Digree Of The Sun

I first met Digree in April of 2018, within the studio of the renowned artist Salvatore Del Deo, located in the beautiful town of Provincetown. She had graciously agreed to come for a portrait sitting, and we were all pleasantly surprised when she arrived wearing her stunning authentic Nepalese Wedding Dress, complete with intricate jewelry and all the exquisite details. What could be more authentic for this remarkable Nepalese farmer, who seems effortlessly one with the Sun and beautifully in sync with the Earth, than to present herself with such love and cultural pride? Digree was an ideal artist’s model; she sat so still and elegantly, resembling a beautiful flower perfectly placed in a vase. During break times from the posing, she smiled radiantly, her joy evident as she delighted in the diverse interpretations we painters were creating around her. For me, it has always been true that the subject leads the creative process, whether I like it or not. When you embark on the experience of painting a human sitter, you truly come to appreciate the intensity of their existence. When I am confronted with this palpable intensity, I find myself wanting to honor it fully. Digree took the time and effort to wear her lovely wedding outfit for our session, and thus it deserved to be captured as beautifully as I could possibly manage. Her hands, strong and capable, needed to be portrayed as working hands, emblematic of a dedicated organic farmer tending to her vegetables and flowers. Her face was illuminated, filled with the warm glow of light, so when I created the garden background inspired by my own flowers, I carefully used some of the same vibrant colors of the sunflowers in her skin tones to help encapsulate her radiant essence. She emanated such warmth, humility, generosity, and a profound appreciation for a life that has been granted to her, allowing her to engage in the work she loves dearly. Not only does she contribute significantly to her community through operating a farm stand, but she also actively participates in multiple farmer’s markets throughout the bustling growing season. What serendipitous good fortune it was for all of us that her remarkable journey led her all the way from Nepal to take root in our community, much like a precious seed carried gently on a purposeful wind, destined to blossom and thrive.

Digree Rai with Teresa Baksa, September 2024, Mary Heaton Vorse House, Provincetown MA, “Mary’s Choice” exhibition.

Saving Grace

TRUTH, BEAUTY, LOSS, REDEMPTION

When I began the painting titled "Saving Grace," I had been deeply immersed in reflecting on, reading about, and listening to various lectures concerning the concepts of truth, beauty, loss, and redemption. This exploration was in relation to the significant currents of expression and behavior characteristic of our times, which greatly influenced my artistic vision.

In early 2020, just before Covid-19 became a pandemic, I noticed major changes in the world. I felt that beauty was fading from our culture, seen as unnecessary and superficial. Instead, crudeness took over our societal norms. Truth had become a tool for manipulation, serving whichever party needed it. This shift was partly due to the relentless influence of media used by opportunists to manipulate thoughts through deception and emotional addiction. Emotional addiction targets the vulnerable for profit, leading to a lack of integrity in personalities that resonate with many today. This condenses power in leaders who embody manipulation, driven by greed and deceit. Ultimately, emotional manipulation is abuse inflicted by an abuser with harmful intentions.

I felt hopeless. It looked like our cultural achievements and civility were declining. We seemed to have lost social manners and respect for nature's beauty. The foundations of free thought and expression, along with democracies worldwide, were at risk.

Covid-19 turned into a pandemic. The world became sick due to carelessness and a lack of respect for the limits between people and nature. Millions lost their lives, many without reason. Leaders responded too slowly and avoided responsibility. I sensed that my way of life, already fragile and unpredictable, was close to falling into chaos.

I had to create a painting to show how I felt about everything because it needed to be shared. Art has a mysterious quality, even for the artist. There’s a deep urge from the heart and mind to bring feelings into the real world, not just keep them in the imagination. I had previously made a large charcoal drawing called Falling to Love that hinted at my feelings. It seemed like something precious was rapidly falling away, and there was nothing to stop it.

Falling To Love, charcoal & pastel on paper, 48” x 36”, 2019

In the drawing "Falling To Love," a theme emerged inspired by the model Leah, who posed lying down. I drew her from multiple angles in a vertical style, cutting off the third view just below her waist, creating a feeling of falling. I wanted to explore where she might be falling, so I expanded the bottom of the composition and transferred the outlines to a large canvas. I worked on the painting daily during the Covid-19 lockdown from 2020 to spring 2021, making several changes along the way. I used mostly black paint, limiting other colors to reflect the profound sadness from the lives lost during the pandemic. The line work from the drawing remained vital to the painting, conveying the movement and emotions of human life amid global change.

