FAQ

Q: When is the first time you realized you were an artist?

MF: There is no specific moment. Creating and making things has always been a big part of whom I am. When I was about 8 years old I taught myself how to sew on a very small, crank operated Singer sewing machine. My goal was to create beautiful new outfits for my Barbie dolls. I was given left over fabric from our neighbor, an accomplished seamstress; I spent hours designing dresses from those treasures.

Most birthday and Christmas gifts were made by my hand as well, cigar boxes highly embellished with jewels, hand bound books, solar prints, and embroidered items. I felt sheer bliss as I made a gift with someone in mind (my mother loved the ring holder I made from covering a Dove soap bar in blue velvet). I also created cards. They were story-telling collages made from magazine images, old pictures and other pieces of paper. To this day I have a hard time throwing out paper.

About 20 years ago I experienced an inner earthquake. It was a deeply felt urge to draw. And draw I did. It was impossible to ignore; turns out it was really fun and fulfilling. This was a bit confusing and intriguing.

I filled several newsprint pads and decided to continue on. It felt right to paint some of these images and so I did. Now, I won’t say each was a masterpiece, but there were some compelling paintings from this explorative period. Plus I had, and still do have , so many images in my head. Those images needed to live on paper, canvas, etc. These days my great need is to live long enough to paint them all.

Q: When someone is viewing your work for the first time, what do you hope they will see?

MF: I hope someone viewing my work for the first time will be moved to physically and mentally absorb the work. I mean physically as in touch the work; my pieces usually have a very luxurious smoothness and a yummy, got to put my hands on it, texture.

After your physical response, I’d really like you to carefully explore the depth, beauty (I know this is frowned upon by some contemporary art circles), and complexity of my work. I have reached deeply into my soul to put this work before you. I ask that you put yours into looking.

Q: Who are some artists you admire?
I am a seeker and I constantly look at work. I need information for my personal interests and I collect info to pass along in blogs, etc. There are three stalwarts in my artistic lexicon; when I need a creative jolt, I call it “Jonesing for the Joans”. The artists to whom I refer are: Joan Snyder, she never flinches, Joan Mitchell, her bold, brave strokes always blow my mind, and Joan Brown, her thick paint application is absolutely delicious.

I believe Walter Anderson to b e the unsung hero of American art. His drawing systems are fascinating and the rhythm in his work is without challenge.

I never stop looking. I look at art, other than my own, almost daily.

Q: What is like to be an artist in your community?
MF: I am fortunate to live in Asheville, NC where art and its production enjoy a respected place and long standing support. This community is supportive, generous and eager.

The natural beauty of Appalachia is wonderful stimulus for my creative energy. I am ever enchanted by the light here many days I rush into my studio and attempt to record my latest impression.

Q: What is your fantasy art vacation?
Morocco, I am anxious to explore the spice markets, hike the Atlas Mountains and feel the Berber, Roman, Medieval, Alaouite, and European influences that have melded together in Marrakech, Rabat, Casablanca, Fez, and others. I want to explore all this history and ferret out the seductive mysteries of these ancient cities.

My husband and I have itchy feet and traveling has been very important part of our lives. We think it important to seek other cultures and learn new ways of thinking.

Q: How do you promote your artwork?
MF: Oh my, this is an area that requires as much attention as the art making. Promotion is the place where many artists fail to make the cut. They just won’t do it. I feel responsible to my audience and collectors to keep my work fresh and in front of the viewing public.

My website is updated as new work becomes available, I keep a list of my galleries there. I enter shows, talk to curators, and make new connections all the time. I frequently check to see who’s showing what so that I can determine if these venues are right for me. It is a constant effort.

I’m learning how to Twitter and Facebook; get back to me in a few months to see how I’ve progressed.

I keep a record of all my work and have photographs and jpegs available at a moment’s notice. Along with the images I have my bio, exhibition history, pricelist and inventory current and readily available should anyone request this information.

Q: Why Encaustic?
MF: It’s funny; I was actually slow to engage this medium. I considered myself an oil painter and I was reluctant to adapt and retool. The opportunity to experiment and explore the encaustic medium was giving to me by two outstanding professors, Cheryl Goldsleger and Teresa Bramlett-Reeves, with whom I had independent study.

Somehow, in a lonely studio, in the very hot and humid Atlanta summer I fell head long into the ways of wax. This was a summer of wild experimentation, I painted on Plexiglas, I used beads, I poured, I used heavy impasto, basically, I did anything I could think of to my work; it was so freeing.

Then, it just started to feel right and I pressed on. Slowly, I became fascinated with the layering and the depth. Then I began to truly challenge myself, what if I do this? What if I do that? The challenge continues today.

In my mind, the essential objectives of art are depicting and imagining. It feels best to represent these ideals in wax. Through this process I represent reality as I understand it.

Q: What themes, colors, or subjects most often appear in your work?
MF:Most often I reference the landscape and moments spent during my short time here. My works are contemplative spaces for enjoyment and ones where personal exploration may be embarked upon. You’ll notice different things as you look more closely. From 20 paces it’s a lovely, delightful space. As you get closer and look deeper into my work you will see may curious elements such as interesting twists of color, exploding light, depth (oh my, the depth), and much activity between they layers of beeswax.

I use bold gestures in the ground to release the great energy I feel when making art. As I build up the layers of wax my gestures become more restrained and focused. Color interactions are a key component of my work; I’ve spent much time delving into color theories. Juxtapositions of color absolutely delight my eye.

The colors that surround me show up in my work as well. The fall of 2008 was especially beautiful and the leaf colors were stupendous. Each afternoon I would come back from walking our dog with various leaves bulging from my pockets. I wanted to represent those colors my Changing Coasts series.

Q: Do you teach classes?
Teaching is a very rewarding experience; I learn so much from my students. I teach safety practices along with techniques. Artists are exposed to a wide variety of toxic materials and need to be very conscious of proper use and disposal.

Usually, I demonstrate a few techniques and then give the students time to work on their own to “get it”, we come back share our thoughts and insights and then move on to the next application. It’s very give and take.