Jesus of the People c. Janet McKenzie (detail)
(Image by Photo credit Lightworks, (Winooski, VT), art c. Janet McKenzie)   Details   DMCA

Jesus of the People c. Janet McKenzie, and on exhibit at Harvard
(Image by Photo credit (L) Lightworks, Winooski, VT, (R) Janet McKenzie)   Details   DMCA

Holiness and the Feminine Spirit The Art of Janet McKenzie
(Image by by Susan Perry (Editor))   Details   DMCA

Mary Magdalene: Invitation to Love (detail) c. Janet McKenzie. Col. North Congregational United Church of Christ, Columbus, OH
(Image by Photo credit Lightworks, (Winooski, VT), art c. Janet McKenzie)   Details   DMCA

Meryl Ann Butler: Thank you for visiting with us, Janet! Vermont seems to support more than its fair share of forward-thinking visionaries, between Bernie Sanders who is well-loved here at OpEdNews, Vermont's courageous stand regarding GMO labeling, and as home to your stunning art! And by "stunning," I mean beautiful, but also that you "stun" people with your subject matter.

Offering a shocking visual experience is a way to direct a viewer's attention to your message. For instance, when Georgia O'Keeffe was asked why she painted such large flowers, she responded, "A flower is relatively small. Everyone has many associations with a flower - the idea of flowers ... Still -- in a way -- nobody sees a flower -- really -- it is so small -- we haven't time -- and to see takes time, like to have a friend takes time " So I said to myself -- 'I'll paint what I see -- what the flower is to me but I'll paint it big and they will be surprised into taking time to look at it -- I will make even busy New Yorkers take time to see what I see of flowers:' Well -- I made you take time to look at what I saw."

So it seems to me that you are capturing the attention of your viewers in a similar vein, although rather than using scale, you are using subject matter.

Can you share with us a little about the message that you would like your viewers to "hear"?



Janet McKenzie: I strive to create art that is fiercely inclusive - art that is a reflection of our inherent similarities rather than our differences and what I create is my own vision and the way I need to see things.

When I painted Jesus of the People, I used a female model as my primary inspiration in portraying a dark-skinned Christ, in order to include the feminine spirit.

I have been told (often) that Jesus of the People looks like someone the viewer loves, but in reality that person looks physically nothing like the image on the canvas. Clearly they are seeing with their heart and not their eyes and that is the power of this painting and what I strive for with all of my work. I never think about putting work into the world as a gesture of provocation, although much of it has been regarded as provocative.

All my work comes from my heart, which resonates with hopeful joy and profound despair at the hateful violence of the world. Each mother protectively holding her child, every pair of closed eyes and each woman looking out of the canvas into the eyes of the viewer reflects my desire for change, for a world where mothers don't fear losing their children on a daily basis and where a father of color does not have to remind his son to be careful every single day of his life.

What others bring to the way they view my work is a reflection of their own journey.



MAB: Yes. And so many images portray Jesus as fair and blue-eyed, which we know is not an accurate depiction, so your images that mirror a wider variety of races and genders, are so refreshing.

I understand that Jesus of the People was already on exhibit in a solo show at the Good Hands Gallery in Santa Fe when 9-11 happened. It is interesting to muse upon whether that was coincidence or synchronicity. And you were at the gallery - can you share what happened as a result of this poignant timing?

JM: After the twin towers came down, the owners considered closing the gallery for an indefinite period of time. But upon reflection they decided to keep it open in case anyone wanted to take solace in sacred art. Many did come and it was an emotional experience seeing people look up at Jesus of the People and cry.

This old, beautiful, adobe, soft-walled gallery in downtown Santa Fe evolved naturally into a chapel that day, and continued its compassionate role in the the coming days. The area where Jesus of the People hung on the wall seemed to transform into an altar.



MAB: Wow, that's a powerful word image!

I love your style of painting, it is so unique! I notice some aspects that seem to me to be a little reminiscent of cubism, art deco and even Russian iconography, and underneath it all is the kind of solid art training that can be learned at so few places these days, the Art Students League is one of those few. Coming from that kind of background, myself, I know that it is a rich foundation that informs your work, and it is especially notable in your beautiful rendering of drapery.

Can you tell us about your style - how it developed, the influences, and how it enhances your message? I know that you spent a transformative and pivotal time of retreat in Albuquerque, perhaps that ties in with this question.

JM: I think more like a sculptor than a painter as I am very interested in form and negative space. My style evolved through the love of drawing and the refusal to get rid of line, which as a student I was told to do. There is an existing force underneath the paint that is unseen but still comes through, an energy built from ferocious activity and interconnection.

