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Posts Tagged ‘symbolism’

Visiting Virginia a few summers ago, I stopped in a small city. It was a literal crossroads of sorts. Fancy antique stores and cheap thrift shops lined the road. Around these buildings people had set up long tables for further display.  My partner and I sauntered through the buildings.  As usual in such places we found a wonderful mix of treasure and trash. Later, he wanted to peruse the tables.  Usually I would have raced ahead but I found myself hesitating as I watched one of the tables being prepared.  Two men arranged an amazing array of items, items that had one unifying theme. They all displayed the Confederate flag.

While I had to pass that table to get back to the car, I did not get close. Eye contact was made with one gentleman. With both our heads held high, we nodded in that southern way of closed lipped acknowledgement. It was not an unexpected sight especially because this encounter took place shortly after all the hullabaloo of removing the Confederate flag from institutions nationwide. Not unexpectedly, at least to me, online sales of the flag (and in-store sales depending on where one lived) went through the roof. But it’s America, right? As private citizens, those gentlemen could choose to sell the flag. And I could choose to walk away.

Recently one of my brothers who lives in southern Virginia described driving past an estate where half of the owner’s lawn was covered by a Confederate flag. I told him I wanted to ask the owner what was the intention behind such a display. He joked that I probably wouldn’t make it halfway up the driveway before the owner would step out with his licensed gun, and perhaps his dog at his side, to encourage me to leave his property. Okay, my brother became a bit more descriptive and I chastised him for making such jokes. If the owner wanted me to leave his property, he could. It’s America, right?

For those who do not know, I am an African American woman who grew up in the foothills of the Blue Ridge Mountains of Virginia. When I return to my hometown or attend a reunion at the school I attended in North Carolina or visit family now settled in South Carolina, I have at least two expectations. One is to bathe in the beauty of the southern natural landscape and two is the likelihood of seeing Confederate flags. After living in New England for nearly twenty years, I certainly have that first expectation. There is no New England state that I have visited where I have not experienced great natural beauty. But that latter expectation … no, I guess I did not have that one though I now do after last weekend.

I later described it as being caught up in a Klu Klux Klan rally but no one wore a hood. There were no torches or anyone burning but there was plenty of black smoke and revving of engines. I’m  sure there were guns but none were on display. Nothing illegal was done that I could see except for some bikers racing by in the breakdown lane but they didn’t do so for long. They just did it to keep up with the pack, or I guess I should say the convoy, of three dozen or more vehicles — trucks, cars, jeeps, bikes — driving along the highway from Massachusetts into Rhode Island, waving the Confederate flag. The American flag was flown too of course.

When I saw the first truck, a large black pick up, with Trump and Pence stenciled in white on the side, I thought, “Well, this is America.” Then as we kept driving along I saw more vehicles, a beat up Corvette with a Confederate flag nailed to the roof, more pickup trucks with large chimneys and flashing lights in addition to their flags, bikers with the flags pinned to their leathers.  I really, really, really didn’t want to be in their midst but there was no other route to our destination.

I could avoid that table in the Virginia flea market with its sea of Confederate flags but I could not escape this experience. We all had to share the road, and we did so for a very long time. Finally the vehicles all left the road, to pull into a Rhode Island rest stop.  Their final destination I have no idea. We completed our journey into the quiet of Rhode Island’s small towns.  I slumped back into the seat, exhausted. Why was I exhausted?

Well …

Later that weekend, people asked me how did I know that there were three dozen or so vehicles in the convoy. I explained that I counted them. With the luxury of being a passenger and not the driver, I looked at each vehicle surrounding and then passing me. I looked at license plates (several New England states were represented). I looked at the drivers who would not look back at me. I got the feeling that they had all been instructed to keep their eyes on the road and to do nothing intimidating individually because what they were doing as a group was much more effective.

I don’t know if it’s nature or nurture, likely a combination, but there’s a thing that happens to me in certain situations. It’s the confluence of past and present. There’s a scene in the movie 12 Years a Slave, and a scene in the movie Glory, and scene in any movie  involving slavery, where a man or woman is tied up and whipped. I have many a friend and family member, of different races and ages and life experiences, who will turn away. I cannot. My back straightens. I hold my head high. Not so much to bear witness but it feels almost like channeling ancestors who did what they had to do to survive but they would not be subjugated. To sit in that position for an hour, so tense, was exhausting.

In that Virginia flea market, when I made eye contact with the vendor selling the Confederate flag, and nodded at him in acknowledgement, in a different day and age, for such behavior, for stepping out of my place, I would have been whipped. I know, I know. There some who might say, there you go stirring up the past again. But that past is a part of my American heritage, and every American’s heritage.

I am a major proponent of “just go with flow” and “just let things go.” Being caught up in that convoy for about an hour, those philosophical tendencies were replaced with something else. I increasingly wanted the drivers to look at me. I wanted to look into his or her eyes and to see who they were. And I wanted them to see me. As with the man in Virginia with the Confederate flag covering his lawn, I want them all to explain to me the intention of their display and to do so with other words than “It’s about heritage, not hate.”

