(above, top) Exit, graphite and colored pencil on paper with vellum envelope and ashes, 1983 (This is a study depicting movement through space within a specific timeframe. As the daughter of a physicist, I was captivated by Einstein's Theory of Relativity which says that time and space are linked together.)
From my years in Mr. Hodge’s class, I gained the fundamental skills, competencies, and conceptual foundation upon which to grow artistically and ultimately, to build a 40+ year career in the arts. I acquired a BS degree in Art Education and a MS degree in Adult Education and Human Resource Development. I moved from Wisconsin to New York City to Miami. I made my living as an independent artist, an art director, and an arts program director. I taught a wide assortment of visual arts to all ages of people in a variety of environments: from studio arts to digital media; from kindergarten to adults; from schools, to museums, art studios, universities and professional development programs. Whether I was acting as an art director, a program director, or an instructor, my approach was based on the tenets I absorbed from Mr. Hodge:
1) Allow participants to make personal choices.
2) Provide a variety of experiences and resources to inspire participants and spur exploration.
3) Encourage participants to objectively observe and to think critically about what they observe before embarking on any problem-solving or project.
4) Encourage diverse thinking.
5) Provide opportunities for participants to share with, lead, and learn from each other.
6) Pay attention to the process as much as the end result to encourage reflective thinking.
(left image, above) First Prayer, mixed media on wood with acrylic paint, polymer medium and neon, 1988, featured in the book “Contemporary Neon” by Rudy Stern, 1990
My studies of caddisfly cases led me to wonder what it means to be “Human.” For me, the answer lies in our conundrum that we are animals, but we also possess the capacity for godliness. In a series of studies, I used a simplified upright arch (similar to the arches found in religious architecture) as an icon for “Human” so that race, gender, age and other specifics were erased. These icons were set onto richly textured backgrounds built up of layers of natural material and lit with neon to imbue the material with a sense of unearthly presence. The neon also acted as an urgent, intrusive signal to man’s responsibility.
(right image, above) Vesta’s Altar, mixed media and polymer medium on wood and canvas with neon 1988, featured in “The Best of Neon,” edited by Vilma Barr, 1992
In a series I did on the Judeo-Christian archetypes of Martyr, Prophet, and Saint. I came upon an interesting ancient Roman myth about Vesta, the Roman virgin goddess of the hearth and Priestess of the Vestal Virgins. In the myth, Vesta is miraculously impregnated by the fire of her sacred hearth. Vesta was one of the twelve most honored gods in the Roman pantheon. She was considered the guardian of the Roman people and was so important to ancient Roman religion that when the Christian Emperor Theodosius the Great banned the worship of all non-Christian gods, Vesta was transmuted into the persona of the Virgin Mary.
Additional publications that featured my work include The New York Art Review, edited by Les Krantz, 1988; Japanese edition of Spy magazine, November 1989; The New York Times, Sunday, April 4, 1993; Somos, Argentinian magazine, October 1990; La Gazette, Auvers-sur-Oise, France, May 6, 1987 and many others.
Calamoceratidae: Phylloicus, illustration of a caddisfly larva case, graphite on paper, 1990
My brother, Rich, studied caddisfly larvae for their importance in freshwater biology. These invertebrates begin life as aquatic insects and transform into terrestrial/aerial insects. I was deeply impressed by the sophisticated cases that they build and live in throughout their larval stage and that protect them through their metamorphosis. Some cases have water filtering systems, others have trap doors, still others are studied by engineers for their incredible tensile strength. I saw these creatures as a metaphor for faith. If a tiny creature that has only a rudimentary nervous system and no brain can create such sophisticated structures and move from one element (water) to an entirely different element (land/air) with such apparent ease, certainly, we humans have within us all that we need to move through our stages of life.
(above, left) Commemorative brochure: two-color brochure printed in black and metallic gold; Janet Evans, artist; NYC, art direction; Dance Theater of Harlem, client; 1999
This was a limited edition commemorative booklet for the Dance Theater of Harlem’s 30th Anniversary.
(center image, above) Invitation to art gallery exhibition: Janet Evans. artist; Creative Central, Inc., Miami, Florida, creative direction; Bernice Steinbaum Gallery, client; full-color offset print with custom-printed puzzle, 2002
This self-mailing, double gate-fold invitation housed a custom-made puzzle of a painting by the exhibited artist.
(above, right) “Gameday” magazine: Janet Evans, artist; Professional Sports Publications Midtown Manhattan, NYC, art direction; full-color offset print with metallic silver spot color Detroit Tigers, client, 1999
This is a sample of a game day magazine for the Detroit Tigers Major League Baseball team. As Editorial Art Director, I oversaw the editorial design department and staff, and the design and production of over 250 publications per year for the NFL, NBA, NHL, MLB, and college sports, including game day books for college football bowl games (such as the Fiesta Bowl, the Rose Bowl, the Sugar Bowl, etc.) In 1999, we won two Graphic Design:USA awards from the American Institute of Graphic Arts for excellence in editorial design.
