The Art of Forgiveness: Understanding Hurt, Hope and the Healing Journey
The Art of Forgiveness:
Understanding Hurt, Hope and the Healing Journey
A two-part multi-disciplinary program inspired by Pope Francis’ Jubilee Year of Mercy
Wednesday, November 2, 2016
Panel Discussion on Forgiveness
12:30 pm – 1:30 pm ETC Lobby
Fr. Mark Hunt …. Spiritual Perspectives
Dr. Michele Muni …Restorative Justice
Dr. Jim Huber ….Marriage & Family Therapy
National Juried Art Exhibit on Forgiveness and Artist Reception
1:30 pm – 3:00 pm Holy Family University Art Gallery
Robert Thurlow, Charlesey Charlton-McCallister, Lisa DeLoria Weinblatt, John Wood, Aaron T Stephens, Ed Smith, Dorothea Osborn, Colleen Sweeney Gahrmann, Marilyn Rodriguez Michael Wartgow, Leila Hernandez
Aaron T Stephens
A life of Sin series was created to express my problems as a Christian. I commit acts that are against my Religion and my own beliefs. This image expresses how I feel every time I pray for forgiveness of those acts.
Charlesey Charlton-McCallisterThis piece of work is about the ability to forgive a spouse or significant other after the act of infidelity. Forgiveness is a process like the journey a baby makes from crawling to walking. According to a study from 2010, the most common type of unforgivable offense is betrayal, including affairs, deceit, broken promises, and broken secrets (see source below). This art work asks the viewer to ponder the meaning of a past betrayal and to ask the hard question of “how does one begin to forgive, when the betrayal itself is/was so personal?”
Colleen Sweeney GahrmannWe All Fall Down, part of a larger installment titled Restorative Justice, hints at the responsibility of a society that has a stake in its youth, even those of incarcerated parents. It brings an awareness of the feelings and issues surrounding the children affected by the crimes and punishments of their guardians. Statements by children of incarcerated parents are often filled with incriminations, confusion and conflicts. When forgiveness becomes an ongoing process it helps to restore family relationships.
Dorothea OsbornThe art of forgiveness is a road. An intimate road of change and it’s a process, sometimes lengthy, sometimes surprisingly expedient. It is a change within ourselves, on more than a cellular level. It is an acknowledgment and acceptance in its finality. Forgiveness does not suppress or ignore the pain. It deals with it on a spiritual and cellular level. These pieces are from a series of graphite and colored pencil that deal with the human condition and change on a cellular level. The progression of Forgiveness takes time and creates change. It means letting go, albeit, keeping others in our heart. As each of these pieces was produced, a daily personal and spiritual time was given to each segment of the individual pieces. Time and change is evident in all three pieces.
Ed SmithThe work submitted are images in metaphorical form depicting the act of forgiving, specifically with regard to the events of 9/11. And while the hope is that the understanding and internalization of these events can bring peace it also suggests we not bow to forces along the journey of healing. The etchings are intimate and demand a close attention focusing on the personal nature of the tragedy and forcing the viewer to be open within the reading of the images.
John WoodThe works in this series respond to a common theme: the journey from doubt to faith. I have explored the theme by responding to the story of St. Thomas from John 20: 19-31, and a contemporary poem by Francine j. Harris entitled “another finger for the wound.” Through the ekphrastic process of reflecting upon text through visual art, I invite confrontations to my interpretations of ancient themes and modern interpretations. Another Finger for the Wound explores the moment, from the Gospel of John 20: 27-29, in which Christ exposes his wound by lifting his robe for Thomas. The human qualities of flesh and hair seen on the hand of Christ in the sculpture are contrasted with abstracted images on the opposite side of his hand. The palm contains patterns of human figures and text from the poem by Francine J. Harris.
Leila HernandezSquaring the Circle talks about change. It is transformation- a square that is composed of circles which are interconnected through threads; like our brain cells, our body, our friends, the world, the universe; each one influencing the other. The red symbolizes life that can be full of passion, good or bad, and it can be lived in an intense manner, which of course is best if we change the negative into a positive. The blue flowers bring tranquility; the green leaves symbolize growth in a sparking manner which relates to the gold which is scattered through our lifetime making our total experience golden during our lifetime. Mandalas have engaged the artist during the production as to absorb the mind in such a way that distracting thoughts produced by anger and sorrow from damages that have affected the stability of her life in many areas are slowly replaced by a feeling of well being. The artist has experienced many hardships that invoke the need for forgiveness since it is well known that it is imperative to forgive people in your life, even those who are not sorry for their actions.
Lisa DeLoria WeinblattI use the vocabulary of daily life and historical reference to inform the content of the MAN/WOMAN painting series. The image in this painting investigates the interactions of interpersonal relationships within a time- frame.
