mixed media: acrylic paint, synthetic scarf, found crocheted doily, children’s markers, lipstick, acrylic gel, washi and packing tape, mat board
10” x 10”
inspired by the poem
THE CHAMBER MUSIC (WHY I AM NOT MATISSE)
I started a painting
of two girls and their mother.
The girls sit at a piano,
their faces turned
away. Why, I don’t know.
Are they looking
for some forgotten light or bored
by my endless
Should they wear pink?
Are they any less innocent
if I smear them in gray wash?
One girl picks at a rhythm on the keys.
A lazy plop,
plop, like milk dripping on doilies.
know, but I hear it,
and I swear the girls
A gleam of black and steely something
slips down one girl’s sleeve.
How on earth did that get in?
Quick, erase the arm, the steely whatsit —
Too late. I’ve brought in a note
of savagery. I’m watching, I can’t intervene.
Everything’s on a grim course
There and there and there
the girls pounce on the knife in a rush
and mother falls —
A charcoal saint in bloodied crinoline.
How did it happen?
I wanted two girls, a mother,
a music chamber, a sweetly tender scene.
Then came the stray thought —
— © Josepha Gutelius
Ana C.H. Silva has had solo exhibits at The Russell Gallery at Deerfield Academy in Deerfield, MA and at The Spence School Gallery in Manhattan. Her work has been include in the Peace and Human Safety Media Festival Exhibition and the Yaddo Artist Colony benefit auction. Ana has created two community-based collaborative installation projects in the Catskills, merging poetry and visual arts: Olive Couplets mounted at the Olive Library in West Shokan, and Lines in the Woods at the New Century Historical House in Rosendale, NY,—part of the show Eotechnic Sensorium, curated by Jeff Benjamin. She has been the visual arts curator for the online version of the Mom Egg Review from 2016 - the present.