I had my camera with me, of course, but I refused to pull it out. There was no need to capture in pixels and post on this blog such imagery. But I did want to share an experience that I will not let go of but I will certainly move beyond.

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Visit the website of artist Cedric Harper. Scroll through the sculpture page. Be patient. There you will find The Book of Truth.

As described on the site, it is a ceramic sculpture with a tile base. Inside a large black box is a small black box with a white book. Next to the book is a line of small white trees glistening against a dark red sky. Stark. Beautiful. Visually compelling. Mysterious. What truths reside in that book? During a recent conversation, Cedric would not only tell me about the book but how life, especially its challenges, had shaped his unique artistic expression that combines, as he describes, language, symbols and dreams.

photo courtesy of the artist

I first met Cedric at the Riverside Gallery at the Cambridge Community Center.  We were exhibiting in the same show.  I would later tell him that he reminded me of my brothers.  He is a tall, slim, African American man. Very humble.  And like them someone too easy to underestimate, a sentiment I was reminded of when he described how surprised people can be to discover that he, this quiet gentleman, has created such bold work.

photo courtesy of artist

photo courtesy of artist

Having seen his work in person and online, I was drawn to his use of color and texture and his unique juxtaposition of words and images. Why particular words, images, even the use of such colors?  “They come to me in a dream.  I pick up the broken pieces that others throw away as trash.  In my dreams I see the completed piece.  And then all I have to do is make that image real.”

photo courtesy of artist

photo courtesy of artist

Born in 1957, raised in Kansas City, Kansas, member of a large family, he remembers how his parents stressed working hard. “You had to believe in yourself to achieve success. There were always stories about that.” After college at the University of Kansas-Lawrence, he met a nice fellow, and moved to France for a year.  In 1982 he returned to Kansas where “I met the love of my life.” Eventually they moved to Massachusetts where Cedric would work in healthcare as an advocate for individuals with disabilities.  He would do so for thirty years before becoming a full-time artist. “But when did you actually start producing art?” I asked, and he said quietly, “When my lover was dying.”

photo courtesy of artist

photo courtesy of artist

Cedric’s lover had contracted HIV. As they tried to figure out next steps, they set him up in a home on Cape Cod. Cedric commuted but eventually his lover’s condition worsened and Cedric took leave to take care of him.  “When I moved to the Cape, that’s when I began making art. You know how in Provincetown there are so many shops and they sell box kits for people to put their shells in and other trinkets. To keep my sanity, I started buying the boxes and putting them together and painting them. The paintings became more elaborate. People started paying attention.  They encouraged me.”

photo courtesy of artist

photo courtesy of artist

The pieces evolved.  “Provincetown is a mecca for people throwing out great trash. Beautiful pieces of wood and other materials. If some object called to me, I would bring it home, break it down. Later I’d have vivid dreams about the finished piece specific to the object I had picked up.  That was the hard part. Figuring out how to make that concept real.”

Cedric’s lover died April 7, 1994. “There were a lot of dishes broken that day,” he said with a gentle laugh.  Later he would add, “Art brought me back. Gave me perspective. Something to hold onto and communicate with.”

photo courtesy of the artist

Since then, his art has continued to evolve.  “I began reading books on ancient languages, studying heiroglyphs, and exploring how one translates pictures into language and vice versa.”

photo courtesy of the artist

“Exploring these ideas of language and symbols is what I want to do especially with something that already exists, that people have tossed away.  I can take it and make it my own. My inspiration comes from my imagination. There are no boundaries.”

See Cedric Harper’s artwork firsthand. His work will be on display this weekend, along with eight other fine artists, at the Riverside Gallery Exhibit, Words in our Work.  Opening reception is Sunday, February 28, 3:00-5:00 pm. The exhibit runs through March 2016.

As for what’s in The Book of Truth? The answers will be shared in a follow-up post. Take care.

Cedric Harper by Carol Moses

Artist Cedric Harper, Photo by Carol Moses

 

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… particularly at certain times of day is the altar inside Trinity Church in Copley Square.  This altar is not part of the original construction and furnishings that took place between 1872-1877.  As described in a 1952 publication, The Story of Trinity Church in the City of Boston, by Rev. Edward Dutcher Romig, it was designed by Charles D. Maginnis as part of a 20th Century redesign of the chancel.  He writes of a giant block of Montenelle marble quarried near Trieste, and covered with carved faces and inserted borders of Venetian gold glass and colored glass mosaics. “The peacocks on the face of the altar symbolize eternal life, and the grapevine represents the wine used at the Communion Service. Thus the whole composition tells us that Christians who devoutly partake of the Lord’s Supper share in Christ’s promise of eternal life.”

You can learn more in a variety ways including Art & Architecture tours.  Another excellent resource is the book The Makers of Trinity available at the Trinity Book Shop.

 

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Close-up of the eagle lectern in the sanctuary at Trinity Church in Copley Square, Boston.

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