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Gerry and salumi ..see him?

Raw food

Maggiore, the centre of town. The porticoes or arcades, some with splendidly painted ceilings are a particular architectural feature of Bologna and readers can go to this link to learn more, Once in the piazza we did what we always do, find coffee, sit and observe. I might make water colour sketches. Then we’d walk the streets radiating out from the centre breathing in the sights, smells and sounds surrounding us. We search out a place for pranzo the afternoon meal, or instead would later take una cena leggera, a light supper. Our first pranzo was at Eataly, for a panino con mortadella! And the museums? Galleries? Tell about the exhibitions of art you attended while there. Jennifer: During our stop in Milan, we discovered art at every turn. Then Titti gave us a great tour of the city, of note, Liberty Style Architecture right in the neighborhood of our boutique hotel. We visited the Duomo di Milano, the cathedral and of course Il Cenacolo Vinciano, The Last Supper. Although our schedule did not permit us to attend an opera at La Scala, we did visit the opera house and museum. To some, Gerry and I may seem a little odd. Since Bologna has its origins in Etruscan, medieval, renaissance and baroque art, with one or two excep-

tions we decided to focus on the art that is part of everyday life. For example, a very unassuming church in our neighborhood has three Michelangelo sculptures that he made at age 19! On our first walk to Piazza Maggiore we discovered Piazza del Nettuno. We visited Il Santurario di San Luca with its art historically familiar surrounding landscape I. One Sunday in Piazza Maggiore, we participated in an art installation where sunglasses were donated for people in developing countries. Since this issue is dedicated to professional visual artists Jennifer, can you tell us what it is that makes your work and approach to painting unique? Jennifer: There is no Payne’s Grey in my studio! Thanks to having as my grad school professor, African/Native American painter Richard Mayhew I, for the last 35 years, paint from a limited colourist palette; some yellows, reds, blues and white. Stylistically my paintings oscillate between abstraction and representation. They reflect and resist modernisms’ ideal of flatness and immediate space, and my natural inclination for three-dimensionality. Perhaps the visual dance between the gestural lines, and the atmospheric colours and shapes that comprise the signature features in my paintings.

ings are a good financial investment, which they are J, how my work is a good investment has everything to do with the poetic effects my paintings have on the lives of those who engage with them. Whether they are installed on home, office, hospital, school, or corporate walls, over the years collectors have told me how living with my paintings is a sound investment in their health and wellbeing. A law firm in Nova Scotia effectively placed Coming on Summer 1 in their mediation boardroom to instill calm! Stepping off an elevator at White Plains Hospital in New York, a hurried psychologist on her way to see a patient, suddenly stopped, captivated by Charlotte’s Roses. Afterwards she tracked me down to tell me the affect seeing the painting had on her, and by extension her patient. Collectors in Canada, Britain, the US and Italy have told me how in the company of my work they breathe a bit easier, take solace in their visual embrace, confess their love and sorrows, admit their fears and celebrate their dreams.

Grazie, Jennifer!

Why is your work a good investment? Jennifer: Outside any discussion of why my paintTHE ARTFUL MIND JULY 2019 • 45

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the artful mind july 2019