Dresden, Germany

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(Photograph of Dresden. Taken in April 2017.)

This morning I swiped through thousands of my own photographs taken on various research trips through Europe. Not sure why, really.

Dresden, in Germany, is a city I visited for a few hours last year, on a day trip from Prague. 
There is a hush in Dresden that sounds like 25,000 last-gasps for breath. That’s the estimated number of civilians killed by Allied bombing raids in 1945.

Here’s the truth: I’ve been considering stepping away from my years of work with WW2. Walking in another direction to something less heavy, more palatable.

 Looking through my largely-untouched photos made me feel a massive rush of emotion I can’t put into words. I bawled like a baby. Memories of personal encounters with geography, history and humanity / inhumanity took me from the outside in. So many stories I have yet to tell ... and even more than that waiting for my discovery.

History has chosen me. There is an intensity where geography and human memory intersect with history, and they sing through me. 

Decision made. 

Heels dug in. Tenacity on full tilt. In it to win it.

I’m not going anywhere ... anywhere but here: Dresden. Every other bomb and artillery scarred city in this worldwide war. The camps. The beaches. The forests. The Gestapo headquarters. The historian’s offices. The living rooms of veterans and survivors. 

With my camera, my notebook, my paintbrush. My heart. My soul. 

This is where I belong.

Details of Mein Herz / Kein Herz

Time to get up-close and personal.

Here are a few zoomy-zooms of my painting ‘Mein Herz / Kein Herz’ (that’s My Heart / No Heart in English).

It sold yesterday, and is in its new home.

This large painting is heavily layered with mixed media processes and collage.

The main source of inspiration was a stack of letters written by a German Wehrmacht soldat, or soldier, to his girlfriend during WW2.

You can read more about this painting OVER HERE.

I forever learn from the Germans of that era about the complexities and toxicities that, left unattended, can collectively contribute to worldwide despair.

mein herz kein herz
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mein herz kein herz
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mein herz kein herz

Life, Uncensored ::: Two

Matt and Inka and I are diggers. We go to Latvia and volunteer to search for and recover soldiers MIA from WW1 and WW2. 

Matt sent a photo over to me and I worked my inspiration from it into a mixed media painting for him. In the photo are Inka, Matt, and Matt's brother in law Ken - who I haven't had the pleasure of meeting but as part of the Legenda family he's guaranteed gold. 

I also gleaned inspiration from an original image of Wehrmacht soldiers from WW2. In case you haven’t noticed, I’m obsessed with humans and our stories, passionate about finding the common threads we all share. 

These men - all six of the above - have taught me in their various ways what it means to be a human being. There’s nothing more insta-inspo than that for me.

Working on this piece for Matt was a sweet experience because Matt and Inka are my buddies forever and ever ... plus the soldiers we recover live in my heart.

Cool side fact: the Wehrmacht buttons I stitch into this piece were given to me by Inka, who sent them to me a year or so ago. He dug them out of the earth with his own hands after seven long decades spent hidden in Norwegian dirt. They are part of my massive collection of wartime relics, photos, and documents.  

There's all kindsa full circle here. Watch my secon installment of Life, Uncensored to find out more. 

To find out more about my work with Legenda and the missing soldiers, read my book: The In Between.

You can watch a short film about my first experience in the forests of Latvia with Legenda HERE.

I made a second short film on my research trip for The In Between. You can watch it HERE

Life, Uncensored

Life, Uncensored. 🌸⚡️👊

Here I am talking about how prepared I am (😂) for my book launch party for ‘The In Between’. 

And a few other things. 

So ... welcome to my new vloggy thing. This one is just under 5 minutes and is a little inside scoop.

(I worked my ass off for ‘The In Between’, btw. Just clarifying for those of you who don’t speak the same dialect of sarcasm I do in the video).

'Final' draft

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A little stack of art journals I began exploding into in 2015, after my first visit to a concentration camp. For decades I’d harbored a secret curiosity (aka obsession) about WW2, but was afraid to approach it. Too much death, trauma, and sadness ... ... ... but ... ... ... here I am in 2018, looking at a 545 page ‘final’ draft of my book (545!!! How the heck did that happen?!?). It’s waiting for my meticulously considered slashes to bring down the page count ... then it’s off to the printers and into your mailbox. These babies you see here are where it all started - and I NEVER imagined I’d publish a book on the topic. I am so freaking full of emotion about this project, and seriously can’t wait to share it with you!

Gerda

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If I’m not writing, I’m painting. If I’m not painting, I’m collaging. Can’t stop, won’t stop. 🌸🎨📚

The woman in this photo is named Gerda. I have an album that belonged to her family in my collection. They were Germans, and the album spans the years before, during, and after the war. Sprinkled through shots of Gerda having fun with her sister and getting married and bearing children are other kinds of photos. There are images of bombed out houses, starving animals, and Jews digging holes under the watchful eyes of laughing soldiers. It’s an album that shows us how humanity’s darkest stories creep up and begin to co-exist right alongside a seemingly normal happy life.

Ravensbrück

Ravensbrück. A quick little 30 second montage. I spent seven days in silence, alone. Songs made by nature, the whir of my bicycle pedals, or my footsteps were the only sounds my ears absorbed. Hours and hours spent exploring the grounds, which were mostly empty. Ravensbrück is a sprawl, with the former jugendlager (youth camp) which eventually became another killing center for the women, and the skeletal remains of Siemens factory where the women slave-labored cushioning its perimeters. Trees, wind, historic structures, ghost-hazes of terrible memories and me.