Call for Subjects: Only a few days left to Submit!

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In a recent blog post, I shared that I’m opening up the 2011 “Technicolor Muslimah” series.
I am seeking volunteers who self-identify as American Muslim women, with or without hijab (and anywhere in between), who can help make this project more diverse.  Please read the original “Call for Subjects” for more of what I mean. 
 
To Submit, please send:

1. A selfie (a picture of you!):
– high quality (It’s difficult to paint from blurry or low-res pictures)
– head and shoulders only (or can be cropped)
– BIG PERSONALITY!  I’m looking for images that are more communicative than just “looking at the camera and smiling,” whether through use of props or through expression. 

2. A brief description of how you feel you could make this series more diverse.

Send to artbysaba@yahoo.com or facebook.com/artbysaba by MAY 1st!!  I will choose a few that will become paintings in the first couple of weeks of May.

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I was almost in the Honor Diaries – Why I Backed Out

In April of 2012 I got an email from a woman who said she was a friend of a friend of mine – she had gone to school with one of the women that I painted in Technicolor Muslimah.   From her personal gmail account, she wrote that my paintings “capture a unique expression which is often lost through mainstream media.”  She was in the early stages of a documentary film focused on women’s rights and women’s activism “mainly focusing on Muslim-majority countries” and wanted to maybe include me.   I was thrilled at the prospect of being in any kind of film to talk about my art, especially so early in my career.

That amazing opportunity turned out to be “The Honor Diaries.”  *gag*

We did a phone interview, then a skype interview with her and the director.  Throughout the two-month process, we exchanged a number of emails, and the Clarion Fund was never mentioned.  We spoke about the controversy around Mona El-Tahawy’s “Why They Hate Us” article, and I felt like we were on the same page.  I sent her some links and quotes like “I struggle with the fine balance of condemning violations of human rights without accidentally submitting to contemporary extensions of Orientalism” (link).  Her words seemed to speak to a respect and admiration for Muslim women, and an interest in understanding the nuance of this subject matter.

My flight was booked to go film in NY with the other women.  The very last email I received was from a different email address, one that said “clarionfund.org” at the end of it instead of “gmail.com.”  They had sent along a pdf with information on filming, contracts to sign, and official info about the film and the group.  Right at first, I remember feeling really intimidated at the credentials of the other women going, and nervous about traveling.  There was “yoga” on the schedule which seemed pretty fancy to me.  I thought about what I could wear during filming that would camouflage my baby weight.  At the top it said “National Security through Education, Clarion Fund.”

what.

National security?  What does National Security have to do with any of this?  

Who are these people?  I looked back to the front page. There was a graphic of a film reel with images from past blockbuster hits like “The Third Jihad: Radical Islam’s Vision for America,” and “Obsession: Radical Islam’s War Against the West.” Their graphic designers had done things like incorporated an Islamic crescent moon and a gun into the typography.  Wowzas.  I had not heard of the Clarion Fund, so I googled them and perused their website, which was “radicalislam.org” at the time.  I felt like I was going to throw up.  This group wasn’t about women’s rights.  If they were, they wouldn’t have confined their conversation to Muslim countries (duh), and I’m pretty sure they would have been able to find more than 9 women to participate.   I was really struck by the fact that this group’s was defined not by what they were fighting for, but what they were against, and everything they do relates back to that.

The same day I got the pdf, I sent them an email backing out.

“I had assumed, for some reason, that you were working on this documentary as kind of an independent project.  Up until the last email, we had been corresponding from your personal account, which upheld my assumption that this was an independent film.  To be sure, I should have been more vigilant about finding out about the particulars involved in making this film.

I have some issues with the Clarion Fund, with some of their affiliations, and with the messages in their past films.  My artwork has a spirit of inclusion, acceptance, respect, and education.  I feel that, in general, the picture painted of Muslims is very narrow and monolithic, and I try to create art that helps to expand the definitions people have of Muslims.  I am sorry to say that I feel that the Clarion Fund’s past films and some of its prominent members have helped contribute to the perception of Muslims as “others” and, to be frank, I am uncomfortable working with the group. 