The myriad pressures of modern life often impact the relationships that we hold close to our being. The ability to forgive and ‘open the door’ to another solution/ way of thinking, is vital to forgiveness.
In Man/Woman 3, portraying part of a series of life events, I incorporated the biblical symbol of the snake, literally her vanity, in which she is in front of, the salvation of the bird, flying to new territory/heights and the pear on the dresser, the fruit of both good and of the fallen.
Marilyn RodriguezMy name is Marilyn Rodriguez; I am a Latina (mixed medium) community artist.
My art comes from my environment and my community (North Philadelphia), it is where I take my inspiration. Much of my paintings and drawings manifest through unconventional materials like paper bags and other found objects. The materials are often chosen to fit within the context of the subjects.
My works reference lost souls that walk amongst us and the constant flux of their mental health illness, drug addictions, and social handicaps. These individuals roam the streets with uncertain futures and become the forgotten people unable to assimilate to their environment and society. They seek a window to find forgiveness for themselves and for the people they have wounded. The work(s) I create are to show awareness of what happens in the journey for peace and a sign of forgiveness.
Michael WartgowPresented as both a psychological concept and a virtue, my work discusses forgiveness through various states of transition. It is about looking for forgiveness in yourself and the need to find some sort of divine forgiveness in order to understand purpose. Through the use of symbols and dreamlike imagery, my work places emphasis on an individual’s path to forgiveness yet speaks to a larger universal idea about reconciliation.
Robert ThurlowHoly Suffering Saints
This image speaks to the redemptive quality of suffering and the healing power of forgiveness. Although the action and process of forgiveness is difficult it is this difficulty that gives us strength, humility, and transforms us into saints. The chaotic handwritten script is taken from a 1930’s journal my grandmother kept and is meant to echo the struggle and effort required to forgive.
From the Exhibit Opening:
Mixed Media Prints
Holy Family University will exhibit mixed media prints created by
Lisa Bigalke graduated from the University of Wisconsin- Parkside with a BA in art in 1996. She received her MFA in Studio Art, with a concentration in printmaking, from Louisiana State University in 2000. Currently she teaches Art at Carthage College in Kenosha, Wisconsin. Her artwork has been exhibited in many regional and national exhibitions. Since 2000, she has exhibited her work in over 15 solo exhibitions. In 2016, she was awarded a Racine Art Museum Fellowship Grant.
Most people have a place that makes them feel alive. For me this is being outside with my feet in the grass. Farm, park, garden–it doesn’t matter, as long as plants are growing. The bulk of my imagery has come from places explored with friends — the Chequamegon National Forest, Grant Park in Milwaukee, or even my garden.
For me this body of work began on a trip with my sister and mother exploring places found in my father’s notebooks. He died when we were children on a hunting expedition and this was a way to feel close to him.
Traveling through these places, being able to document through photos, drawings, and notes, gives me the opportunity to reinterpret and organize. I include in my final works maps, statistical information, and personal letters to indicate reality, the actuality of these places and my relationship to them.
The spirit of the place comes through in the color and texture. The intensity of the color often reflects time of day exaggerated, such as, a mid-morning golden yellow light shimmering through the leaves at Buckhorn State Park. Abstracting from nature allows me to create decorative patterns and visual texture in both the macro and micro of the landscape. I include a readable landscape with an enlarged abstracted fossil, flower or water pattern. This layering of surface texture requires the viewer to interact with the rich surfaces. They are forced to peel back the layers and read it at my pace.
The overlapping and concentrated use of the pattern puts the viewer into the realm of my journey- for they travel on my journey through the image. Those who look once may just find a pretty landscape; those who get lost in the color and pattern find the meaning.
From the Exhibit:
Mixed Media Works
Exhibit: September 2-28, 2016
Artist’s talk and reception: Wednesday 9/28 12:50-2:50
Holy Family University will exhibit a collection of artwork created by
Zachary Pritchard from Friday, September 2nd through Wednesday,
September 28th. Made from paper-mâché, plaster, fired clay, pigmented
wax, cast iron and aluminum, the exhibition features sculptures on
pedestals, free standing pieces and wall sculptures.
Pritchard earned his BFA in sculpture from Buffalo State College in
2011. As part of his studies, he participated in an international artist
residency, creating art in Finland and Latvia. He went on to earn an
MFA from the University of the Arts in Philadelphia. His work has been
exhibited across the United States, recently in Massachusetts, New
York City, and Philadelphia galleries. His most recent body of work
has been included in group and solo shows, earning high praise.
Described as, “forms that play with a sense of expectation and
balance, Pritchard’s sculptures have a familiar, yet uneasy presence
about them, as if they are each their own characters with their own
distinct personalities.” He currently lives and works in
My work explores themes and personal experiences of humor, loss,
death, loneliness, and attraction. Working with materials that lend
themselves to manipulation, such as paper-mâché, plaster, pigmented
wax, paints, and metals, my work plays with structural balance and
expectations of materials in primarily anthropomorphic forms.
