WRITERS ROOM | Portraits Through Time

PORTRAITS THROUGH TIME Mapping Memory through Drawing and Writing

Edited by Valerie Fox Jacklynn Niemiec

Copyright of individual pieces remains with the authors.

2016 Book design by Jacklynn Niemiec Cover artwork by Nathalie Goykman Workshop and Museum Visit Photos by Kirsten Kaschock

PORTRAITS THROUGH TIME Mapping Memory through Drawing and Writing

Edited by Valerie Fox Jacklynn Niemiec

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ACKNOWLEDGMENTS

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iNTrODuCTiON

Q+A 12

fRANK MARGUERITE HOLLANDER

[poetry+ collage]

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UNTITLED JASMINE JAMES

[poetry]

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fRAgmENT NORMAN CAIN

[poetry + collage]

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DRAwINg UpoN mEmoRy: SUNDAy AfTERNooN oN ThE CApIToL STEpS CAROL RICHARDSON MCCULLOUGH

[poetry + collage]

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mommom MEREDITH STROM

[poetry + collage]

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CAREfREE LINDSAY BUSHONG

[poetry + collage]

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pooL / SwIm CLUb C.P. ROGERS

[poetry]

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UNTITLED JALA PEARSON

[drawing]

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ASSoCIATIoN, whAT Do yoU RECALL VICTORIA HUGGINS PEURIFOY

[poetry]

INSTANT 28

UNTITLED NATHALIE GOYKHMAN

[poetry+ collage]

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REpLACEmENT CHANDA CHERISE CORLEY RICE

[poetry]

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fRAgmENTED mAN NORMAN CAIN

[poetry + collage]

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homE LAUREN LOWE

[poetry]

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oZ BREANNA HEMPEL

[poetry + collage]

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pRofILE of ThE SKy MARGUERITE HOLLANDER

[poetry + collage]

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SUNDAy AfTERNooN oN ThE CApIToL STEpS

CAROL RICHARDSON MCCULLOUGH 37

pETALS!

CARIN KNIGHT SPOTTEDEAGLE THE OLDEST BUTTERFLY

[collage] [poetry]

TREATED 40

DEAR SILENT mASK RUNNET EBO-GRAY

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UNTITLED LINDSAY BUSHONG

[drawing]

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fARAwAy BREANNA HEMPEL

[letter]

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DEAR RyAN MASON JONES

[letter]

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whAT’S IN A DREAm VICTORIA HUGGINS PEURIFOY

[poetry]

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UNTITLED ROBERT HEISTER

[drawing]

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my AUNT ROSALYN CLIETT

[letter]

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phOTOS

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ThE EDiTOrS

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ACKNowLEDgmENTS

Special thanks to everyone at Writers Room at Dornsife who helped make the Portraits through Time workshop and day happen. Rachel Wenrick organized the event and she and Kirsten Kascheck helped throughout the day. Thank you to Dean Allen Sabinson (Westphal College of Media Arts and Design), Associate Dean Karin Kuenstler and the Westphal Mini-Grant Review Committee for providing funding and support of the community workshop and publication.

An additional thank you to the ExCITe center, whose seed grant jump-started the drawing/writing collaborations that have proven foundational to this workshop and other team-teaching.

We are also grateful to Heather Dooley, Kathleen Lee, and the staff at the National Liberty Museum for generously hosting us there.

Finally, sincere gratitude to Dean Donna Murasko (College of Arts and Sciences), Vice Provost Lucy Kerman (Office of University and Community Partnerships), and all others who have done so much to create opportunities for Drexel faculty to engage with each other and to participate in new and exciting endeavors throughout our Drexel community, including at the Dana and David Dornsife Center for Neighborhood Partnerships.

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INTRoDUCTIoN This book brings together works created or started on March 5th, in a day-long workshop at Writers Room at Dornsife and the National Liberty Museum.

Through drawing, collage and creative writing, we reflected on photographs and memories. We considered people and places in our lives and tried to honor them through what we created. There is an overlap between the styles of writing and drawing, as sometimes what we drew or wrote was carried over into more than one piece.

