Review of the Artist Ashley Hoey: The Feminine Mystic and the Wise Woman archetype in Stones, Graphite, and Gold
Mystic: noun. A person who seeks by
contemplation and self-surrender to obtain unity with or absorption into the
Deity or the absolute, or who believes in the spiritual apprehension of truths
that are beyond intellect.
Ashley Hoey is another deeply gifted mind in the arts now emerging during this exciting period some call the Appalachian Renaissance, a period marked by artists from Appalachia coming into their own and earning real acknowledgment from the mainstream. Those in the arts native to Appalachia are as varied, relevant, and exciting as artists from any part of the world. For me, my favorite artists are ones whose Appalachian-ness doesn't always, if ever, define their work. They are artists from Appalachia, not Appalachian artists. The cross-cultural symbolism in Hoey's new collection demonstrates this. Her work transcends Appalachia, while still organically blooming from it, much like the pawpaw tree springing from the hair of Virgie, one of the graphite drawings in her new collection. Her work integrates varied symbolism as she explores and even mixes versions of feminine archetypes from clearly more than one part of the world.
Viewing Ashley's most recent showing, "A Light Divine" is like meandering through Carl Jung's dreams with imagery of ancient feminine archetypes, themes of nature, wildness, love, and wisdom flowing cohesively throughout the collection. Carl Jung, pioneering psychologist, did not invent the idea of archetypes, but referred to them as having been birthed in the "collective unconscious," a universal "knowing" through which all peoples of all backgrounds unconsciously experience the world, interpreting and reacting unconsciously to people and things in similar ways. This collective unconscious is why we instinctively know symbolism. It's as if we knew from birth. We reflexively identify personifications of concepts, feelings, and beliefs.
Some archetypes found in Ashley's work are the healer or medicine woman, the "mad woman in the attic" or the wise woman deemed "crazy" for boldly existing outside of accepted norms set forth for women by a society. The "mad woman" is also sometimes referred to as the wild woman archetype. See the book Women Who Run with The Wolves or The Wise Old Woman by Clarissa Pinkola Estes, PhD. These women strangely overlap at times creating a harmonious manifestation of feminine power in one drawing. Other archetypes appear in Hoey's collection such as the temptress/seductress, the mother figure, and the queen.
But Ashley doesn't stop with archetypes. She further demonstrates her extraordinary gift for sensing and revealing deeper unifying human truths by mixing the cultures from which she draws her powerful images. Much like the mystics she portrays in her art, she communicates the unexplainable power of these symbols in the details without over intellectualization. The difference between genius and talent is, in my mind, can one work directly from something greater than oneself and without conscious effort? Can one tap into that part of the brain, and that part of us beyond even ourselves, which most of us only see when we sleep and dream? Can one create almost effortlessly, get into that area of the brain leading to the kind of intense focus and almost a "high," that "zone," what some researchers call "flow." I believe Ashley does just that.
Decades of studying technique can teach a writer or visual artist valuable and worthy tricks; still, it cannot teach you genius. No classroom can get someone into their zone, that flow place only top athletes and top creators reach during waking hours. Hoey's genius emerges from the necessary bravery to tap into an energy that is rare to touch, because it scares most away from themself. People fear diving into their own minds, the experience of imagined others, or their true emotional or spiritual self. Ashley taps into this energy, this self, and she knows the unknowable somehow. She speaks a language without words, and she just flows.
After asking her about her work, I was even more convinced she works largely unconsciously. She insists she just wants to create beautiful things. Mission accomplished. She works directly from the collective so brilliantly, it appears effortless. Her work is emotionally charged, the messages of the pieces come from all over the world and many religions and attitudes toward femininity, and somehow, she taps into all of it, and shares it with us.
Undertones of Mexican folk spirituality, Appalachian healing traditions with its roots in Europe's ancient pagan religions, Egyptian symbolism, Catholicism, and even Greek mythology seem to shake from the hair of these stunning graphite drawings of women, so lifelike they appear ready to come alive any moment and reveal to us not only the secrets to our interior selves, but the universe. The women in the pieces invite long stares and contemplation as the symbolism found in each piece speaks a "truth beyond intellect," sometimes with a literal mouth in the middle of a palm as seen below in the mystical imagery of the piece “Ex Votos” (translation: God sees). This piece is a palm adorned in stones and symbols. The piece hints a relationship to divination and fortune telling, a mix of Christian and pagan symbolism, among others. I sensed this piece plays with the idea God is a feminine being. So, I begin asking questions. Are feminine beings therefore more in touch with God? Perhaps God is not separate at all. Do human women possess unique intuitive powers? Are the intuitive gifts and connection to nature many Appalachians inherit from their upbringing real? Of course, I believe so.
