We’d discovered Aileen Frick at the Grand Avenue Festival. Actually, Nolagirl discovered her.
She called me over quietly but urgently. You’ve got to see this, she said with excitement in her voice. I joined her in front of a large-scale painting…but wait! It wasn’t just a painting…it was a collage too, but collage in a way I’d never seen done before. Say the artist wanted a tree in her scene. She wouldn’t go through magazines, find an image of a tree, cut it out, and stick it to her canvan. Oh no, not this artist. This artist found different shades of green in magazines, ripped out green bits by hand, then reassembled the paper into a tree! By reading her bio, we learned that later in the process, she painted over and around the images made of paper to tie together all of the elements of her creation. Her finished results were amazing! It was from the bio that we learned the name of the person who created this collage magic: Aileen Frick.
Frick creates large-scale beautiful cityscapes through which featureless people walk while living their ordinary lives. The cities are recognizable to those in the know, and it’s fun to identify places you’re been, but there’s something dream-like about the landscapes too. They’re based in reality, but they’re not quite real.
From a distance Frick’s pieces look misleadingly like photographs, but upon closer inspection, the viewer can appreciate the time-consuming tearing and matching of colors that went into the work. In some of her creations, words that match the theme of the piece have been discretely included in the scene.
It may be cliché to say I was moved by Frick’s art, but it’s an easy way to explain how I felt. My heart was moved. My brain was moved. My spirit of creativity was moved. Frick’s technique and her end results left me feeling breathless and giddy. Frick’s art inspired me to create, not by copying her but by getting in touch with my own style. I think I had an immdiate crush on Frick’s collage/painting hybrids.
We came around a corner and there was Aileen Frick in the flesh! She was working on a new creation right there in the gallery.
When we walked up, she was talking with another fan. We waited patiently for our turn.
The other woman walked away, and we stood there with Frick and her easel. I tried to stay coherant as I gushed about how much I was enjoying and appreciating her work. She was so friendly and personable and gracious! I wanted to take her and her art home with me. (Of course, I lived in a van, so I had no room for her or her large-scale art. She probably had her own place anyway.)
A few weeks later, Frick posted on her Facebook page information about an upcoming showing of her work at the FOUND:RE hotel in Phoenix. Can we go? Can we go? I asked Nolagirl. She said we could.
FOUND:RE was full of art that night. We saw a lot of good work, inclduing at least a half dozen pieces by Aileen Frick. As a special treat, we got the see the recently completed piece we’d seen her workig on during the Grand Street Festival.
Frick was there too, and she recognized me and Nolagirl. Maybe she didn’t remember when and where we’d met, but she did remember we were fans. She stopped to talk to us and thank us for coming out on opening night. Once again, she was very gracious and kind. Aileen Frick is not just a fantastic artist; she’s also a friendly and sweet person.
A highlight of the evening (in addition to seeing Frick’s art and telling her hello) was when an art dealer tried to sell me and Nolagirl some art. We were looking at some pop art pieces near the bar when a slick-looking man came up to us and started talking about prices. We expressed scant interest, and he wandered away. We agreed we appreciated being mistaken for people who could afford to buy art.
I think we were on our way out when we walked across the lobby and noticed the colorful patterns projected onto the floor. What are those? I wondered. That’s when the lights moved.
We realized quickly that the patterns were motion activated. Our movements made the light patterns move across the floor, then we reacted to the movment of the lights. Soon Nolagirl and I were dancing, skipping, swooping, whirling, and twilrling across the lobby as we played with the lights. It was interactive fun.
I think the guy at the front desk who controlled the projector was amused by us. I’m sure it’s not every day that a couple of middle aged ladies dance through his lobby and play with the lights on the floor like cats going after the red dot of a lazer pointer. Several times he changed the patterns, telling us each time that we would like the new one. He was never wrong.
A couple of times, tipsy peoiple leaving the bar saw us having fun and joined in our play. They seemed to enjoy themselves too, but soon wandered off to the next stop of the night. Nolagirl and I must have played with those light patterns for twenty or thirty minutes. Finally, we thanked the front desk worker for indulging us, then we too walked out into the night.
As we exited the building, we took the time to take photos of the neon message on the front of the building. “Find Yourself” it commanded. I think we already had.
Thanks to a kind friend who–when Nolagirl and I told her this story–asked why I hadn’t shared it in a blog post. Also, endless gratitude to Nolagirl who’s always up for an adventure and can talk to anyone from the Queen of England to a dirty trainhopper kid with interest and respect. Nolagirl’s friendship makes me brave.
First two photos courtesy of Nolagirl. The last photo was taken by me. Nolagirl also contributed to some of the writing about Aileen Frick’s art.