The sections in this book reflect the progress of the day.

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In the morning, we alternated between writing and drawing. Writing answers to questions about photos or artifacts, and sketching them though a drawing and collage exercise. Alternating in this way creates rhythms and structures in the finished works. Many of these works appear in the “Q+A” part of this book.

The “INSTANT” poems use or are based on Polaroids taken of pictures and artifacts that participants brought in that depicted meaningful people and places. Again, we wrote, but also we cut, rearranged parts, and drew.

“TREATED” works are those involving letter writing, erasing, and drawing. We wrote letters, then erased the words, then connected what remained with lines. This drawing and erasing (of letters written to those who would not read them) had different effects in each individual’s work.

Sometimes, silence results, or meaning that is blurry or fragmentary.

Some of the writings and drawings here retain their hand-written qualities, and the unique lines and connections shown by hand-writing, of “lettering.”

For the last phase of the workshop, we visited the National Liberty Museum and viewed exhibits of heroes. After viewing exhibits, we made works that were left at the museum as part of a special portrait exhibit, displayed in celebration of National Women’s History Month.

These works are lively and evocative, in their own right. They are examples of contemporary ekphrastic works, in which writing and drawing (words and image) engage with each other. But we hope knowing a little more about how they came about will help you appreciate their depth and variety.

-Valerie Fox and Jacklynn Niemiec

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IS THIS PICTURE ACCURATE? HOW SO, IN WHAT SENSE, OR HOW NOT? WHAT IS THE NAME OF THE PERSON IN YOUR PHOTOGRAPH? WHAT ARE SOME OF THE THINGS THAT THEIR NAME TELLS YOU ABOUT THEM? WHAT’S IN THE BACKGROUND OF THIS PICTURE? WHEN YOU LOOK AT THIS PICTURE, WHERE DOES YOUR EYE GO FIRST? WHAT ARE SOME LINES IN THIS PICTURE—DESCRIBE THEM. WHAT’S INVISIBLE IN THIS PICTURE? WHAT IS BARELY VISIBLE IN THIS PICTURE? DOES THE PLACE IN THIS PICTURE STILL EXIST? WHAT IS IT LIKE NOW? DOES THIS PICTURE MARK A BEGINNING, A MIDDLE, AN END? WHAT DO YOU SAY TO THIS PICTURE?

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fRANK MARGUERITE HOLLANDER

Frank somehow knew more about ships and anything sea bound than everyone around him. He called them the best invention known to man, saying airplanes were a passing fad.

My eye is caught by the smiling face in the foreground.

The towers are the most dominant but somehow still in the background.

My grandpa stands in the front, his body seemingly turning towards backdrop as though he is advising you to look past him.

My photo is a perfect capture of a moment that was once a very real part of history. The World Trade Center towers no longer stand, and my grandpa passed shortly after.

The fascination that Frank always had with ocean liners is very clear. To someone who didn’t know him, perhaps the focus of the photo would seem to be the towers, but central to the image are Frank and the Ship.

Lines that dominate include the vertical edges of the towers. The horizontal background creates a think band across the middle of the photograph. The body of the ship meeting the water creates another horizontal axis, but this time crisp and defined.

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UNTITLED JASMINE JAMES

1. I always think of living in my first house.

My mom used to do these photo shoots with me every now and then. She loved to be near a camera; I feel it’s when she was most alive.

2. My mom’s smile. She’s looking at the camera the same way she looks at me.

3. A gray backdrop is in the back; my mother and I are standing in front.

4. We’re very close. We always had been, since it was just us for a while. It’s representative of our relationship in the way that she’ll hold me and make me laugh.

5. It’s not clear where we are exactly. This could be in the studio or at her house. I also don’t know if my dad left yet. Was my mom even completely happy in this picture?

6. There are some definitive lines highlighting my mom’s body. I see her arms as really strong; protective. The creases in my baby face captured at the right moment.

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fRAgmENT NORMAN CAIN

My picture is accurate it was taken a half an hour before this writing.

My thoughts are invisible my serious face hides my usual exuberance.

The contour of my shoulder.

