A Significant Conversation with Bex Wilkinson
Photo Credit: Lila Rae
*CW: mention of suicide
Bex Wilkinson is an American multimedia artist. Her art has been exhibited nationally and internationally. Her next exhibits are at Colorida Art Gallery, PAKS Gallery, and elsewhere. Bex is represented by Agora Gallery. I had the honor to ask Bex some questions about art and grief, what she wants her art to contribute to society and the origins of the Sun Valley Film Festival.
UZOMAH: How does art motivate you to move past grief and see the beauty in life?
BEX: Here is the first mistake we make. We label things as good or bad. I see grief as a beautiful element. It is not necessarily a pleasant emotion, but it is a necessary one if we are to grow as human beings. The grief I have experienced in my life (a few times over) has always opened the door to my creativity and if you will, “the larger picture.” We are here on this Earth for such a short amount of time. Often we get preoccupied with our daily routines. Although these routines give us comfort, and often, joy, they can be entrapments towards not looking deeper into our souls and really taking the time to stop, reflect and see what is most important to us in these fleeting lives we live. Art- all types, music, visual arts, writing, film, allows us the capability to express the inexpressible. They give us a palette, if you will, of symbols, which resonate with our own specific language. I don’t think we ever move past grief, we go through it and it becomes part of our very fabric.
"Hope" Acrylic and Gesso on linen 36x36"
U: What would you like to tell other artists about the benefits of doing art through grief?
B: For me, personally, I could not function in “normal” society after Caleb took his life. I was traumatized. Not to be too personal, but I will, he shot himself in the middle of an argument we were having. I was not in the room, per se, when he did it, but I did come back after trying to cool down to tell him I was going to yoga. He was dead. Very dead. I didn’t have the tools to deal with this situation, but I did. It is amazing how resourceful we can be when we are pushed to our limits. Everything and I mean everything, with the exception of the welfare of my children, fell into the background. I found myself not able to leave the space in which he died, and that is where I took a year and changed the space into an art installation. It wasn’t really therapeutic as much as it was cathartic. I could not handle “every day” chit chat and I suffered from PTSD following the suicide. I will say that art saved me. It was my parachute of sanity in a world I saw as disjointed and somewhat insane. If others can find some solace in creating while they experience heartbreak, trauma, or grief, then I say, “More power to them!” But I will also say this- it is not all you need to get through severe trauma. Seek help. Professional help. I did. Art alone cannot save us- it can only reflect back our own narratives and processes of healing.
"Petite Struggle" 60x84" 2021 Acrylic and Gesso on linen
U: How do colors represent emotion?
B: That’s a loaded question! I LOVE COLOR! Frida, Van Gogh, Beckman, Groz, all used bold colors to represent their emotional content. When I’m feeling meditative, often I will use a reduced palette of only gold, black, white- and I always have to throw in a little RED to spice things up! I’m not a pastel kind of gal! Although I do admire people who can use gentle colors to tell their stories, it is not mine. Mine is full-on in your face colors. Art can be an act of love, or anger, or even war if used correctly. I’m all for it!! If I were a cook, I’d probably use really bold spices- but, alas, I am not!
"Dead Bird" pastel on paper 2020
Little Birds
How fleeting is the little life
of a lovely little bird.
All feathers, fury and flight
Pack with spirit, songs and light.
From the shell to the sky,
Then to hell,
Don't ask why.
Little birds your life, it matters.
But then the force, it is shattered.
I saw a cat, a squirrel, a raccoon
Dead on the street in the moon's
Shadow of something that lived a
Life.
And now non-existent in the night.
U: How important is it for emerging artists to work amongst other artists?
B: I feel it is very important to work amongst other artist- emerging or not. I just finished a book about Georgia O’keefe and she seemed to be pretty much a recluse- not wanting people around her- or at least being very discerning about who she would let into her living space and studio. Privacy is of utmost importance to me when I’m working. But I feel that if you are to be an artist, it is important to be in dialogue with your viewer and other artists. Gosh, I wish I had lived in Paris in the 1930’s! To sit around with Peggy Guggenheim and discuss the nature of art with the likes of Jackson Pollock or Samuel Beckett- I missed out on that one! So all I can do is create my own community of artists. There are several where I live and we all support one another’s’ goals. Without that, art is a lonely road. That is why I gave it up in my 20’s- it was very isolated. That’s all changed now with texting and social media. We can stay connected- even if we are on our own in the studio.
"Pandamic Self Portrait" gouache 11x17"
U: What has been the most impactful part of your transition to becoming a full-time artist?
B: Time. I finally have time. I was so busy raising my family (which I LOVED doing!) and being a member of our community that I forgot about my own creative self. It took a terrible trauma as stated above, for me to return to my art. My kids are out of the house and I am single- so I have no one I need to answer to at this time (except my dogs!) I feel very fortunate to have this time now.
"Ode to Maryan" 120x60" acrylic on canvas
U: How much of an impact was being an adjunct student for Professor Lenny Long at Rhode Island School of Design?
B: On Lenny Long- I met him when I went to Rhode Island School of Design for a summer program. He was a damn good teacher: at least, for me. I haven’t been in contact with him for decades- maybe he’ll see this and reach out or maybe I will reach out to him! He really was good at pushing me to do my very best in whatever capacity that was. His words that he said to me and have been a guideline for my more technical work was “Don’t paint what you know. Paint what you see.” Try it. It makes sense. He also was very clear about not getting insulted if someone doesn’t care for your art. He always said, “If they don’t like your art, it doesn’t mean they don’t like you. Don’t take it personally.” Great words of wisdom!
"Happy Face" 30x40 "acrylic on canvas 2021
U: How did the founding of the Sun Valley Film Festival come about? What do you hope will develop in terms of providing opportunities for young filmmakers?
B: Sun Valley Film Festival- ( I recently have left the film fest but I’ll answer as I can!)-
When I moved to the town in which I live, Sun Valley, Idaho, it became apparent to me that there was a HUGE population of filmmakers. In fact, Sun Valley was built to be a ski resort for the celebrities of Moving Pictures originally. I had written a few screenplays when my children were young, and I have always loved film. I tried to start an independent film festival that didn’t take hold. After that I was involved in The Sun Valley Spiritual Film Festival when it was launched during His Holiness, the Dalai Lama’s visit in 2005. After a few years, it folded as well. I was approached to begin The Sun Valley Film Festival and I grabbed it by the horns. There were three founding members and the point was to honor what goes into making films- not necessarily celebrities. After Chairing it the first year, I then stepped back and started The Future Filmmakers Forum to train students grades 7-12 about how to apply their skills to actually submitting their student made films. It was really gratifying to work with the young filmmakers. I recently left the film festival after being whole-heartedly involved for the 10 years it has been around. I certainly hope the FFF continues. It is such a great part of this local film festival.
U: What do you want your art to contribute to the art world and also contribute to society?
B: I used to think if my art reached ONE person on this planet, then my work is done. Now I have more far reaching goals. But it was several people urging me to create that gave me the confidence that I had something worthwhile to say. Now that I am 55 years old, my goals are far different than what they would have been in my younger years. I have thought, “How well known would you like to be?” And that is not the point. However, having an audience who relates and resonates with what I have to say feels very reassuring to me. Art lives long after we’re gone. I would love for my work to speak to as many viewers as it can, and for it NOT to be put in a yard sale from my kids after I’m gone!
For more information and updates about Bex’s art please visit her site. Please follow Bex on Instagram also.
