At a reception for the Atlanta Artists Center last weekend, a painter with whom I’m often in juried exhibits complimented me on my submission (“White Zin”) and declared that I am NOT a collage artist but a painter.  I’ve always suspected that that was so, using the following as the first line of my artist biography:  “Cynthia Frigon uses the vivid colors, patterns, and textures of magazine and calendar artwork to substitute for pigment and brush strokes in her collages.”  So why does hearing it from a fellow artist–a painter–mean so much to me?

At the same reception I introduced myself to the woman who is charge of the Atlanta Artists Center’s exhibits, and she said that she already knew who I was and what I did, that she’d seen my solo exhibit at ART Station last summer.  She told me that I had taken a standard classroom exercise using torn magazine ads to create portraits and still life to an entirely new level.  (Ironically, I never got to do that assignment in school or in art classes! If I had, maybe I wouldn’t feel the need to do it now!)   She said she always looks forward to seeing what I’ll come up with next.   (She also gave me the “go ahead” to enter a collaged table to their next exhibit as “sculpture.”)

I am flattered by these compliments, and I realize that I need to get out more.  I need to expose myself to more interaction and criticism to overcome my insecurities about what I’m doing and why.  I’ve received two invitations lately to go international, and I have hesitated to follow up on either one.   I did submit an entry to the National Collage Society’s 2014 exhibit (to take place this winter in Colorado), but, for the most part, I’m still staying local.  I wish I could promote myself better and more consistently.  I wish I didn’t feel so torn between living my art and having a normal life . . . but maybe that’s a topic for another blog entry . . .

"Canadian Rocky Mountain High" (16x24), cut paper collage

“Canadian Rocky Mountain High” (16×24), cut paper collage


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