The edges of my newsboy hat. . . The four corners of the photo encasement.

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DRAwINg UpoN mEmoRy: SUNDAy AfTERNooN oN ThE CApIToL STEpS CAROL RICHARDSON MCCULLOUGH

We remember what we have not even met

or known

because it’s in our genes/ our dna/ our blood Family keeps its connection strong It lives

in photographs

even after death

captured

in the mind’s eye Sepia tinted images

fade

While Love’s memory remains

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mommom MEREDITH STROM

It was too early and I was too old to see Santa. My grandmother wasn’t. She even tried to flirt with him.

My eyes go to Mommom. I miss her.

Me, Mommom, Bella, Santa, Mrs. Claus. The Christmas tree and the walls of the restaurant.

Look at Mommom’s face.

“Bullshit” I think she said it in front of Santa.

She lost her filter.

You can’t tell Mommom is sick. She’s forgetting everything.

This is the last time I saw her before she couldn’t get out of bed.

The line of my purse strap. The lines on my sister’s shirt.

The lines on Santa’s belt. The lines on Mommom’s cane.

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CAREfREE LINDSAY BUSHONG

Carefree. I remember being carefree. What existed in the moment was all that I cared about. A spirit of adventure, for both me, and all the people that I love.

The strange play of light in the upper right hand corner.

I don’t know what it is or what caused it, but it seems‌ Robby and I are front and center. A deep red, light to dark, looms behind us. Like a sunset, or a fire.

Innocence, being young and only understanding what we choose. Control. Feeling capable and invincible.

The love shared between us, although it is so clear on our faces. So in a sense, both visible and invisible. That is really fucking cool.

The clear line of the couch, connecting both of our brains. The sides of the couch, containing us in our own little world. The guitar stretching across our laps, everything we share together. Both of our hands gripping these line(s).

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pooL / SwIm CLUb C.P. ROGERS

Bright, bright, bright beautiful sunny days blue water blending with blue sky pool deck, pool gutter, diving boards L-shape of pool with floating rope divider black lines painted on bottom of pool, diving boards accurate and truthful telling me how a pool with two diving boards could give so much life to an entire town and so many individuals what is invisible is the community of adults and children who came together here to form teams and friendships and play groups; to teach and to learn swimming skills, dances, games and the pool rules and to celebrate holidays and accomplishments some of the lines are the edges of the pool, the pool deck and the grassy areas within the pool are lines dividing the swimming area from the diving well and the lines dividing the swimming lanes

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collage by Jala Pearson

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ASSoCIATIoN, whAT Do yoU RECALL VICTORIA HUGGINS PEURIFOY

1 Picture of a group of women My sisters and I My grandmom and mother @ Thanksgiving 2

Eye goes— To my Grandmother and Mother 3 The front & back The group Love Ancestry

of the artifact The china closet a Damaged wall

4 This is a true representative of family togetherness, love, ancestry and generations It is a three generational photo of three sisters. Their grandmother & mother.

5 Invisible—Any problems that may be lurking in their minds Clear—It is clear that this picture was supposed to take place Unclear—It is not clear what the grandmother is feeling @ that moment.

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Line

Connected

Broad shoulders curved lace collar hand hand hair

Black jacket part of a floral dress on grandmom’s shoulder on mother’s shoulder bangs

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CUT YOUR PHOTO INTO SIX SQUARES, REARRANGE THOSE SQUARES AND WRITE.

UNTITLED NATHALIE GOYKHMAN

visage pocket mottled shadow slivered blur sip

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REpLACEmENT CHANDA CHERISE CORLEY RICE

Thomas To his eyes Him Background I love you still!

This photo is a replacement like my uncle.

Brackets Around his mouth to my heart.

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fRAgmENTED mAN NORMAN CAIN

Frag mented MAN I N D I G O Mid night Back ground

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homE LAUREN LOWE

My childhood home I lived there, but I can’t remember.

I did more growing up After I left…

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oZ BREANNA HEMPEL

The Painted Sisters of Oz Hold Hands As Children of a Strange World.

