A folk art exhibition in Lexington is a reminder that the religious themes that have fallen out of favor in high art persist as inspiration for lots of folks.
Religious motifs are a staple in the Renaissance art found in major museums, but contemporary art more commonly evokes ire rather than devotion among believers. By contrast, the National Heritage Museum’s “Keepers of Tradition: Art and Folk Heritage in Massachusetts” features work from living artists who focus on preserving rather than breaking with the past.
Aside from the odd cow-shaped weather vane, many of the more than 100 pieces on display at the Lexington museum carry religious or nautical themes. Gloucester artist Marco Randazzo manages to combine the two with his rope crucifixes made from nautical knots. The appeal of Randazzo’s work is likely limited to those who share his faith, but other devotionally-inspired works on display are simply beautiful.
Works on paper by Feridun Özgören of East Boston and his apprentice, Güliz Pamukoglu of Waltham, display the Turkish art of ebrû. The artists add pigment to a pan of water, produce swirls with a comb, and transfer the pattern onto paper to produce the illusion of marble. The works also feature flowing Islamic calligraphy.
Icons produced by Ksenia Pokrovsky of Sharon and her apprentice, Sister Faith Riccio of Orleans also show how tradition is handed over and perhaps altered in the process. To my eye, the work by the teacher, Pokrovsky’s Lifegiving Spring, is too busy, containing more than 30 figures and telling too many stories at once. Riccio’s The Holy Trinity is spare, elegant and literally illuminating in its use of gold leaf.
Other sacred expressions vary in their appeal to the non-believer. Amherst artist Carlos Santiago Arroyo’s woodcarving, The Most Powerful Hand, features colorful miniatures of saints perched like thimbles on the fingers of a crucified hand. Perhaps because of the hand’s high-five pose, the effect is strangely cheery.
But a Crown of Thorns made of dried palm fronds by former Hampden resident Lise Galarneau is unlikely to move those not already affected by the biblical story it references. Uniform in color and pattern, it appears to the particular rather than the universal. Conway artist Thomas Matsuda’s fine wood carving of a bodhisattva is lovely, and Montague Center artist Carol Kostecki Easter chicken and goose eggs are almost mesmerizing in their intricacy.
The nautical art on display is more familiar, but a narrative quilt by the Gloucester Fishermen’s Wives Association that includes a protest against factory fishing contains surprises. A well-executed shadowbox by Rockport’s Erik Ronnberg, Jr. depicts an 1892 schooner race, and conveys a sense of motion as two three-dimensional ship’s models battle through heavy seas
Sailors with time on their hands often create art. So too, it turns out, do metal workers. Sheet Metal Workers union members created Tin Men–three metal figures that resemble not Dorothy’s expressive companion but rather the faceless robot in The Day the Earth Stood Still. Pittsfield’s Robert P. Langdon, a retired engineer, produced a remarkable aluminum violin.
The exhibition, which continues through Feb. 8, 2009, was organized by a state agency, the Massachusetts Cultural Council, and is the product of eight years of fieldwork. More likely to uplift than offend taxpayers, it’s probably a safe application of the public’s money. My only real irritation was directed at the volume of some videos showing the artists at work. The sound of a tap dancer in the background can take away from the full contemplation of the object at hand.
What inspires folk art? For some, it’s the sea and its power. For others, it’s a vision of celestial power. For many, it’s an inner power in people who never aspired to become professional artists but find they have the time and the urge to create. In an era when anyone can become an American Idol or perhaps even vice president, it’s comforting to think that among the unheralded lay many hidden talents.