In addition, I feel that my artwork does not have anything to do with the “threats of political extremism.”  As an American-born woman, I really do not have insight into the challenges of women living overseas in the countries you plan to focus on, and have not “experienced firsthand the trials women regularly endure.”

I will need to respectfully back out of participating in this documentary. 

…I apologize for telling you this so last-minute.  If I had known, or had asked, I would have let you know sooner or declined participation initially.  Thank you for your kindness and for being so accommodating.  I look forward to seeing the film when it is completed, and hope that my reservations in participating prove to be unfounded.”


I spoke to the woman later, and she apologized and said she had not deliberately withheld the name of the organization.  We briefly spoke about the issues I had with the group and the framing of this story.  I did get the sense that she very strongly believes that what she is doing is right, and that she believes that she is helping Muslim women.  But I don’t think that makes it better,  just more frightening.

Call for Subjects

I was included in a list of beautiful photographs of American Muslim women: here
If you scroll down to the comments section, there is a pretty clear and legitimate concern with this list – the women who have been left out.

I spent 16 years in predominately white private schools that were dripping with privilege.  But as one of few Muslim females in these environments, I very deeply felt the consistent ache and insecurity of being an “other,” of my lack of privilege.
A few years ago while I was at North Carolina Central University studying Art Education, I took a course called “Diversity and Pedagogy.”  We took a “calculate your privilege” quiz, and I remember feeling really angry.  Because as I was taking the quiz, as I was learning about the results, I felt that it took away something that had defined me, and suddenly, I was one of them – one of the privileged.  I thought that I knew everything about racism, about feeling “othered” and less than… so eventually I stopped talking in class, stopped contributing my self-assumed expertise in the subject, and listened.

I took that quiz again, earlier this week.
I have lots of privilege.  Yes, I am a Muslim woman of color with immigrant parents, but I have privilege.  So now, what do I do with that?  Do I deny it? Try to destroy it?  No.  But I do think it means that I need to be responsible for myself, and own up to it when my own good intentions fall short.  Just because I have felt excluded, it does not give me a free pass to do the same to others.

The largest group of American-born Muslims are African American Muslims – 40%.  I have completed 26 paintings of American Muslim women – and only one has been African American.
I am embarrassed and ashamed of this.  As I find more opportunities to talk about this work and share it, those feelings have only grown stronger.  Maybe I’ve been waiting for someone to call me out on it, but if anyone has, I’m not aware of it.  So I guess I’m calling myself out.

I often describe my work as “portraits of American Muslim women,” and I need to be responsible to that.  So, obviously, just one African American woman out of 26 is not adequate.  Representing diversity has always been important to me, but I don’t know that I have really followed through.  I made the excuse that I found my subjects through my personal networks, and in most cases, I had known my subject for many years.  And because of that, Pakistanis are a bit over-represented throughout the work, everyone is cis and heterosexual.  So yeah, that’s authentic to what I was most familiar with growing up, but truly, I just felt uncomfortable reaching out to communities outside of my own.  Because I’m a little shy, and I’m scared someone might tell me “No, you suck.”  Or “no, you’re not allowed to do this.”

It’s just not okay to be like “I was uncomfortable” and then be guilty of exactly the thing that is motivating me to make art in the first place.

Alright so besides saying “my bad” (which doesn’t feel like enough)…  I’m opening up the “Technicolor Muslimah” series – I’m looking for volunteers to be included in this series, who can help it become a more diverse body of work.  If you self-identify as an American Muslim woman, and are left out of these kinds of lists, please send me a message through my Facebook page: facebook.com/artbysaba or email: artbysaba@yahoo.com.

Click here to see the work.  Each painting is also accompanied by a written statement from the subject where she describes herself in her own words.

Sweet Noor

I had said that the painting “Rebel” was the last painting in the An-Noor series.  When I found out I would get to show the series at the Carrack Modern Art in January, I felt strongly compelled to make another painting.  So I added this piece, which also turned out to be many people’s favorite in the series.

