until the news came. My aunt asked the min- ister that was there if he had any hope at all and he said, “No I really don’t.” He said, “Except there’s this one verse, ‘Lord if thou wilst, thou canst.’” My aunt saw a vision of Christ come down in front of the car and told my mother to run up and that everything was The Compassion of Christ yeah, those things going to be fine. just happen.” Yes, I’m As she was run- sure those things just happen, but in ning up a nurse was running down this case he was in the middle of it. to get her. My kidneys had unblocked. It’s a wonderful story, and so I know 56 • The Art of Faith Magazine • www.aofmag.com Well, amen to that, and I’m glad that you’re with us. thoughts across are very, very limit- ing, and I don’t think that’s what it’s about. Thank you. Sure. And your work is important, for sure. In that vein, why do you feel art is an important media to share thoughts? That was one of your questions, was it not, a way of shar- ing thoughts. I would probably not phrase it that way because I think it’s not just a medium to share thoughts. I think it’s another way of think- ing. It may be nar- row way of thinking but can do what other things can’t do and so it’s not just another vehicle, like I’m going to write this in a cer- tain way, or publish it in a certain way, just to get those thoughts across to somebody. I think that art is, if you had to have a writ- ten form that would be the closest to it, it would be poetry. It is an elusive medium that alludes to a num- ber of things. It brings a matrix of ideas together that could not co- exist inexactly the same way some- where else. Therefore, just to think that we’re just trying to get our Maybe I phrased it improperly. More of what I meant is art evokes as well as portrays thoughts. You said it was like poetry, but in a way art really goes beyond words. Well, it is working with a non-verbal media and world, and there- fore it should, at its best, touch things that words can’t quite deal with. I’ve often said that the artist is sitting on the edge of the non-verbal and we try desperately in our conversations to try to bring that non- verbal into the verbal realm and that’s the rea- son people don’t quite understand what we’re trying to say sometimes. the work that you do, and the beauty and thoughtfulness that you bring to the world. show, but I think there are some rich things there. Melissa Weinman’s Seeds of Mercy. Again, nicely painted. Of course, Bruce Herman’s. I’m sorry his is not going to travel with the show, but it’s so huge. We will still display it in the maga- zine. That’s good. That’s very good, because he’s a remark- able painter. A very fine painter and so I’m so very glad to be showing Thank you so much. That’s very kind. I think art can, should be able to bring forth thoughts that one would not be able to quite have in the same way, any other way, without seeing the work. That is what art is about. There’s a small sliver that only paint- ing and art can get at. Therefore, it is another way of thinking. It’s another way of exploring the universe. It’s another way of finding out what it means to be human. It’s also a matter of faith. You don’t do paintings, I don’t think, unless you think that they might have some value somewhere. And that they might have some last- ing value somewhere. I can’t see why you would be a seri- ous painter, maybe an amateur painter, which is not a bad thing to be, but a serious painter, I think, would need that kind of faith of this will to last and do something in the world. But it’s an elusive medium that alludes to a number of things, it brings a matrix of ideas together that could maybe not co-exist inexactly the Back to the exhibit. I’m hoping you’ve seen the other pieces that are going to be a part of it. I was just curious if you had a few favorite pieces. same way somewhere else.” I looked at it earlier. I don’t have it right before me. There were several pieces that were quite interesting. I particularly like Michelle Arnold Paine’s Mary and the Chalice. I think that’s really quite a handsome piece. I also am kind of intrigued with Melissa Weinman’s Tree of Life. That stirs up some interesting thought, I think, and it’s beautifully painted, too. I do enjoy that. It’s a fairly small with him. We’ve know each other for many years, but it’s, he’s just brilliant. A remarkable painter. But anyway, those are some that I think are quite interesting. Jean Wetta, Pardon Me, is kind of a fun little thing. I have a friend that has painted Smurf figures, and so forth, but with very heavy themes. Some of those things are delightful, I think, when they happen. I want to thank you, once again, for spending time and sharing some of your ideas and exhibiting your art. Thank you so much for your kindness and for doing this for the show. I can’t wait to see what comes from it. The exhibit as a whole portrays something important and I think that interviewing each of the artists has been a thrill for me. I appreciate all The Art of Faith Magazine • www.aofmag.com • 57