I consistently work in an intuitive process that seeks to translate an
unspeakable subconscious language through objects. Engaging the viewer
in a familiar, yet uneasy presence, my aim is to elicit raw and
visceral emotional reactions through my sculptures, drawings and
Pictures from Exhibit:
Holy Family University Art Gallery Presents
Senior Student Art Exhibition
Please come and support this achievement
Exhibition dates: April 6- May 2, 2016
Artists Reception: Tuesday, April 12, 2016 5:00 – 7:00 PM
This body of work is entitled Seriously Hilarious because there is a sense of duality to my art making. In one aspect of my art I am very serious and strict in my technique so to create balanced aesthetically pleasing designs. In the other aspect of my art making I am looser and more spontaneous like in my paintings and drawings of exaggerated features and abnormal situations. It is through these two styles of art making that I have found my personal balance in art and in life.
Throughout my time as a student and during the course of my life I have always, quite literally, drawn on any piece of paper that was in front of me. These drawings usually turned out to be nothing but partially finished sketches of faces or letters. Although different, they always had one thing in common, they all ended up in the trash and I never paid them any mind. Recently I decided to use these sketches, give them life and break away from the guidelines and rules from which I thought art had to follow. My art today is a result of sketches that were either on a blank piece of paper, the back of a syllabus, or in a sketchbook. This work is a break away from the seriousness of life and art and is fun because life is hard and everyone needs a chance to escape; this is mine.
As a Graphic Designer, art plays a different role, which can be viewed as more strict and serious. The majority of my graphic art focuses on the guidelines of design. I enjoy making balanced designs because it allows a different approach to creation. It allows me to create a piece of art that I can look at and know that it can make sense by itself. My graphic design work is serious while my paintings and sculptures are hilarious.
Please join the Art Department at the Artist Reception
There will be refreshments and an artist talk.
Holy Family University Gallery is on the Lower Level of the Education and Technology Center, 9801 Frankford Avenue, Philadelphia, PA 19114.
Contact: Pamela Flynn firstname.lastname@example.org
A Unified Thread
Mixed Media Works
Exhibit: March 4 – April 3, 2016
Artist’s talk and reception: Tuesday, March 22, 3-5 p.m.
My work is an idiosyncratic testimony that calls attention to the value of nature’s presence through unexpected representations. The vision of my work is to blend the congruent lines of artistic and scientific research. In my process as a maker, my goal is to seek a sense of interconnection and understanding of the workings of the natural world. Through merging fact and fiction, the emphasis is away from the imitation of nature. While instead towards the imaginative recombination, of things remembered to the illustration of concepts formed from within. Through this approach to understanding analogies of thinking, progressive ways of invention can take place.
This current series of work embodies the physical as well as metaphysical associations of birds’ nests. There is much value in this ordinary familiar object, yet wonderment of nature. A nest is a nurtured structure for a new beginning or if no longer occupied it can be an entombment. It begins with just an idea, or piece of material, and can endlessly grow. Through the study of many types of nests created from all around the world, I personalize and recreate them into a synthetic archive that uses the nest as a subject within a representational sense, but in my own poetic language.
Originally from Cincinnati, Ohio, I received my BFA at the University of Cincinnati with a minor in Art Education. Having multiple shows upon graduating, I was also passionate about teaching art to a wide range of age groups, but primarily within inner city youth. In 2015 I received my MFA at Ohio University, while teaching as instructor of record for the undergraduate drawing and painting classes. I also gave several lectures there about my work as the keynote speaker for the contemporary art history course, Seeing and Knowing the Visual Arts. Within my artistic career I have shown work in many group, solo, invitational, commissioned, and juried exhibitions. I have shown nationally, internationally, and have multiple awards and grants. I am represented by the Starbrick Gallery in Athens, Ohio where I currently live and regularly exhibit my work.
Juried Art Exhibit and Panel Discussion
Nationalism: Belonging /Not Belonging
In conjunction with a panel discussion titled
Citizenship, Belonging & Nation-States in the 21st Century
Exhibit: February 9, – March 1, 2016
Panel Discussion: February 23, 2016 3:00-4:00 PM
In the ETC Lobby followed by
Artist Reception: 4:00- 6:00 PM
In the Art Gallery (LL ETC)
Eleven artists from across the US are exhibiting works that address the topic of Nationalism: Belonging /Not Belonging
Exhibiting Artists: Kristen Miologos, Lidia C. Hasenauer, Gail Morrison-Hall, Stephen Marc, Robert Fields, Howard Hao Tran, Pamela Flynn, Robert Knight, Calcagno Cullen, Howard Skrill, George Masry Isaac
Panel Discussion: Citizenship, Belonging and Nation-States in the 21st Century. Nicole Stokes-DuPass and Ramona Fruja, editors of this book, will lead a panel discussion about the major themes of the book. Specifically, they will articulate why nation-states still matter in citizenship studies. The authors assert that nation-states continue to hold the unique capacity to determine who has the right to have rights. We also plan to discuss how states actively shape the assimilation outcomes and experiences of belonging among the populations who reside within its borders.