This painting is of one of my dearest friends.  In the image she is carrying her first child, a daughter that she named “Noor.”  The photograph I worked from was taken just a few days before Noor was born.



A few notes about the piece:
I wanted the background to feel as though it was inside of a womb.  It’s this safe space where she can connect to her child, imagine the future.
The green dress brings to mind the Arnolfini portrait, one of the most recognizable renderings of a pregnant woman.

by Jan Van Eyck

by Jan Van Eyck

I’m not sure that the An-Noor series is “finished.”  I see that this is a big conversation, and that the portraits in this project only scratch the surface of the diversity of American Muslim women.  There is much that is left unexplored here, so I’m open to expanding this series as I meet more women who inspire me.  But for now, I guess I punctuate An-Noor with a “…”

Rebel

Completed painting.  "Rebel" 20"x60"  Acrylic paint, gold leaf, rhinestones on canvas

Completed painting. “Rebel” 20″x60″ Acrylic paint, gold leaf, rhinestones on canvas

This is the last portrait in An-Noor.  It’s called “Rebel” and is 20″ x 60″ (same size as Inner Sun and American Desi).  I used gold leaf, rhinestones (in the necklace) and acrylic paint.

I crossed paths with the subject of this painting, Amarra, in September 2012.  We were both at an event where I was displaying some art.  Even though we didn’t really talk, we became Facebook and Instagram friends (gotta love social media).  After seeing some of the amazing selfies she posts, I had no choice but to ask if I could photograph her.  I had the opportunity to speak to Amarra at length before I took her picture.  She completely opened up, and the depth of our conversation made painting her feel natural and fluid.

All of us have friends who post selfies, but few actually tap into the potential of the selfie as more than just a form of documentation, but as an art form.  It’s a self-portrait.  It was clear from my conversation with Amarra that she has a natural ability to express her mood, her heritage, even her values, in the way that she presents herself.  To have the outside match the inside.  When this is combined with body language and environment, you can end up with a really dynamic image of a person.

So what I’m really trying to say, is that she showed up in this kick-ass outfit, gave me this powerful pose, and that is a huge part of why this painting turned out the way it did.

Check out the gallery for pictures of the process and detail shots.

Having painted the last subject, I think about how transformative this process has been. I came into this undertaking barely 26 years old, a new mother, with no established “career,” and just having earned a degree in teaching, not painting.

Listening to all these women has been one of the most special parts of this project.  We could skip the small talk and go straight to the real stuff.  All of them are so unique, and with each one, there was something, a quality of hers, a particular thing that she said or way that she said it, that has resonated with me.  With each painting, I was able to see some part of myself more clearly, by connecting to and reflecting the woman that I was painting.  I think we all can sometimes feel that whoever we are, however we are, isn’t good enough.  This healing kind of thing happened while working on this project – in recognizing the love and respect I have for each of these women, I found that I could also love and accept myself a little more.

Thank you to all who have participated in this with me!  You rock.

There is one painting (not a portrait) left to complete this series.  Stay tuned.

Tree of Life

This month at Pleiades Gallery, our show title is “Surge.”  Starting with this word, I worked to come up with an idea for a painting, but got sidetracked when I saw that a number of my Facebook friends had shared this link (Warning: the videos at the end of the article are extremely upsetting).

I don’t really know how to talk about all this.  I literally screamed when watching that video (I got through only part of one of them).  I still cry when I think about it, weeks later.  And that’s just a fucking video.

I’m still sitting here, with everything I could ever need, and I do not have to fear that someone will try to deliberately harm me, my toddler, or anyone I love.

After I watched that, I turned on the news.  I expected it to be on every news channel, with special reports.  There was nothing.

I went to all the news websites I usually read.  NOTHING.

