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Updated: 5 days ago

Updated: 6 days ago


A Western Painting

Fleeing Irpin the flight into Egypt

loneliness in Dallas

Tulips Still Life, finger exercises series

The Second Impeachment Triptych

 

Thinking is more interesting than knowing, less interesting than looking. The source of my practice is the world with its beauty and confusion – nature, alien and alluring, the social, equally baffling but no less wonderful, and the uncomfortable friction between that, and our internal interpretations. Life eludes easy understanding or conclusion: what are we seeing when we really think about it, how did we miss it before? I was born in Chicago, trained as a pianist, took an art class at 23, and what I’ve wanted since then has been to paint. I hold degrees from Yale and the University of Chicago, and was a degree student at California College of the Arts. I lived for 30 years in San Francisco, where I was shown by Meridian Gallery. I now live in Minneapolis. I’ve exhibited in juried shows and solo exhibits throughout the US, Europe and Canada. My works have been acquired by the Fine Arts Museums of San Francisco, the Minnesota Orchestra, the Nature Conservancy, the Minnesota Historical Society, the University of Chicago and the Weisman Museum, and can be found in collections in this country, Europe, and Asia. What else? I know that I am eccentric, but at least I am consistent. A Western Painting: Done on the summer plains: I saw combines where once were horses. Fleeing Irpin: Refugees from a Ukrainian village, along with angels from Ruben’s “Flight from Egypt.? To be auctioned for Ukraine relief. Loneliness in Dallas: Seen in a shop: the connected glance. What was on between the two of them? I’ll never know their truth. So I substituted my truth. The 2nd Impeachment: Angry over Jan 6? I was. This came out of it. Tulips: Can’t be angry always: still lifes bring tranquility to me and, I hope, joy to viewers.





Updated: 6 days ago


The Raven and the Whale

Acrylic on Canvas, 30 x 40 in.

There are several Inuit stories of Big Raven, (both a diety, a human and a bird). In the most well-known tale, he goes into the belly of a whale, and discovers the suffering and the soul of all things. This painting is of a lesser known Big Raven tale as he tries to alleviate the plight of a beached whale, which he cannot possibly carry. He asks for help from Great Spirit, and after eating some mushrooms by moonlight in the forest as directed, he garners the strength to carry the whale back to the ocean.


The Last White Cow in Wales

Acrylic on Canvas, 48 x 60 in.

At one point, it seems, there was need for an explanation of the lack of white cows in Wales. The story goes that a farmer was gifted a beautiful white cow by the Lady of the Lake and this cow produced many calves. The farmer decides, after many years, to slaughter this mother cow, and gathers the townspeople to watch. As he lowers the axe to her skull, it will not go through, and as ear piercing screams from the Lady of the Lake resound, this cow, and all of her children, lift off the land and disappear into the ether.


Death of the Flower Woman

Acrylic on canvas, 30 x 40 in.

In Welsh folklore, there are various tellings (and spellings!) of the story of Blodeuedd/Blodewedd . In most, she is as much a victim as a villain and this is a cautionary tale of an unfaithful murderer getting her just dues. My take is more sympathetic. She did not ask to be conjured up out of wildflowers for use as a wife, or to be ignored by that indifferent husband. She had few options available when she found true love with another. She was not killed but instead cursed to be an owl forever.

 

Mary Curran, marycurranstudio.com although a native New Englander, has only recently become a “Mainer”. For almost the entirety of her artistic career, she has been inspiring young artists as a public school art educator, teaching primarily in Arizona and Connecticut. She holds a BFA from University of Massachusetts at Amherst in Studio Art (printmaking) and Art Education, and a Masters of Secondary Education from American International College. Knowing that the teaching of art reciprocally informs the making of art, she maintained a studio practice and her work is in private collections across the United States.


Retiring from the educational world and flipping what takes precedence in life, her work maintains a common focus. In narrative or decorative approaches, her work investigates, isolates and synthesizes themes of nature and human response. Her explorations in a variety of media reflect both her experience as a fine arts educator in multiple disciplines as well as an admitted distractibility.





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