I Love Myself When I Am Laughing And Then Again When I Am Loo... by Zora Neale Hurston

In this paper I will deal with these parallels in regard to the life of Afro-American writer Zora Neale Hurston 1 and Janie, the main character in her novel `Their Eyes were watching God' with focus on setting and character.Īt first I am going to focus on what might be called home for Zora and Janie. It is quite often assumed that there is a connection between a writer's very own life and the thoughts and actions of characters in their fictional work, which seems to be obvious as very often parallels in experiences, settings and historical or political backgrounds in autobiographies and novels, for example, can be found. I would like to thank Washington State Artist Trust, without their assistance through a 2005 Gap Grant some of these works would not have been possible.II.

I believe in the absurd, a blissful moment laden with the most honest truths I have known. I often read my random house college desk set thesaurus and dictionary for language that suits my intentions. When titling my work I try to give explanatory statements about my intent…translate them however you must. These pieces epitomize pride and fear simultaneously. I encourage the viewer to see these as tools to find comfort in one’s own imperfections. Work that was intended to be universal became personal. The figurative conversations, my most recent development, address explorations of the mold maker as model. I offer the viewer this ironic discussion through a humorous and graceful visual. Repetition creates pattern to overshadow the reality of my intent. The domestic reliquary works are household appliances that I see as masculine via design or function - however these objects have traditionally been used as tools for women’s work. One can see submissive or dominant traits, signs of power and struggle based on something as simple as 3 yards of fabric. These works question the notions of culture, caste, social status, and gender politics. Collected things are found or acquired, then I find their appropriate outcome. The garment series offers a visual discussion of self-assurance or personal anguish absent of the body. ‘Domesticated’ samples from 3 conversations I am currently engaged with in my studio practice. These truths were part of survival and have clouded my visuals with a necessity for the ridiculous. Watching my father, the New York City latch key kid, try to milk a goat or my mother with her polyester leisure suit riding the tractor were absurd events yet completely rational. I was raised on a self -sufficient farm in rural northern California by parents who grew up in cities. Personal experiences preface the ideas in my visuals. “ I love myself when I am laughing… and then again when I am looking mean and impressive.

I Love Myself When I Am Laughing And Then Again When I Am Loo... by Zora Neale Hurston