And then a few days later, everyone was talking about Syria.  Everyone was suddenly an expert on it.   The whole discussion was extremely political.  Whether to invade or not.  Which groups of brown people are tied to which other, very scary, groups of brown people  It just seemed so disconnected, so irrelevant, maybe a deliberate attempt to stir up our partisan passions so that we wouldn’t see what is actually happening in our world.

I get that the US has got to take care of ourselves, that there’s plenty of awful shit to deal with in our own country.  There are children who fear for their lives when they walk to school every day, even here.  I’m not a proponent of bombs or violence as a general rule.  But I’m not talking about any of that.  How privileged are we, that we can discuss the pros and cons of military intervention, that we feel safe enough to say Obama is wrong, and broadcast these opinions on our Facebook pages… without ever once having to consider that this is all about people.  We can live our lives without even being *aware* of anyone else’s situation but our own.  That’s kind of a beautiful thing, I suppose, probably part of why my family came to this country.  But now everything is just about these assholes spitting out crazy hypotheticals on the news.  And when it comes to actual human beings frothing at the mouth and dying en masse, we can just turn a blind eye.  Snooki’s on dancing with the stars this season!  It’s all treated the same.

I also get that we can’t just walk around crying about all the awful stuff going on in the world.  And that it’s also okay to watch Snooki on Dancing with the Stars.  I know that you must take care of your own kids, and hug them tight, and keep them so safe.  But it all made me feel helpless and small, and now I’m writing a blog post about it.  Jeez.
So I say all of this without any kind of conclusion, or lesson, or resolve for how we should live our lives better or differently.  I have no answers.

I made some art about it.  The title of this piece is “Tree of Life” (someone actually came into the gallery before the painting had a title and made the comparison – thank you, whoever you are).  The picture isn’t the best.

mixed media: acrylic paint, gold and silver leaf, sequins, glitter

mixed media: acrylic paint, gold and silver leaf, sequins, glitter

I believe in beauty.  I wanted to make something beautiful.  But to me, this painting is sad.  The heart is frozen and the flowers are wilted, even though they sparkle.

I am donating 50% of this sale to this group, and iA the donation will be enough to provide a tent to shelter a family of 5.  This piece will be up through October 6th at Pleiades Gallery in Durham.  The show opens on Friday.

American Woman

This newest painting in the An-Noor series is a three paneled piece titled Maestà. The title means “Majesty” in Italian and “designates an iconic formula of the enthroned Madonna with the child Jesus, whether or not accompanied with angels and saints.” (wiki)

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The subjects are my friend Amani, her son, and twin daughters. She’s a badass mom whom I really respect and admire.

The most direct inspiration for the painting is Giotto’s Madonna Enthroned.
File:GiottoMadonna.jpg
When researching historical portraiture/iconography with strong and powerful figures, I came across many images of male political, military, religious figures, and superheroes. There were, however, a few notable exceptions (see Rosie the Riveter). The most striking of these exceptions are images of Mary, mother of Jesus. Her image has been produced and reproduced, she is immensely recognizable, but remains a dynamic figure.  Not to mention that she is an important figure in Islam as well as Christianity.  I feel that Mary, an embodiment of both strength and gentleness, was the perfect image to take on for this body of work, to explore motherhood as a part of female strength, because I think that a woman’s natural role as a mother is one that does not diffuse her power, but reflects it.


     

The American flag, which pretty clearly identifies the subjects as American, has a few references within it. In the stripes, I created an organic design that has a geometric pattern within it. The geometric pattern is a pretty typical Islamic pattern. I also included a bright green line into the stripes (complementary colors!) to give it a little kick.

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The stars are a reference to the blue domed church ceilings with gold or yellow stars. I saw many ceilings like this when I went to Italy as a 17 year old. They really stood out to me, but I hadn’t thought of them in years, until I started drafting this painting. I haven’t been able to find a definitive resource that explains the meaning of the starred church ceilings.  The most I could find was on this blog, where the author had the same question about the significance of these stars after seeing them in a number of churches.  She found that “painted yellow stars against a blue background on its vaulted ceiling [are] symbols of Saint Mary in Catholic tradition.”
  

