Body Image- Photography by Rebecca Hoeppner

Some of my photo's are currently on display at Sparrow Collective Gallery (2224 S. Kinnickinnic in Bay View,  open 12-7 Tuesday through Saturday and 12-5 on Sunday! 414-747-9229).  The collection features a series of 5 body portraits as well as a few diptychs comparing the beauty of the body to the elements of art through composition.  Check it out!

Balance...suggestions wanted!

Suggestions needed on how to balance my life as a teacher and my life as an artist.  I am finding it hard to make time for both...and since I am not getting a paycheck for my art- it's the first to be pushed off the scale.  Any suggestions, all suggestions welcome.

The pictures don't do this justice!

The details you are missing from these pictures are the writings, without which the emotional connection is lessened, if not lost.  Below is the artist statement on display at the gallery:

When we study the body, we study the physical body, the actual parts of the body.  Anatomy books go in depth with details of how are bodies are made up.  I see our bodies are landscapes mapping out our emotional scars or wounds. “Being in a Body” came to be after searching through old sketchbooks and journals.  This was a repetitive process.  Initially it turned into a walk down memory lane.  Many ideas came to mind; perhaps too many, as my mind became jumbled and I couldn’t settle on just one.  Each idea would evolve and change into another. Some time had passed and I went back through these sources seeking focus and inspiration.   This discovery revealed a common thread between my current state of art making and the journals from my undergraduate days:  emotional connections to the physical body while incorporating text. 

The idea of fragmenting the landscape of our bodies allows me to control what the viewer sees, what emotions I am sharing.  Each fragment represents a different emotion and allows for me to share a little bit at a time.

I found the idea of suspending this work in space fitting in order to bring life to the work.  By having it suspended, it is able to breath and move as if it were kinetic skin.  The importance of breath and movement is critical to this work to exist.  Many of the emotions or memories have been held in so long, as if I have been holding my breath.  The movement and spacing serves as a reminder to breath: Inhale.  Exhale.

The design of the environment that I chose is a modified three circuit classical labyrinth.  Labyrinths are used as tools of spirituality and understanding.  Historically, labyrinths are used to help heal through balance, empowerment, transformative, and most importantly, calming the mind and body.  The three circuit classical pattern has winding paths and creates a journey towards emotional healing.  Like a river, or the blood in our veins, it travels with the natural flow of life.  One may question their own emotions on this journey; it may bring connections to each piece for the viewer.  It is also possible that the viewer will find a connection not only to the work, but to me, the artist, or even each other through experiencing this together.

MAVS Thesis Show Opening

The night came and went so quickly!  Two years led up to the opening, and just like that- it was over.  I was asked if I felt like it was the day after my wedding...and that is really what it felt like.  There were so many people in attendance, I tried to say hello and thank you to all who came, but I feel like that was all I could do!  I feel so blessed to have so many amazing and supportive friends and family.  Below are some pictures taken by Gene Hansen, a friend and avid supporter of the arts.  Thank you, Gene for documenting the show!

The show is up!

I will get pictures up when I have them on the computer, but after  7 hours of hanging, bending, reaching, threading, and lighting, the show is up!

It looks amazing, and better than I could have imagined.  I love how it comes to life with a gentle air flow.  My summer of all work, little play has paid off.

Frustrated, population: me

After an additional day of editing and creating print samples, I was ready to print, or so I thought.  I got 3 images in and the printer decides to get a mind of it's own, of course.  I have 32 hours to complete my prints.  And here I sit, and wait.

So, where is this going?

At the beginning of creating my work, I had the idea that it would be 6 layered pieces hanging in a window.  However, as my drawings progressed, my thoughts evolved.   I began thinking that the layers would take away from the emotions.  The work evolved from emotional healing, and this is a component that I was/am not willing to let this go, therefore the layers do not need to be part of each image.

I have edited the images with the thought in mind that they will show warmth, emotion, and kinetic movement.  The crepe du chine that I chose to print in is white in color, and translucent.  It is light and flowing.