|Detail (!) from Mary Bullington, "The Devil's in the Details, Mr. Hicks"|
"And the Little Child with tiger, adder and gigantic beetle." -Mary
And this is also the Bullington-Youmans interview party, no. 1:
In response to a request to interview some of my painter friends, I have been interviewing Mary Boxley Bullington. As she, in turn, insisted on interviewing me, a part of the You Asked series will be composed of our questions to each other. Asker credit goes to Beth Adams! I'll be talking to other painters as well, some of them on my doorstep.
If someone asked me what quality is most fundamental to Mary Bullington's paintings and collages, I would say energy--that life riots through your work. When, as occasionally happens, you fall into abeyance, what slows you down?
Winter. And Summer. Literally--perhaps because of my schedule. I finish a body of work and have an open house in December, do the Christmas-present thing and wrap and ship, then either get sick and/or hibernate through most of January. (This January it was an "and.") And while I usually work well through the early summer, the heat and humidity in Virginia get to me by July. This summer I did a picture at the end of July that I called "Thank God July is finally over." (Will go see if I can hunt a photo of it up--. It got destroyed later. Or rather cut into two pieces--bottom half odd but may be viable. Don't like the top any more. Got painted spring green and became too sweet without the bottom 2/3ds.)
After a 3-week lull, I'm rusty and half-asleep, but I know the only way to get over that is to go back into the studio and start putting in some hours every day, like it or not. In this way I begin to work my way back until all of a sudden work is pouring out of me again 3 months later. At that point, I usually have a show, and have to decide which pieces are worthy and finish up odds and ends. This slows me back down. So there's a rhythm to my energy and the rhythm is usually seasonal.