There are also a couple of butterflies (yummy symmetry and beautiful metaphor) and a sunflower (in the boy’s hand, a reference to a previous painting). Adding these elements was pretty spontaneous and last minute, but I really love what they do for the painting.
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Technique/Materials
The stars were each made of six diamond-shaped pieces of cardstock that I cut with an exacto knife. I made a shallow cut down the middle of each diamond so they would fold in half cleanly. I would fold the diamond shape, fill it with gloss gel and modeling paste, then adhere to the canvas. Originally I had hoped to just sculpt the stars out of the modeling paste, but it was not rigid enough. I attempted to “pipe” the paste into star shapes as though I were using icing, but that was a big fail, as well. I had to try to scrape some of it off, which only kind of worked. It was a messy and tedious process (I don’t know how many hundreds of diamonds I had to cut and recut), but at the end, the stars look a lot like what I remember seeing in Italy so many years ago.
The stars were then painted and gold leafed, and traced. Some of them are silver, for fun.
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The halos are made from gold mica flake, gold sequins, modeling paste, and rhinestones. I used a butter knife to spread the modeling paste and mica flake.

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Around the blue area I used black glitter (on the bottom) and gold glitter at the top.
There is some pattern painted on top of the figures (most of it is towards the bottom of the canvas) with a silvery glaze that only appears at certain angles.

The patterning in the stripes was all drafted ahead of time using my Sketchbook app. For the figures, I spliced together a bunch of different photos (y’all know that it is impossible to get a family picture where everyone looks normal at the same instant).

This painting feels a bit different to me. I had to figure how to do a lot of new things, work with a lot of new materials, because just gold leaf and acrylic paint wasn’t going to cut it for this painting. I kept feeling like I needed to go “over the top” with the ornamentation on this piece, that I needed to do too much.  I think that the final product actually turned out pretty balanced, but that sentiment helped me to take it far outside my comfort zone.

I also am not so concerned with describing this painting’s meaning too specifically. It is both abundantly clear what this piece means, and open ended enough that I trust that whatever people get from it is accurate.

Check out the gallery for a few process pictures.

Inner Sun

I’m REALLY excited about this newest painting.  The making of this painting was very new to me… Using the Sketchbook app on iPad, I was able to take the level of design on this to a much higher level.  Not only am I thrilled with the experience and finished product of this painting, but I can see all sorts of possibilities for future work.  Which is invigorating.

“Maria (Inner Sun)” is 20″ x 60,” in acrylic paint, gold leaf, and glass beads (the liquitex medium)

BEFORE PAINTING:
I photographed this subject, Maria, almost a year ago.  She is actually doing zumba outdoors, but I cropped her body out of it.  Maria has an amazing personal story, and clearly, a beautiful smile.  In the complete photograph, Maria’s arms are outstretched, and the worm’s eye view shows the bright blue sky over her head.  Her body language, the smile on her face, her outstretched arms, and the vastness of the sky create an overwhelming feeling of freedom, openness, and connectedness with this great big world.  To translate this feeling into her painting was challenging… (which is why it has been so long since I photographed her!)  I fussed with this composition for a long time and scrapped a lot of ideas before I finally came up with the right imagery for her.

I created the design around Maria using the Sketchbook app.  I was able to draw freehand using a stylus, but as I drew, the app created a mirror image of every single element – perfect bilateral symmetry.  And then I was also able to reflect the bottom and top half of the image using the layering options.  This might be total child’s play compared to Photoshop, but I love that I am still drawing while using it.  I was able to edit the crap out of the design with relative ease.

PROCESS:
Basically I taped off the canvas and painted the shades of blue, the white and yellow beams, first.  Then I projected the design on top, and drew it on with white charcoal so I wouldn’t get pencil marks in the paint.  Then I painted the design in gold, then glued the gold leaf on top of that.  I painted Maria after I had finished the whole design.  The top of the painting – the pink/red… is covered in glass beads and comes off of the canvas about a 1/4.”  There was a lot of tedious fixing of edges and patching of gold leaf. Overall I spent a lot of time drafting this image and designing it, and actually making the painting was a super efficient process as a result.