In fact, all her pieces hint at the transcendent, almost holy nature of woman's lived experience, and the power in each archetype. You get the sense no matter a woman's role in the "grand scheme of things," even when objectified or used for men's pleasure or receiving the guilty projections of men and their scorn, as in the temptress imagery in the collection or the mother imagery, these women remain in their power.
Below, see “Dues Videt,” (translation:
from the wishes) a woman in graphite holds a sacred heart or milagro, a
religious folk charm often used for healing purposes and as votive offerings in
Mexico and areas of Latin America. Some carry a milagro for protection. The
woman in this piece holds a sacred heart, a bit of Catholic imagery, (of
course, also found in other cultures) against her chest. Inscribed on the heart
is a tearful eye. So, questions about love and inner knowing come to mind.
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She is surrounded by carefully placed goldleaf dripping into flowers. It appears to be honey. Honeybees hover at her waist. I adored this piece and purchased a print. I immediately thought of Zora Neale Hurston, esteemed African American writer of the South, and her book Their Eyes Were Watching God. The main character, Janie, experiences a sexual and emotional awakening. If one looks deeply into these passages, Zora Neale, like Ashely, seamlessly melds nature with women's identities and positive traits.
"Oh, to be a pear tree—any tree in bloom! With kissing bees singing of the beginning of the world! She was sixteen. She had glossy leaves and bursting buds and she wanted to struggle with life, but it seemed to elude her. Where were the singing bees for her?" - Their Eyes Were Watching God, Zora Neale Hurston
In the book, men are compared to "honeybees" flocking to the "blossoms" of Janie's "pear tree." Not an actual pear tree, of course. The pear tree represents Janie herself. Janie, like all smart and fearlessly passionate women, provides not merely visual beauty, but practical gifts; sustenance which attracts men to her like the blossoms of the tree attract honeybees. Janie, like a literal pear tree, is life-giving, offering all that is needed to her environment, not only honeybees. She is valuable and can stand alone. A pear tree provides food, shade, and protection to animals or travelers who rest below her branches in the heat of summer. Trees also produce oxygen, life. It's nearly impossible to uproot a tree with deep roots. The strength of a woman deeply rooted in her own self-awareness, intelligence, and intuition is similarly impossible to uproot. Ashley's touching the unconscious requires that same intuition and fearlessness that gives Janie her strength.
Ashley expands on the many ideas of women
by mixing the archetypes, such as mixing the medicine woman/healer image with
the "witch in the woods" in the piece "Virgie." The
symbolism which tickles the unconscious in Virgie includes the opossum, acorn,
pawpaw tree branches, and "spirit bottles." The opossum is an animal
said to symbolize protection. Branches of the papaw tree extend above Virgie's
hair, another symbol of protection. "Spirit bottles” hang from its
branches. The folk tradition of hanging glass bottles in trees is one found in
the American South with its origins in Africa. The tradition was brought to the
American South by African slaves, then integrated beautifully to this day in
local culture. Many in Appalachia have also embraced this tradition.
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Virgie, 11x14", Mixed Media (Graphite with gouache)
These colored bottles are thought to capture evil spirits, negative energies, and bad dreams during the night where they're then trapped in the bottles and vanquished by the morning sun. Virgie sits holding an acorn between two fingers and in her arm, a baby possum, her posture and draped clothing not unlike a famous portrait of perhaps a Catholic Saint, or Mary Magdeline, maybe even an Irish pagan indentured servant from long ago. The acorn is a symbol of perseverance, growth, and potential. I see her as a wild medicine woman who relies on her own inner wisdom and strength to offer protection to others. She is surrounded by and wearing nature in her hair, and a woman's hair can symbolize her power and sexuality.
She holds these
symbols of growth, wisdom, and protection, much like a statue of a saint might
hold a cross, or a statue of Jesus might hold a lamb. Her skin is quite
exposed. Could this suggest her close relationship to the wild, comfort in her
own body, and in touch with her humanity, her interior drives, and
spirituality? Virgie adorns herself with plants and animals as if her scant
clothing were an afterthought. The mundane is of no concern to Virgie. The
Appalachian, Southern, and African imagery mix to paint something even more
impactful and moving than any one religion. This archetype of the medicine
woman or "witch in the woods" is definitely a nod to old Appalachian
herbalism and healing traditions, also. The magic of Virgie, for me, is how
there is an heir of the holiness about her, yet salt of the earth. It's easy to imagine her feet
are barefoot and dirty beyond the frame of this drawing.
You can also follow her work on instagram.
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