Portrait of the Artist: Marianne F. Buckley Curran By Theresa Brown “Portrait of the Artist” is a bi-weekly series introducing Hull Artists to the community by asking each artist to answer 10 questions that will give you a glimpse into their world. Marianne Buckley-Curran’s connection with Hull Artists goes back to its early founding years and the seasonal “Studio at the Beach” in the old MDC garage in the late ‘90s. Like many other Hull Artists, some of her earliest memories are of creative activities and a connection to an artistic family member. In her case a grandfather, who was a Lighthouse Keeper, sign painter, and artist, taught Marianne how to properly use an oil paint brush as a small child. Although art making continued to be an important part of Marianne’s life, practicality and natural athleticism led her to pursue a college degree and career in Physical Education. While taking a break from teaching to raise her family, Marianne was able to link her knowledge and love of art to a part time entrepreneurial venture as an artist agent. She arranged exhibition of works by other artists in area businesses as well as organized and operated local art shows. ****( my strategy was to learn the business of art while I was developing my own artistic vision ) Always surrounded by the artistry of others, Buckley-Curran began to question why she wasn’t exhibiting her own work and started entering her paintings in juried shows. Success in these shows encouraged her to refocus on making art and to study with local painter John Kilroy. Once her children were older and more independent, Marianne went back to public education and is currently teaching both art and physical education in a local charter school. Buckley-Curran’s studio, in a light filled corner room of her Atlantic Hill home, is the “factory or proving ground” for works sparked by ideas born from everyday living and the abundance of locally inspired subject matter. The studio walls are hung with the evidence of her artistic purpose: to create paintings that combine a clear message, strong design, and effective use of light and local color. Local color is truly the sub-text in her work, whether it is executed through subtle translucent washes of lavender, rose, yellow, and green in a Beach Avenue garden water color or through bold saturated strokes of orange and gold juxtaposed against dusky indigo clouds and dark sea grass shadows in a Nantasket sunset oil painting. What makes the colors powerful is Marianne’s attention to color temperature, which when out of balance, she says “is like hitting a wrong note in music.” It disrupts the entire composition. ******* The black and white photo is used to check the value ( the light and darkness of a color) pattern . To “check the value pattern” of a painting, Buckley-Curran will sometimes take a photo of the piece and study it in black and white, reducing the color to pure light and shadow, contrast, and pattern. This ex-ray version of the composition reveals any weakness in the composition’s design.” But the studio is filled with many pieces that strike the perfect chord. Like the “pink” rose whose petals range from cool pale thistle and deep fuchsia to warm peach and coral all in the same blossom; the range of color temperature a result of light playing on the velvety curves and the light, now diffused as it passes through the petals creating a somewhat translucent effect rather than the complexion nature gave them. Perhaps the piece that best embodies Buckley-Curran’s three-fold artistic purpose is her oil rendition of the “Angel of Grief” monument in Hingham Cemetery. The headstone is a copy of American sculptor William Wetmore Story’s final work. Nearly paralyzed by the death of his wife, Story sculpted the monument as a final expression of love and grief. He never returned to his studio once the work was complete and followed his wife’s death by one year. The original monument now lies above the couple’s grave in a Rome, Italy where the Salem born artist had lived and worked for many decades. Buckley-Curran’s painting distills the sculptor’s sorrow by filling the foreground of the canvas with the prone body of the angel. Moonlight, still warmed by sunset’s afterglow, softens stone to flesh, connecting us even more intimately with the figure’s grief. In the painting’s background, the arc of silvery night clouds -- immersed in deep twilight and shadowy branches-- mimics the curve of the angel’s bent back and draped arm, amplifying the overwhelming sadness. Marianne’s deft control of composition, light, and color successfully transform abstract message into tangible compassion: a true embodiment of her artistic vision. How did you become an artist? I have, since I can remember, been drawing, painting, and working with different forms of art. In fact, usually for Christmas I create something significant for love ones. What do you feel makes your work unique and truly your own? Recently, I have been on a quest to focus on three things in my pieces. The first is clarifying what I am trying to say; the piece must have a clear message. Secondly, that message must be delivered via a good design that enhances and supports the message. Thirdly, but no less important, is to understand the effect of light and local colors on the subject and use this to enhance the message. What is your first memory of creating art? Having my grandfather, who was a Lighthouse Keeper, sign painter and artist, show me how to use an oil painting brush correctly. Do you have a muse or other source of inspiration? I’m going with life and what occurs to me on a daily basis. It is circumstances and experiences that trigger the idea for my next piece. How do you begin a creative day in your studio or on location? Having my set up ready to go. When and where are you the most creative? On the whole, I would say my studio is the factory or proving ground for my pieces, but many start with a spark of an idea and then grow in stages over time to become the painting. So that actually means at any point during the day an idea can be planted and germinate like a seed...hopefully a fruitful one! What is the most challenging part of being an artist? Nailing my feet down to finish a piece. If I am dissatisfied they become something to practice over. Why is art important and why should it be important to our community? Art is a visual form of communication. So much of what we experience in life is through this sense. If an artist can capture a moment in time and convey that through a painting or sculpture, then so many other people can also reflect upon, experience, and hopefully appreciate that. We find community in things that we can share. That is one of the reasons why so many people are drawn to this beautiful place by the sea. Where can someone purchase your art and is it difficult to let go of favorite pieces? I have some pieces locally in shows and displays, i.e., Sea and Sky, Open Studios, Hingham Furniture Design Center and I have a web site, localecolor.com. Andy Warhol said everyone has 15 minutes of fame; has yours happened yet? Actually, I’m not a fan of Andy Warhol. Fame is over rated. I do the best I can and let God take care of the rest. Don’t miss visiting Marianne, during the Hull Artists Fall Open Studios October 15 & 16 at 58 Nantasket Ave., #23 on the Tour Map available at many commercial locations around town and at http://hullartists.com. .