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Carol Sexton Types and ShadowsShadows Journal of the Fellowship of Quakers in the Arts Issue # 54 Winter 2012-13 "Coral Vase" Ceramic, 12 x 6 x 13" high © Carol Sexton In this Issue… View art from artists who live in Indiana, North Carolina, California, Massachusetts and Pennsylva- nia: Carol Sexton, (front and back cover art), Chuck Fager, Marian Kaplun Shapiro and others. Issue # 54 Types & Shadows www.facebook.com/quakersinthearts www.fqa.quaker.org Edward Hicks: Citizen of T & S Editor Blair Seitz an “Un-Peaceable King- [email protected] 109 N 3rd Avenue dom” by Chuck Fager (guest clerk’s column) Chuck Fager © Seitz West Reading PA 19611 610-743-3950 estimony and temperament: what if they conflict? Especially in FQA Board Members a Quaker artist? Edward Hicks (1780-1849), the Quaker painter Maria Cattell of the renowned Peaceable Kingdom paintings, is a prime ex- Clerk ample of such conflict. Although he was trained and earned his [email protected] living as a painter, on few subjects was he more strongly opinionated – not to T say prejudiced--than, well, painting. He says this himself in his Memoirs: Doris Pulone Treasurer “If the Christian world was in the real spirit of Christ, I do not believe there [email protected] would be such a thing as a fine painter in Christendom. It appears clearly to Chuck Fager me to be one of those trifling, insignificant arts, which has never been of any [email protected] substantial advantage to mankind. But as the inseparable companion of vo- luptuousness and pride, it has presaged the downfall of empires and king- Phil Furnas doms; and in my view stands now enrolled among the premonitory symp- Membership [email protected] toms of the rapid decline of the American Republic.” Yet, by the apparently perverse grace of God, painting was all that Edward Blair Seitz [email protected] Hicks was ever really good at. He tried his best to be “consistent.” In fact, in his zeal as a newly-convinced Trenton Monthly Meeting Liaison Friend, Hicks gave up painting in Judith Weiss 1815 to be a farmer, which he felt [email protected] was a more appropriately humble occupation for a Christian Friend. As he put it, "I quit the only busi- Types and Shadows is pub- ness I understood, and for which I lished quarterly by the Fel- had a capacity, viz., painting, for lowship of Quakers in the the business of a farmer, which I did not understand and for which I Arts (FQA), c/o Philadelph- had no qualifications whatever." ia Yearly Meeting, 1515 At the time, Hicks had a wife and Cherry St., Philadelphia, four children, with a fifth on the PA 19102. FQA Member- way. ship is $25 annually. The result was predictable: disas- Submission deadlines are: ter, debt, and the spectre of bank- Sept. 15, Dec. 15, March 15 Self-portrait, Edward Hicks ruptcy, which for a Quaker in and June 15. those days was a one-way ticket to disownment. Hicks was rescued by the quiet intervention of John Comly, a FQA is under the care of prominent Friend who raised funds to (continued on page 7) Trenton Monthly Meeting. 2 A note from the Editor… FQA artists in action… I am pleased to display art from FQA FQA member Roberta Foss and her resident artist col- artists who live across the U.S. Our leagues at the Mill Studios in Manayunk (north Philadel- featured artist Carol Sexton returned phia) held their 20th Annual Open House in November to her home in the U.S. heartland— last year. The event included an auction to benefit Phila- Indiana. Carol’s versatility is demon- bundance and the North Light Community Center. strated by the several forms of ex- pression shown on T & S cover and the art with her essay. The California FQA 2012 Conference enlivens Burlington Center art of David Reese has the scent of B. Seitz ©J. Ballinger with song, theatre, pottery, photography and much prison life. I honor David for his courage. From Massachu- more. Phil Furnas recalls the experience with a twist setts Marian Shapiro brings us music composition. To stim- ulate our historic senses, Chuck Fager tells of Edward Attending the annual conference of the Fellowship Hick’s quarrel with art as legitimate Quaker practice. Phil of Quakers in the Arts seems to always awaken new in- Furnas reflects on our lively 2012 conference. And I an- sights and personal discoveries. We had concluded Friday nounce my new book. Enjoy. [email protected]. evening’s program: Adrian Martinez, a painter from Downingtown, shared his process of creating remarkable News from the FQA Board... historical works which recall the technique of 17th century masters; listening to the rich