artist rising by Erika J. Goodman
M
eet Thomas. A rather sad man, hands in pockets, both face and posture showing a lifetime of toil and worry. An elderly fellow, frozen for eternity–a doll, standing 12” high, born from the imagination of one of the Interlake’s most talented artists–Marilyn Folson. Thomas, sporting detailed handmade clothes, complete with diminutive buttons, a creased bald head, veins protruding from bare feet and untamed facial hair, is as detailed as the dozen or so more, of Marilyn’s polymer creations, the most recent ones selling for $1000 each. Marilyn amazes audiences with the intricacies of her dolls and other works of art such as bronze sculptures and paintings, at galleries such as Fishfly Gallery in Winnipeg Beach. When I first saw Marilyn’s dolls on display there, Thomas’s candor and bodily expression enticed me to create a history for him, and by so doing, I was ”completing the narrative,” a necessary engagement between the viewer and the artwork, according to Folson. Each doll stands on a base which references the theme of the character. Gold, a true grit prospector, full of spunk and grandeur - stands among bits of panned rocks. Howard, wear-
14 H2O Summer 2011
ing a soft expression, textured bathrobe and slippers, reveals a crooked, arthritic hand bent at the wrist as if to balance himself as his other hand grips a cane, stands upon a base of mini-vinyl floor tiles which Marilyn discovered at a store specializing in doll house accessories. Reflecting on the first of her many artistic achievements, Marilyn learned how to “technically craft a piece that would seem to take on a personality and a life of its own. All my dolls were elderly,” remarks Marilyn. Past reviewers have suggested that Marilyn may have insulted the golden age by the frankness of her character’s wrinkles, sagging rolls and cellulite dimples, but she assures this was not the case. “I was interested in the aging process, and by the fact that these dolls, male and female, represented people who had been shaped by life experiences; they had stories to tell.” The Winnipeg Free Press reported of Marilyn’s doll display entitled,
“As Time Goes By” at Craftspace Gallery in 1995: “These dolls show the ravages of time,” and the “exhibit reflects the reality of life.” Marilyn Folson’s dolls were a raging success, featuring five solo shows in Winnipeg and Vancouver, numerous awards and recognitions, but like all great artists, she sensed when it was time to move on to new artistic challenges. “There are so many intriguing paths in this world of art,”
observes Marilyn, who has had a lifetime to explore a world of art in which she participates daily. In the 1970’s, Marilyn got her first taste of art when she took a summer course at the Banff School of Fine Arts. “I came back thinking I would like to teach art,” says Marilyn whose first job was to teach Junior High English and Art. During those teaching years her appetite for art knowledge increased and she followed the advice of artists and friends who suggested the Nova Scotia College of Art and Design as a venue for honing her own personal technical and conceptual expertise. After completeing a Bachelor of Fine Arts Degree and a two year sabbatical, Marilyn returned to Winnipeg to teach art again. All the while the only time she actually made art herself was as examples in her art classes, which also included photography. “When I began my career, I was suddenly immersed in the world of art, and I loved that! I knew that in retirement I would have time to further pursue my interest in that world.” Marilyn worked 29 years as a teacher before retiring to a lakefront home in Gimli in 2000 with her husband Bob Coulter, also an artist. By this point Marilyn had moved beyond the polymer dolls and had begun sculpting whole bodies in Sculpey clay, both in relief and in series; each was theme-based and equally as captivating as the dolls. Next came the “Full Moon” series, in which Marilyn switched to a single color of clay to create mostly nude statues of the elderly. I once saw a full-figured, Godiva-type statue of a senior at a friend’s house and knew immediately that it was from Marilyn’s Full Moon series. Her sculptures simply cannot be mistaken. She has a definite style in all her work – somewhat dark, brutally honest and humorous. Preferring at the time to work in series, Marilyn began another challenging endeavour: the clay goblet. Marilyn relished in the technical aspects of using clay and stabilizing the cups on narrow stems. “When I began the goblets I wanted a functional piece and to