Most of all I believe my art, which comes from the heart with no ulterior motives except to create the best work I can, is needed in this violent world we live in. My work honors the majesty of the human spirit and the longing for relevance.

Yes, my 6-month retreat in Albuquerque provided me with an opportunity to completely immerse myself in intense creativity in ways that hadn't been possible/available to me before. I painted 8 paintings, and by the time I was done, I understood more fully that I wanted my art to more deeply reflect my search for relevance and meaning.



MAB: I'm fascinated by the the yin-yang balance in your Holy Family, since the traditionally light skins are dark, and the traditionally yellow haloes are violet - which are opposite each other on the color wheel. This certainly offers food for thought about opposites, and how we create wholeness from combining them.

And this image also brought to mind a Christmas carol I remember singing as a child in the late 1950's, "Some Children See Him" by Wihla Hutson & Alfred S. Burt. The lyrics include: "Some children see Him lily white, the baby Jesus born this night ... Some children see Him bronzed and brown, The Lord of heav'n to earth come down ... Some children see Him almond-eyed, this Savior whom we kneel beside."





James Taylor did a lovely rendition of this sweet song on his album, James Taylor at Christmas. There's a short snippet on Amazon and a much longer sample on iTunes (search iTunes for "Some Children See Him James Taylor.")



Your Pieta - The Beloved feels especially poignant in the wake of the recent deaths of Michael Brown, Eric Garner and Trayvon Martin. These events share archetypal patterns with the crucifixion in that all four are emblematic of the abuses of governmental authority raging against seemingly gentle and nonthreatening individuals.

The loud refrain we are hearing now from our own populace, "Hands up, don't shoot!" seems to punctuate this, and brings to mind Goya's famous painting, The Third of May 1808, which also references these themes, particularly in the crucifixion-style pose of the main figure.



Even Pontius Pilate knew that what was going on with Jesus was a misuse of power, and he famously washed his hands of it. I am inclined to wonder if a painting like your pieta, which mirrors the misdeeds of the guilty, is one of the reasons why some people respond angrily to your art ... and why the compassionate ones find comfort.

JM: I have noticed what a person brings to viewing my art will be reflected back to them. If they bring hate and prejudice, they will hate, resent and detest the image even more--and many do - yet if they bring love and acceptance, they will profoundly and deeply adore it more so, and many do.

MAB: Janet, you have an upcoming event at Wellesley College with Sr. Joan Chittister on Nov. 15, 2014, which is associated with your new book together: The Way of the Cross-The Path to New Life. Can you tell us more about that?



JM: We will be presenting together for a morning event at the Houghton Chapel at Wellesley College, Wellesley, MA. Nov. 15, 2014 - The Way of the Cross: In and Out of our Lives. Sr. Joan will speak about the challenges of life, its crosses and the rising to new life and I will speak about my journey as an artist and will exhibit some of my work. We connected through the publication of our book in 2013, The Way of the Cross - The Path to New Life (Orbis Books), written by Sr. Joan and featuring my new paintings of the 14 Stations of the Cross and The Resurrection. I am so excited! More info at www.sacredthreadscenter.org or www.bethanyhousearlington.org (click on upcoming events.)

MAB: Wow, the combination of you and your contemplative artwork with Sr. Joan sounds like it will produce an amazing event! Is there anything else you wish to share with us before we finish?

JM: Thank you so much for carrying my work forward into the world so it may continue to challenge hate by reminding of love.

MAB: Thank you Janet for taking the time to visit with us, and also for all the work you did to supply us with the gorgeous images used here! This has been enlightening and the beauty of your work is inspiring!


Holiness & the Feminine Spirit is on exhibit as part of The Vermont Festival of the Arts, which is in its 17th year. The month-long celebration features over 100 quality arts-related events and activities and continues though the end of August. www.vermontartfest.com

Holiness & the Feminine Spirit can be viewed through August 31, 2014, at the Waitsfield United Church of Christ , Route 100, Main Street, Waitsfield, Vermont. The exhibit is free, and open Thursdays-Mondays, 12 noon -- 5 pm. Phone: 802 496-3065. waitsfieldchurch.org



IMAGE ALERT:
All images shown here of paintings by Janet McKenzie are copyrighted by Janet McKenzie. The use of any of these images is prohibited unless prior permission from the artist is obtained.
jmckenzie2000@hotmail.com

Janet McKenzie's website: www.janetmckenzie.com

Reproductions of Janet McKenzie's art are available in a variety of formats at www.janetmckenzie.com/prints.html
Books are available at Orbis Books.