Now the coolest thing about this painting, is that as I worked, the design got more and more and more complex.  I reversed positive and negative areas, I wove the white line through the gold leafed shapes…  I am just so excited about this experience, this whole new way of making art.  I would never dream of doing anything like this with pencil and paper.  Hoorayyyy technology!

I always worry about how to move forward, to get better, to challenge myself…  and I think that this emphasis on designs is where it’s at.  It is such a neat thing, to try to communicate meaning in these flat forms.  To make it all feel like something.  To draw it by hand.  It is like speaking a new language.  Suddenly I saw it everywhere – rugs, people’s clothes (I was particularly inspired by Jennifer Lopez’s dress at the Oscars?), my shower curtain…

The straight lines and geometric shapes on one layer, with organic lines curling over them in gold…It is this conversation between hard and soft, masculine and feminine.  They are separate elements, but they communicate with each other and effect each other.  Clearly I’m obsessed with all this.  And that’s the dragon that I am chasing when searching for inspiration… I can’t just be interested in it, I need to be obsessed.

SYMBOLISM:
The symbolism in this painting is not quite as straightforward as what I often do.  I have an enormous painting that I want to do next that is going to be exploding with pretty literal symbolic imagery (plus a whole bunch of organic and geometric designs).  But that’s later.

For now, look through the gallery for pictures of process and completed painting.  I have an excessive amount of pictures because it looks so cool from different angles.  The different shades of blue didn’t show up much in the final photographs for some reason… but it’s visible in other pictures.

Khuwailah, The Queen of Swords

I have completed another painting in the An-Noor series.  I thought I was finished with this painting many times…I actually started writing this blog post a couple of weeks ago, and as I was writing it, it became really clear to me that it was incomplete.  Anyway, the subject is Khuwailah, a woman I met in Durham a few years ago.

While looking for inspiration for this painting, I looked through my deck of Tarot cards.  The deck is full of symbolic images (that’s kind of the whole point), and I picked out all of the images that spoke to me, and that included a female figure.  I found surprisingly few female cards (like 15 or 16 out of 78 cards).  Of those cards, there was one card that stood out to me, that connected to this particular subject… the Queen of Swords.

Her major characteristics are that she is “Honest, Astute, Forthright, Witty, and Experienced.”  As I read more into her character, I found that it was really a perfect fit.  But what do I do with this image?  I included a few visual references to it in my painting.

I have never photographed a painting thinking that it was done as many times as I did with this one.  Every time I took “the final picture” I would immediately see how I could improve it.  It was unusual, but I’m glad I didn’t just settle for it being done before it really was.  The biggest issue I had was to figure out what to paint through the window and how to paint it.  I originally planned to have some stylized clouds very similar to those on the tarot card, but they didn’t fit with the rest of the image, to me.  So then I just painted over them, but that was really boring.  It needed more magic.  Eventually I tried to channel some Bob Ross with the happy little clouds (and the trees that were there at one point, too).  I’m really really pleased with it, finally!

Check out the gallery to see pictures of the process, and a few of the different versions of this painting.


A couple more things about this painting:

The pattern:  I googled images of African patterns and textiles (my research methods are highly developed, clearly), and tried to get a good sense of what characteristics make them distinct.  I saw a lot of these concentric diamonds.  The pattern I ended up using (I design most of my patterns, but this one is honestly a bit of a knock-off of a rug I came across) is a more geometric and modern looking version of these concentric diamonds.  I struggled some with finding the right balance of colors in the background and pattern… so that they pattern was not distracting but still visible, harmonious with the figure and the window, etc.
Gothic Window with Foil Arches

The window: I love when paintings have windows in them… I particularly like when they have a whole painting inside of a painting, basically, with the scene outside of the window.  I wanted to give the sense that Khuwailah was sitting high up into the sky.  Anyhow, the structure/form of the window was derived from the windows on gothic churches and buildings.

