I began this piece with powdered graphite, a nod to Molly’s profession, to establish the background for the composition. I wanted a background full of curvy, organic forms intersected with direct lines and geometric designs. The curves are there as an homage to motherhood, and the fertile maternal figure so prevalent in historical art (humankind, always obsessed with their mothers) while the lines and geometric forms present a manifestation of the structure one imposes on the family unit. To me, the “family unit” is part web, part nest, part suspension bridge; a form built with strength and support in mind, but also built out of necessity. Parenthood necessitates that you stretch yourself out in all directions simultaneously, just to provide a nurturing environment for your people to exist in. But, at the same time, motherhood is full of moments of light and goodness; floating orbs of happiness and truth amongst everything else.
The last addition to this composition is the angular acrylic skin on the top layer. So much of Molly’s interview highlights her creativity and her passion for humankind; and all that I could think of, as she spoke, was a temple. Temples can be found in many places and for many reasons, but the one thing they must always have in common are people. People to build them, to come to them to find themselves, people to hold them sacred. Our creativity should be a temple in this way; to hold dear, to serve in, to devote to. Creativity like this, that can manifest as a play, a poem, a photo, a song, a lesson plan, a family tradition, is a force as warm and constant as the sun, overlaying all we do.