Drawing Inspiration

Each weekday morning on the way to the office of my day-job at a community college, I have the pleasure of passing the small, glassed-in campus art gallery. Then, each evening I catch another glimpse of visual inspiration on the way out, which often sparks ideas to mull over on the commute home and later apply to my night-job as a writer. The January exhibit of works by Lisa Qualls has captured my imagination and begun the New Year and the new semester with a remarkable blend of the timely and the timeless.

Imagine hoop skirts covered with diaphanous silks in the colors of ivory, saffron, cocoa, and cayenne, all floating in the space between floor and ceiling, seemingly waltzing on light and air. This is the vision that stopped me in my tracks, then compelled me into the gallery for a closer look and to hear the artist’s commentary on her creations. Since my work as a novelist focuses on the mid to late 19th century American South, I immediately thought of plantation mistresses in their restrictive crinolines. But these skirts suspended in the gallery are so much more than costumes from a bygone era.

The series Lisa Qualls has entitled “Paris is Burning” combines the artist’s research into the complicated relationship between Europe and Africa with her own experiences of meeting African immigrants in Europe. Qualls states she is “interested in how cultures absorb and share garment forms, patterns, body markings, and ritual objects.” Her artwork reveals aspects of cultural identity, issues of immigration, and influences of colonialism that have shaped history and continue to affect current events. Some of Qualls’s drawings incorporate period European textile and wallpaper patterns with African ritual masks or body markings. One especially arresting pencil drawing on vellum presents the image of an African man dressed in a stylish 19th century European suit and displaying ritual scarification on his face. Another depicts a hauntingly lovely African woman dressed in white, the hem of her gown blending into the intricate pattern at her feet, the design pigmented with coffee and beeswax.

And then there are the skirts of silk organza over cotton and boning, echoing the past and the caging and concealing of women’s bodies, but offering, as well, other compelling layers of meaning. The artist calls her grouping of skirts “Surveillance Maritime”, explaining it “is about Africans leaving in boats from the Canary Islands and trying to reach the coast of France.” Qualls has applied text in English, French, and Spanish to the dyed silk, describing the European reaction to illegal African immigration. European surveillance of the coastal waters leads to the apprehension and return of Africans trying to enter Europe illegally and sometimes leads to the rescue of people in danger of dying in the boats. In the context of the exhibit, the hoop skirts become vessels, ribbed boats covered over with a skin of fabric that tells a story of a modern quest for freedom. Yet, they are reminders, too, of long-ago ships that carried Africans into slavery.

With “Paris is Burning”, through layers of line, color, texture, and text, Lisa Qualls captures layers of complexity found in the enmeshed histories of Africans and Europeans. From her work I gratefully draw new inspiration for my historical fiction, a deeper sense of the ways cultures exploit and engage each other, and a greater appreciation for the interplay between the visual and literary arts.

Rosemary Poole-Carter, author of Women of Magdalene

For more about artist Lisa Qualls:

www.lisaqualls.com

http://lisaqualls.blogspot.com/

Frost on the Mirror

Recently, two brief newspaper mentions of deaths caught my eye—not on the obituary page, where deceased individuals are named and their lives honored. These mentions appeared on a back page of the news section and are of particular interest to me because they offer glimpses into 19th century American history. The first article describes a hiker’s discovery of human bone fragments and a metal button lying in a Sharpsburg cornfield, which had once served as a Civil War battlefield in 1862. Examining the remains, experts concluded the bones belonged to a young soldier from New York State, who was perhaps between 19 and 20 years old when he fell in combat. The second article describes the discovery of more anonymous dead, 957 individuals buried in unmarked graves between the years 1889 and 1957 in what had been a Nebraska psychiatric hospital cemetery. Both articles resonate with me as I continue researching Civil War and post-Civil War history for my novel-in-progress and as I reflect on research done for my novel Women of Magdalene, set in a 19th century ladies’ lunatic asylum.

In Nebraska, a historical society is fighting for the release of the identity of the long-dead patients, many of whom were committed against their will for a variety of health conditions and reasons, including poverty, and whose very existence was erased with burial. A chilling thought—and similar to one that ran through my imagination years ago when I created my fictional asylum for “inconvenient women”, who never went home again. Like other writers of historical fiction, I hold a mirror up to the past and, in doing so, frame that past, limit it, and bring a particular aspect of it into focus. I look back at the sweep of history or catch a glimpse of it in a newspaper article—reminders of the haunting stories of those who actually lived and died in the real, not the fictional, world. Then I turn again to my story-mirror and, for a moment, find a whisper of frost on the glass.