melodies of several tradition- FQA’s Facebook page al folk songs played by Marianne and Tom Tucker; an (www.facebook.com/quakersinthearts) has open mike session in which attenders displayed their con- become a meeting place of many Quakers— siderable skills in drama, poetry, and instrumental music. artists and Quakers who do not call them- The evening selves artists but who are interested in art had been en- and Quakers. Nearly everyday the site re- livening and ceives several “likes” which add up to much exposure for drew us to- members of FQA. gether in our Please send your art or art announcement to the Face- collective book coordinator at [email protected] or give it to one of love for and the site’s administrators who are also board participants— participation Maria Cattell, Chuck Fager, Phil Furnas, Doris Pulone or in the Arts. Judith Weiss. Submissions (with discretion of administra- With tors) will be placed on Facebook and select works will also Family of leaves made by the clay work- the close of be published in the Types and Shadows journal. shop at FQA conference. the evening’s FQA’s board met for a five-hour session in West Read- festivities I found myself wishing to continue the fun – ing, PA on January 6, 2013. Members discussed ways to prolonging a conversation with Keith Calmes about the provide encouragement to artists in our Meetings as well as similarities between his guitar pieces and jazz cadences I gaining more of our artists as FQA members. It was decided have loved over the years. We left the Conference Center that board members would seek to work with artists in and walked along the bustling traffic on High Street, tak- Meetings toward programs to “explore and bring out our ing in the fresh air of a fall evening. As Keith and his wife inner artist, our creativity.” The workshops would include chose to return to the conference center, I looked around persons who do not consider themselves artists as we feel for a diversion which would be a fitting end to a delightful that every person has an inner creativity to honor and re- day before returning to the Friendly confines of the Bur- lease. The board will be seeking leaders for these programs lington Conference Center to sleep. as well as Meetings that have adequate facilities for work- I found a cozy bar where the atmosphere was cordial and shops. We welcome your ideas. Please address them to Ma- the lager tasted good to my (Continued on page 8) ria Cattell at [email protected]. 3 while as I raised young children and found graphic design to be a more practical way to earn money as a freelance art- II am a sculptor working primarily in clay and ist. stone. I especially love the look and feel of stone, its Later, while working on an M.Div. degree at Earlham weight and hardness, its subtle color variations. I work School of Religion, I spent several years exploring the con- . mostly with Indiana limestone, and occasionally with mar- nections between art and spirituality and for the first time ble. Working in the demanding medium of stone keeps me understood art as both a spiritual calling and an important always at the edge of my abilities, requiring me to utilize form of ministry in the world. everything that I have ever learned about drawing, design, three dimensional form, the complexities of the human fig- When I started working in stone several years ago, I began with very simple forms, such as the egg and some of its var- ure, and the handling of tools. And there is always more to learn. I am drawn to sculpture because I love working with iations that can be seen in the plant world, such as the fruit, the nut, and the seed pod. Then I took a figure Carol Sexton of carving course and recon- nected with my interest in Richmond, IN, working from the figure. I have also fallen in love with coral during several discusses recent trips to St. Croix in the Virgin Islands, and have been incorporating art and Spirit coral patterns and textures into my clay work during my hands and I don’t mind doing heavy, dusty, messy the past year (see cover). work. I work outside whenever the weather cooperates, and Carol Sexton I move from one project to that is an added pleasure for me. I can easily lose myself in another, following my interests and trusting that they are all the work, entering a different sense of time and engaging leading me towards some greater work that I am meant to with the material in a very intimate way. I experience the do. Perhaps eventually I will discover a way to integrate hands -on process to be healing and very soul satisfying.
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