“Sound the Climate Alarm” at NOTO ArtsPlace

Two mixed-media collages of mine, Sound the Climate Alarm (at left) and an older piece called Laughing and Crying (below at right) are currently on display in a group exhibit exploring issues related to the environment. The exhibit, titled Terra Verde, features the ceramic work of Eleanor Heimbaugh, and can be viewed at NOTO ArtsPlace in Topeka, during Topeka’s First Friday events on May 1, 2015.

 

Sound the Climate Alarm is an imaginative depiction based on my experience of a significant moment in the movement to tackle climate change. On September 21, 2014, a small group of people in Lawrence, Kansas, gathered for a moment of silence and then tooted party horns, rattled cans of rocks, whooped, hollered and sounded off in any way we could think of to make the loudest noise possible, to “sound the climate alarm,” in solidarity with hundreds of thousands of others at The People’s Climate March in New York City and beyond. Regarding the moment in New York, the New York Times reported,

 

The climax of the march came in the early afternoon. All along the route, crowds had been quieted for a moment of silence. On Avenue of the Americas at 57th Street, there was an eerie silence as marchers raised their arms and looked down.

 

Then at exactly 1 p.m., a whistle pierced the silence, setting off a minute-long cacophony intended as a collective alarm on climate change. There were the beats of the drums and the blaring of horns, but mostly it was whoops and cries of the marchers.

 

At South Park in Lawrence, Kansas, after a simultaneous moment of silence with those in New York, a voluminous sound rang out too. When I first envisioned a collage about that noisy moment, I had wanted the look of the sound to be as big as possible, a visual cacophony. So in the collage I made images of saxophones layered upon bike horns, on top of other horns, and then party blowers. In addition, the repeated words “you and you and you and you” add to the visual confusion and also invite (or implicate) everyone into the meaning of the piece. And yet even with all of that going on, the visual impact is still subtle. The look of the sound is atmospheric and thinly skeletal, a subtlety that happened in the creative process that I decided to keep. And then a bird flew into the piece and I painted it black.

 

Compared to the climate alarm that I heard, my visual expression is low-impact, and yet I am pleased with it. For me its meaning is enhanced hanging in the exhibit beside Laughing and Crying, another colorful collage that I made seven years ago with an image of a person laughing surrounded by insects, birds, and blossoms. The piece depicts strong emotions and expresses how I feel about the environment today. It is the words in the collage, “I laughed so hard I cried” and “I cried so hard I laughed,” that express the emotional contradictions that I feel each day in our rapidly warming world. For example, a gorgeous spring day in the face of climate change can feel like beauty and terror combined: birds, blossoms, and butterflies along with heat, drought, and tornadoes.

 

Even so, Laughing and Crying is primarily a visually joyous piece with an orange bird smack in the middle surrounded by lots of activity, full of hope. Sound the Climate Alarm, by contrast, includes the same bird but this time it is painted black and appears on a background full of sunny-yellow energetic emptiness, a warning color scheme. When I see these two pieces together in the context of an exhibit about environmental concerns the alarm in the one piece is for me reinforced by the joy in the other and again I think of spring in a climate-changed world, a feeling of wonderment that is also full of discontent. How many more beautiful springs will there be before all we have left are summers? In a climate-changed world, what will happen to my son?

 

(The exhibit Terra Verde at NOTO ArtsPlace, 903-5 North Kansas Avenue, Topeka, KS,  features Eleanor Heimbaugh’s clay pieces with additional contributions by James Anthony Martin, Betsy Knabe Roe, Ashley Russell, Nicole Wilson, and Hi Stockwell. The exhibit was curated by Michael Lou Bradley with assistance from Drew Douglas Simons, Fine Art Intern from Washburn University.  View the exhibit during Topeka’s First Friday events on May 1, 2015.)

The Experience of Farmers

During the Hard Times (sold)

The “Experience of Farmers” was a series of mixed-media and clayboard works, exhibited in various locations (Kansas, Virginia, Canada) between 2000 and 2002.

ARTIST STATEMENT FROM “THE EXPERIENCE OF FARMERS”

The “Experience of Farmers” is an art project that uses pictures and words to explore the experiences of farmers at a difficult time (1999-2000). The project developed out of concerns about the farm crisis and how this crisis is affecting farm families, rural communities, and the broader society. Low commodity prices are squeezing many independent farmers out of farming, and this project explores the joys and struggles of farmers, and what society loses when independent farmers lose their livelihood.

Since July of 1999, I have interviewed and tape-recorded the voices of forty-two farmers, farm family members, and farmer advocates for this project. Quotes transcribed from the interviews are included directly in the artwork, or on text panels beside the artwork. Themes in the project include: experiences of the countryside, the joys of farming, the farm family, the experience of drought, the beauty of rural Kansas, the perseverance of farmers, discrimination against black farmers, the erasure of independent business and agriculture, and the effects of corporate mergers and multinational corporations on rural communities.

In my artwork I enjoy creating rich surface textures, careful compositions, and fanciful images to capture moments in the stories — from mundane to whimsical to socially urgent. To make the black and white drawings I use an art material called clay board. This material includes a thin layer of white clay covered with black ink, affixed to a Masonite surface. I scratch off the ink with a sharp tool to create white lines, cross-hatching, and textures. The collages I make include a combination of materials such as photos, magazine pictures, embroidery thread, cloth, and paint.

Collaboration with farmers and organizations was a fundamental part of “The Experience of Farmers.” I collaborated with eight Lutheran churches from Kansas – from Belleville, Beloit, Concordia, Courtland, Glasco, Mankato, Norway, and Scandia. The churches, through the City of Glasco, provided matching funds for a Grassroots Grant from the Kansas Arts Commission to fund interviews with farmers from each church. I believe the churches were interested in this project as an outreach project offering farmers a chance to talk about their concerns in a way that would reach an audience beyond their local communities. I was also granted a month-long residency at the New York Mills Regional Cultural Center in Minnesota to work on the project. Assistance in locating other farmers for interviews was provided through Jerry Jost of the Kansas Rural Center, friends and family. Farmers from the Newton, Kansas, area and Lawrence, Kansas, area were also interviewed for this project, as well as farmers from Nebraska and Minnesota.

“The Experience of Farmers” has been exhibited in libraries, coffee shops, peace centers, galleries, conferences, the state capitol, and other spaces in the Kansas communities of Topeka, Lawrence, Newton, Concordia, Kansas City, and Winnipeg, Manitoba.