|
The
Gilded Serpent presents...
The Artwork of
Ginger Royal
Included here along with her art are excerpts from
an article by Lucinda Pool about Ginger's recent show
of her paintings, from interviews and from Ginger's biography and artist
statement.
The
artist's reception was held on Friday, March 14th, 2003.
The show, entitled ‘three left’, ran from
March 8th through April 5th, 2003 at Gallery ‘Iolani,
Kane’ohe, Oahu, Hawaii. Ginger is a BFA graduate
of the University of Hawaii and currently lives on Oahu.
|
|
Danse
Voluptueuse
acrylic, paper, ink |
|
|
|
"I
was impressed by her attention to the history and origins
of the dance, the fact that she is a dancer and that
the traditional progression of the dance from ‘mother
to daughter’ was also evident in her work. Her
daughter, Cameo, is the subject of
several of her pieces."
|
|
|
Cifte Telli
charcoal,
conte, gesso |
|
Danse
Du Ventre
conte,
charcoal
|
"In
Beledi, (belly dancing), I explore a theme that resonates
with the excitement, mystery, mood and uniqueness of
the spirit of this dance. I primarily focus on motion
and the continual transitional feel within the dance,
--the memory of what went before, the anticipation
of what is to come next through its resounding energy."
|
Rakkase
acrylic, paper, ink, fabric
|
|
Sikinnis
acrylic,
gesso, sand |
"I
want the viewer to get caught up in it, to hear the
music, to anticipate. My work is guided by my desire
to represent and translate. It is not merely extracted
articulations of the dance but represents the vibrancy
of ‘the dance’ in each extraction.
|
Ghawazee
charcoal,
conte
|
|
Kordax
charcoal,
conte
|
"Not
just the grace and agility, but the total engagement
of the dancer is a gauge of her skill, ultimately inspiring
exuberance and passion in others."
|
Sultana
acrylic, paper, ink, fabric
|
|
Raks Al
Assaya
charcoal,
conte |
|
"As
in the dance itself, I have found that painting the dance
is about the process and the experience, not the result.
So, I depict the movement, the motion, and the emotion
behind it. The internal rapture expands wide enough demanding
that the body be another language to fully express it.
Dance is not static. The sequence of time should fold
in on itself and leave behind the emotion of the dancer
through the physical imprint."
|
|
|
|
|
|
|
Have
a comment? Send
us a letter!
Check the "Letters to the Editor" for
other possible viewpoints!
Ready
for More?
6-10-03 North
Beach and Mark Bell from an Interview with Lynette
A
lot of my getting the jobs was because I was there available
when the opportunity arose.
6-10-03 Tribal
Fest 3 photos by Lynette
Event produced by Ellen Cruz and Kajira, held May
17 and 18, 2003, in Sebastopol, CA
6-9-03 A
New Series! Zaharr's Memoirs, Part 1- Washington D.C.
and Part 2- New York to Berkeley by Zaharr Hayatti
I got really excited, and begged to be allowed to sign up. There was only silence
from my family.
5-20-03 Loving
Remembrance & Requiem: the Best “School” That
Ever Was, Part 1 by Morocco/ Carolina Varga Dinicu
I looked at her & said, “If I can’t do better than that, I’ll
hand in my feet!” A case of having more guts than brains.
5-15-03 Professional
vs. Amateur: What is the Difference? by Nisima
There are dancers of every gradation in between the two labels of “professional” and “amateur”:
dancers who work at dance jobs intermittently, or have part time jobs in addition
to regular performances. |