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pRofILE of ThE SKy MARGUERITE HOLLANDER

Filter the

City

a

Torso Profile

of the Sky Duo.

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collage by Carol Richardson McCullough

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pETALS! CARIN KNIGHT SPOTTED EAGLE THE OLDEST BUTTERFLY

Lotus Flower, like I, many facets in life as; it has petals (front) Lily Pad

Dragon Fly . . . (Background)

Truthfully drawn while not looking@ paper!

The Water remains invisible-I’ve returned to Jaipur, Inda—clear Exactly where am I at the Ganges?

Unclear The shadows!-The flowers reflecting in the River . . .

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WRITE A LETTER THAT WILL NEVER BE READ. ERASE PARTS OF THAT LETTER AND CONNECT WHAT REMAINS.

DEAR SILENT mASK RUNETT EBO-GRAY

Dear Silent Mask Emotions Through me When Were mixed

placed in my hands

I thought someone gets What I’m about And gave me something that Speaks who I am I study My history They understand It warmed my heart.

It meant validation Presented an award I was thrilled! I smiled My gift was like I consider myself Different Unique.

Third, there is Wisdom With eyes closed I like to think I absorb more Eyes closed.

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drawing by Lindsay Bushong

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fARAwAy BREANNA HEMPEL

…………….. wonder ……. . if you …………… remember when I was ………………………………… a petulant child don’t, but I know…………..…………. Do you ……….. g…………. know where ………………… what we ………………. were doing Earl……………………….s a lot like being …………………………………………. what they tell you all the embarrassing things after ……………………… ……………………………. looked normal back then, like a normal kid. Annoyed,……………………………… but so is ………………………… ……….. your smile …………………. ……………….. there are more wrinkles ………………………………. now, dark lipstick and ……………. sparkling ……………………. You’ve always had an interesting smile, maybe a little too ……………… but ………………………….. always yours—

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Hey Ryan, So I just drew that picture of you with your AK in the snow. I kind of wish we actually worked on that igloo more. We never even really sat on our “bench.” It was pretty cool that we worked on it all, though. But, the good news is that the picture made you look like an elf w/a gun somewhere. It’s pretty funny. Maybe I’ll show you someday.

Mason Jones

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whAT’S IN A DREAm VICTORIA HUGGINS PEURIFOY

Dream old or young fortells social distinction.

Admire any article of apparel, in business dream of a young woman interpreting faces.

Few dreams are depending upon you.

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drawing by Robert Heister

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my AUNT ROSALYN CLIETT

My _______ Aunt The work that my _____aunt tried to do with the ______ she used was very _______.

And she was ______ getting out ____ ____ _____ it was as if her ______ _______ and hands were not __________. But as she ______ coming to _____ _____ of the first _________ she came ________. So she __________ she _______ ____ like they told us ____ school. Even ______ _____ can’t do the work. ______ send _____ ___ blank ______or you _____ ______. But I ________ ____,

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(Words Removed) tried

picture

amateur of

brain ears connected the alive figure would if

you

do

don’t up a

to

the end

gate session

do _____ _______ page

will

fair

forgive her

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collage by Norman Cain

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AboUT ThE EDIToRS VALEriE FOx’s books include The Rorschach Factory, The Glass Book, and Poems for the Writing: Prompts for Poets (co-written with Lynn Levin).

Fox has published many poems and stories co-written with Arlene Ang, and also published Bundles of Letters Including A, V and Epsilon, which is a compilation with Ang. She’s taught at numerous institutions, including peirce College (in philadelphia) and Sofia university (in Tokyo). She currently teaches writing at Drexel. She enjoys the challenge and variety of experience of teaching creative writing: no group is ever the same. She’s a contributing editor at Texture press [www.texturepress.org].

JACKLyNN NiEMiEC is an architect and Assistant Teaching professor in the Department of Architecture & interiors at Drexel university. She teaches design studios, drawing and visualization courses. her creative interest and research lies in developing visual methods for understanding and representing space with the added and intangible layers of time, movement and memory. She believes that the process of drawing is more important than the outcome-revealing more than one sought to draw in the first place.

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PORTRAITS THROUGH TIME