Sophia – Completed painting and process

So I just finished another painting in the An-Noor series.  The subject is my friend Sophia, whom I love.  ❤

Her pose is a bit of a departure from the rest of the paintings I have done thus far, in that she is looking down, away from the camera.  Her strength, her light, shines brightly, but she illustrates a quieter strength than some of the other images.  I am really enjoying the way that the paintings in this project clearly fit together as a collection, share imagery and ideas, yet each individual painting is its own entity, and is born out of a conversation with the subject.

SYMBOLS:
There are some pretty obvious symbols in this image – her white coat, the American flag, and the stenciled pattern radiating out from her head.

Halo.  I’ve used halos in previous paintings, and will do so in future ones… Sophia’s halo was created with a design that suggests her Pakistani heritage.  It is pretty amazing how 2-D shapes can communicate this so effectively.  I looked at images of Pakistani and Indian textiles in order to create the stencil.  The halo, of course, is a representation of her inner light, her Noor.

American Flag.  The other symbol worth discussing is the American flag.  I went back and forth in my mind about using this… It’s an image that is everywhere.  Aesthetically, I love the way the flag looks…but what does it mean?  Does it represent an unquestioning patriotism?  A (blind?) devotion to the “American way,” to western values and culture, its wars?  Is it an image that is exclusive, that can only belong to those who conform to a narrow idea of what it means to be American?  Does it mean getting wasted on the Fourth of July while eating fried chicken and spitting watermelon seeds?  I never thought about the American flag that much, until September 11th.  In the days and weeks that followed, the flag was everywhere.  Painted on cars, on faces.  Plastered on t-shirts.  Waving in the wind, attached to cheap plastic sticks, or flagpoles reaching into the sky.  And when I saw these flags, I felt afraid.  Not defiant, or angry, or patriotic, just afraid.  I was young (15 years old), sure, but the stories I was hearing, of people, my friends, being told by strangers to “go back to your own country,” being spit on, shoved into lockers, the bomb threats at our mosque… that’s part of what that flag suddenly came to mean in those days.  But I love this country, I always have.  It is because I was born here, raised here, that I can make art the way that I do, that I have been able to find a unique path.  I guess I could talk about this for a while, what the flag means to me, but I’d rather not.  Alls I mean is, the American flag is not a one-dimensional or static symbol, but one that shifts, evolves, and is as dynamic as the peoples of this country.
So I decided to use it.  And it will show up again in another painting in the series.

PROCESS:
Once again I used acrylic paint and gold leaf.

Halo.
I created a stencil out of cardstock.  I used it to put down the pattern in yellow paint.

Picstitch of stencil

Picstitch of stencil

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Next, I painted on adhesive on top of the yellow paint, and applied the gold leaf.
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I fixed up the edges of the gold-leafed designs by really thinly tracing it with paint.  The innermost circle is the brightest yellow, and the outermost circle is the least saturated yellow.
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Finally I added a thin layer of gold paint around the pattern to kind of tie everything together a bit more and give it some more ambient light.

American Flag/Background.
Painting bricks = lots of layers.  I love bricks (painted some in Dina’s painting) because while it seems like it would be so simple, each brick is unique, and textured.  So I can add all sorts of colors into it.  Even with all the colors, when I had finished the bricks, I felt like it needed some roughing up… it was too flat and clean looking.  I considered using a crackle medium, but didn’t go that route.  Sooooo… I did a little experiment!!  I mixed the gold leaf adhesive with dish soap and water, and applied it to the background.  Basically, I figured that the dish soap would counteract the adhesive, so the gold leaf wouldn’t stick to every area… and give it a more random effect.  And it worked!!  I did a couple layers of this mixture around the blue area so I could have a greater concentration of gold there (to suggest the stars of the American flag).  It was a little bit distracting though, and was calling attention away from the focal points, so I painted over the gold leaf with thin layers so it shines through intermittently and is not quite so bright/reflective.  The result reminds me of distressed blue jeans.