Carol Whitney, American: “Energy full Daily Work”
Three-dimensional Wall Picture: Woven Tapestry, ceramic, feathers, cord, approx. 80 cm x 90 cm (Emergence year is not known to me)
Life between Sunrise and Sundown
The three-dimensional wall picture “Energy full Daily Work” consists of a woven tapestry, in front of which a Native American woman out of ceramics had been put there together with her personal surroundings (also of ceramic).
This tapestry got woven of wool. Two hues had in principle been used for it: Orange (in color graduations) and deep blue. These colors divide the tapestry into an upper (orange-colored) and lower (deep blue) half.
At first the color graduations form an upper stripe in a bright orange (from left to right). There attaches itself a broad stripe in a darker orange. Within this broad stripe the orange is getting darker, more and more, up to the right side of the tapestry. There then is an even darker orange trace on the lower edge of this broad stripe which goes from left to right in different brightness steps. A thin woven-trace completes the broad stripe with an orange, already mutated into brown now. Under this, the gloominess is brightened at once with a narrow stripe shining in pink.
A perfectly circular plate is on the tapestry area in orange hues described above on the left side, worked of ceramic. Signs which contain apparently important information can be recognized on this plate.
In connection with the round plate, the orange forms the association “sun just coloring the sky”. The signs on the plate indicate that legitimacies (concerning the walk of the sun) had been meaningful and important.
The monochrome big color block in deep blue can be interpreted as a night sky, what symbolizes the rhythm of day and night – together with the color block in orange tones – for me.
At the same time, the deep blue can also be interpreted as water (e.g. sea) with this – as a guarantor for a supply with food.
On the whole, this is the description of the really visible one.
My thoughts to this are the followings:
The power of the red sky is dipping the world in pinkly full warmth… There, in the force field of this morning nature play, the “energy full woman” (represented into ceramic) collects her strength.
She also has plaited her feathers into her hair. They (the feathers) let her thoughts open for the distance which the wind uses. This distance keeps her spirit open so that she can think greatly and just as small both! But also: Overlooking roughly structured and just as finely, into the detail going or also gambling away and then again determined!
This reveals a broad pallet of acting to her! She nevertheless remains connected to the traditions, which is ensured by her attachment to the conception of the world as represented behind her!
The “energy full woman” gets down to her daily work, equipped with her attitude of mind in this frame of mind! I look at this, what her surroundings are mirroring: There I believe to recognize fish which therefore play a role. She perhaps does not catch them by herself, but worries about the daily food, however. I also can recognize mussel-shells in the ceramic surroundings. She collects these, like also special stones for fine work, like the ornamentation of clothes and of jewelry. A piece of cloth folded together (in ceramic represented) is directly besides her. Until the sundown she may finally have devoted herself to making cloth, to weaving.
In this world of hers she, the “energy full woman”, is the guide of her actions, and does hold “the reins” in the hand!
This, Carol Whitney has represented with her work of art.
And because all “action” of the “energy full woman” does move within the primary “laws of nature”, she is keeping her strength:
The night takes on the presence at the end of the day. And she, the “energy full woman”, does subordinate herself to this rhythm of nature, as well. After having accomplished her daily work – in the protection of the sun – during the day, she herself had become part of the nature-event with its own laws: “All action” had got its own time and attention. With that, she had the guarantee that she had lost only in so much strength during the day as she can regenerate in the night!
She, the “energy full one”, also had trained her spirit, by having devoted her own time and attention “to every action” respectively: Having won power by the strength of her thoughts this way, she lets pull the past-day at her inner eye. With that, her trains of thought, actions and feelings of the day organize themselves. Exactly this awards her “backbone”. And this for me has to do with this that she has always been at herself at all her actions, during the day – self-certain and in the rhythm of nature (also of her own nature)! . . .
Regenerated completely the powerful one takes her “energy full daily work” with the beginning of the sunrise on the new one.… Interpretation: Renate Hugel
To the Person of Carol Whitney (American)
We had met Carol Whitney just after our arrival. She is American and devotes herself to the art already for a very long time. Her own art, she permanently developed further with much energy following the aim of finding her personal statement convincing. I see it in this way, that she in every phase of her art has reached this aim by her efforts in her works (but to this in a later place).
Furthermore she supports very dedicatedly the interests of the American Natives and is also accepted by them.
I pass the word on to Carol Whitney now herself:
Carol Whitney (American) introduces herself with these words:
Carol Whitney’s Artist Statement: “My Life as an Indian Captive”:
“For the last 40 years my art has been inextricable linked with Oklahoma’s Native American people and our rugged Southern Plains environment.
At 72, I present my experiences of this unique world through sculpture, painting, poetry, pottery…” (Quotation: Carol Whitney, 2009) Renate Hugel
Remark 1: Current stand: I have written the contribution “Art Touches Art – 30” to Carol Whitney under “Art Touches Art”.
Remark 2: The contributions under “Art Touches Art” refer in part 1 (“Art Touches Art – 1 to 28”) to the symposium “Attempt of an Encounter – Five Native American Artists meet five European Artists”. This had taken place in Bremen (Germany), in the year 2000. Whoever would like to ask about the genesis of the symposium can scroll back till „Art Touches Art – 1“, then continue scrolling back till Information about ‚Art Touches Art‘; after that you find then the „Chronology of the Past History“.
In part 2 (as of „Art Touches Art – 29“) the contributions refer to the return visit in Oklahoma (USA) in the year 2001. . . Renate Hugel