In counterpoint to the theme's downward direction, I created a large male hero figure entering the scene with an upward movement. I call him male because he represents the highest physical strength, but I used my own face for the head, mixing my likeness into the work. Symbolically, he combines male strength with female intellect. From a void in the lower right corner, a flurry of doves flies upwards, increasing the drama of the scene. Is there hope for redemption? If we can blend great strength with female insight and empathy, can we protect what is most valuable?

This hero symbolizes strength and the rise of helpers during human crises. They come from diverse backgrounds, committed to understanding our existence through years of focused study. They learn about our nature and gather data to find patterns that can help us predict and cope with life's challenges. Many are part of "Tough Tech," a group using innovative technologies to tackle society's biggest problems. They provided crucial support during the Covid-19 pandemic, saving many lives while also battling chaos—where the vulnerable struggle in ignorance and apathy. Addressing this requires politics that are courageous, compassionate, and progressive.

"Saving Grace" expresses movement, deep feelings, tragic beauty, and spiritual thoughts experienced by the artist at a specific time, shown in a classical S-curve design. It serves as a metaphor with meanings that vary with each viewer. Ideally, it connects those who wish for a world that honors past achievements while learning from mistakes—a world progressing towards intelligence, peace, and the vital importance of truth, beauty, and salvation.

Inspiration/Creation of The Painting, Marisa's Dress

When I paint a live model, I like to learn about them if they want to share. Marisa, the model, chose to tell me the story of her dress, which became the focus of my painting. At first glance, the painting looks like a classic portrait of a young woman in a bright red dress. However, I sensed a strong emotional connection between her and the dress, which inspired the bold way I depicted both. I hope this intensity adds a deeper meaning to the piece.

When Marisa arrived to model for me and some artist friends, she wore a lovely white dress, with pale flowers in her hair and vintage earrings. She looked gentle and beautiful, like a character from a Victorian novel. Then, she showed us another dress, an art deco design in red and black. It had bold shapes outlined with contrasting piping and a light pattern of shapes and flowers around the skirt and bodice. The dress was striking, unique, warm, and creative. It expressed independence and a non-conformist spirit, full of personality and surprises. The fabric was sturdy, in a bright red color. We all agreed that Marisa should wear that dress, and when she did, she seemed to transform.

Marisa shared the story of the dress. Her mother was shopping for a wedding dress with her own mother when she found one she loved. Marisa’s grandmother promised to buy it if her daughter didn’t wear it at her wedding, which is how the dress became her mother's. Years later, when Marisa was just 6, she lost her mother and was raised by her grandmother. That’s mostly what we learned, along with hints that her mother was a rebel, possibly sharing the same unique traits as the dress. Marisa might find comfort, strength, and love when she wears it. It made me wonder if a dress can serve as a vessel of captured emotions, and in this case, can those emotions be brought brought to life in a painting?

Marisa’s Dress, was included in the exhibition: GO FIGURE: EXPLORING THE HUMAN FORM, curated by Deborah Forman, CAPE COD MUSEUM OF ART, Dennis, MA, September 13, 2018 - February 17, 2019

Inspiration/Creation of the Painting, Anna

Every painting has a story. It starts with inspiration when the artist sees or imagines something to capture, then follows the process of turning that idea into reality. For me, the idea often starts as a quiet thought waiting to be expressed. I envisioned a figure moving through space, aiming to represent human existence more genuinely by combining movement and dimension. We are not stuck in one moment; our lives are filled with change, beginnings, and endings. But how would I show this idea? The chance came in Provincetown, MA, at a friend’s sculpture studio, where he posed a beautiful woman on a rotating stand. Each turn of the stand revealed a different aspect of the same figure, still and in the same space. Each quarter turn suggested a part of a continuous circle in time, echoing the idea of creation.

Anna is currently being shown at the Cape Cod Museum of Art, Dennis, MA, as part of the exhibition Kathleen and Steven Sidwell: A Life In Art, Oct. 19, 2023- Jan. 14, 2024

Anna was included in the exhibition: GO FIGURE: EXPLORING THE HUMAN FORM, curated by Deborah Forman, Cape Cod Museum of Art, Dennis, MA, Sept. 13, 2018-Feb. 17, 2019. Anna was on loan from the Sidwell Collection

Anna was first exhibited and sold in the exhibition, 31 BODHISATTVAS, at Miller White Fine Arts, S Dennis, MA Dec. 2017- Feb. 2018

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