Nicole Stokes-DuPass, Associate Dean for School of Arts and Sciences/Associate Professor of Sociology Holy Family University.
Stokes-DuPass is a political sociologist and an accomplished educator with over 15 years of experience and expertise in teaching diverse student populations. Stokes-DuPass’ research focuses on the state, international migration, citizenship, social integration and Scandinavian and European studies. Her recent book entitled, Integration and New Limits on Citizenship Rights: Denmark and Beyond (2015) is published with Palgrave-MacMillan.
Stokes-DuPass previously served as a U.S. Fulbright Fellow at Roskilde University and Guest Researcher at the Danish Institute for Social Research in Copenhagen, Denmark from 2000-2001 and in 2008. She has also previously served as a Dissertation Fellow for the American-Scandinavian Foundation to Denmark in 2008 and has also conducted research abroad in Russia, Germany and Cuba.
Ramona Fruja, Assistant Professor of Education Bucknell University- Lewisburg, PA.
Fruja has a dual doctoral degree in Sociology and Education and teaches courses on immigration, social contexts of schooling and multicultural education. Her research is interdisciplinary and examines the intersections among immigration and identity, focusing on educational contexts and citizenship, particularly immigrants’ experiences with education and citizenship in their multiple forms. She has presented her work at professional conferences internationally and has published in Globalizations; The International Handbook of Migration Studies (Routledge); Immigrants in American History: Arrival, Adaptation and Integration. She is also the co-editor of Social studies and diversity teacher education: What we do and why we do it (Routledge).
Pictures From The Opening
mixed media works
Exhibit: January 13 – February 3, 2016
Artist’s talk and reception: Tuesday, January 26, 6 – 8 pm
This exhibition explores the link between the human body and architecture through a variety of media: sculpture, photography, drawing and printmaking.
Over the past two decades, Maksymowicz has created pieces for very particular architectural spaces such as gallery corners, small rooms with overhead ductwork, and parlors with fireplaces. Along the way, the artist has read the architectural theories of Vitruvius, Jacques-François Blondel and Joseph Rykwert, attempting to connect them visually in metaphorical and narrative contexts.
Caryatids in Five Books, Comparisons and Caryatid explore a type of imagery that holds immense metaphorical potential in this regard. Baskets of produce and bread, acanthus, Demeter and Persephone . . . all overlaid onto women’s bodies placed in the service of structural columns. The caryatid is both a familiar architectural convention, and the visual summation of human life and women’s fundamental role in supporting it. The former considers sculptures of stone and women of flesh, in words and pictures, literally and metaphorically, imprinted and poised on precarious pedestals. The second pairs architectural details and images of woman from a variety of ethnic traditions. The third is an installation combining an eight-foot high drawing of a caryatid with casts of architectural elements and loaves of bread in a mythological mix.
The Cornice Portraits look at another connection between the human body and the built environment. Maksymowicz has inverted Blondel’s architectural theories—which propose that the proportions for cornice moldings should derive from classical concepts of the ideal human profile—by designing cornices based on the actual profiles of a selection of ordinary-looking artists.
Virginia Maksymowicz is an Associate Professor of Art at Franklin & Marshall College, PA. She received a B.A. in Fine Arts from Brooklyn College of the City University of New York and an M.F.A. in Visual Arts from the University of California, San Diego. She has exhibited her work at the Franklin Furnace, Alternative Museum, the Elizabeth Foundation, Grey Gallery and MoMA/Library in New York City, as well as in college, university and nonprofit galleries throughout the U.S. and abroad. Locally, her sculptures have been shown at the Michener Museum (Doylestown), the Woodmere Museum (Philadelphia), the Delaware Center for the Contemporary Arts and the Delaware Art Museum (both Wilmington).
She is a past recipient of a National Endowment for the Arts fellowship in sculpture and grants from the Pennsylvania Council on the Arts and the Leeway Foundation. Her artwork has been reviewed in Sculpture Magazine, The New York Times, New York Newsday, The New Art Examiner and The Philadelphia Inquirer. Her series, The History of Art, appears on the cover of The Female Body, published by the University of Michigan Press (1991).
Virginia Maksymowicz has been a visiting artist at the American Academy in Rome (three times), an artist-in-residence at the Powel House Museum in Philadelphia, and a fellow at the Vermont Studio Center. Before coming to F&M, she taught at Oberlin College in Ohio, the Minneapolis College of Art and Design, Wayne State University, and the Moore College of Art and Design.