nostalgia

Mixed Media, Sculpture

Vignette: Miranda Becht

"The sweet nostalgic sadness of something lovely and lost. (Order)" by Miranda Becht, 13x68x5in, tinted cast resin, flocking, lace, shelves (2016)

"The sweet nostalgic sadness of something lovely and lost. (Order)" by Miranda Becht, 13x68x5in, tinted cast resin, flocking, lace, shelves (2016)


“An imagination is a powerful tool. It can tint memories of the past, shade perceptions of the present, or paint a future so vivid that it can entice… or terrify, all depending on how we conduct ourselves today.”– Jim Davis, from Garfield “Alone,” October 23, 1989


Artist, Miranda Becht

Artist, Miranda Becht

Miranda Becht is having a moment. One of only three students in the University of Louisville’s MFA program at the Hite Institute of Art, she is taking her three degrees and wasting no time positioning herself to have a positive impact in the Louisville and Southern Indiana arts community. This fall, she will be teaching foundation art courses as an Adjunct Professor at Bellarmine University, and be working as a instructor in LVA’s Academy program for high school students. She also has recently been offered an adjunct position at IUS. At the same time, she will a part of the St. James Court Art Show Emerging Artist Program and has been commissioned to create public art through the Jeffersonville Public Art Committee, Powering Creativity.

Becht’s work has largely been installation based, exploring how memory and nostalgia form our idea of the past: “I have always seemed to long for some sort of metaphorical home located somewhere in the past. Homesickness is defined as the longing for a particular home, nostalgia as a longing for a lost time. Nostalgia may carry with it a yearning for home, but it is a home faraway in time rather than space. Nostalgia, oftentimes used to refer to something sweet and pleasant, is bittersweet. It is the longing for something that is unattainable.”

"I can feel your sweet decay." by Miranda Becht, 38x73x73in, wood, sticker paper, acrylic paint, cast resiin, linoleum, found objects (2017)

"I can feel your sweet decay." by Miranda Becht, 38x73x73in, wood, sticker paper, acrylic paint, cast resiin, linoleum, found objects (2017)

“As a society we tend to idealize our vision of the past, particularly our vision of home. Our idealized notion of home presents itself as a supposedly traditional form of domestic life, but bears little relation to the way people actually lived. This concept of a cozy home full of family love is an invented tradition. Inevitable in our linear understanding of time, we are constantly being uprooted from home and from the past. Because of the fallibility of our memory, the past and home as we remember them, no longer exist. I mourn for a home that perhaps I never had.”

"The sweet nostalgic sadness of something lovely and lost. (Order) (detail)" by Miranda Becht

"The sweet nostalgic sadness of something lovely and lost. (Order) (detail)" by Miranda Becht

Becht cites “The pleasant, nostalgic sadness of something lovely and lost. I would sit and play with an odd, white vessel, full of wonder about its use and its origin. This vessel seemed so big, so white and pure, so curious. My grandmother told me it was a bedpan, but it wasn’t until much later in life that I realized just what a bedpan was. My most cherished childhood memory is soiled with urine and feces. Lost innocence often takes the guise of idealized memories. My work is a vehicle for my fetishized, fragile memories. I am pressured to be the object of desire… this untrue illusion, the ideal.”

Becht’s work is filled with mid-20th century design layered with a cotton-candy colors (she seems especially fond of pink), which adroitly captures the unique collective memory of what is arguably the most idealized period in modern American history, the 1950’s. The artist reminds us that what seems too good to have been true, often is.

Age: 31
Education: MFA Sculpture, University of Louisville, 2017; BFA Ceramics, Indiana University Southeast, 2012; BA Printmaking, Indiana University Southeast Minor Psychology, 2012
Instagram: https://www.instagram.com/Miranda.indiana/

"I can feel your sweet decay (detail)" by Miranda Becht

"I can feel your sweet decay (detail)" by Miranda Becht

"In Hiding" by Miranda Becht, 119x64x24in, wood, cast resin, acrylic paint, shag carpet, embroidery floss, light fixture (2017)

"In Hiding" by Miranda Becht, 119x64x24in, wood, cast resin, acrylic paint, shag carpet, embroidery floss, light fixture (2017)

"Underside" by Miranda Becht, 96x96x66in, wood, screenprint, cast resin, rug, embroidery floss (2016)

"Underside" by Miranda Becht, 96x96x66in, wood, screenprint, cast resin, rug, embroidery floss (2016)

"What’s a dream and what is real? (Entropy)" by Miranda Becht, 84x54x6in, wood, cast resin, hydrocal, embroidery floss, lace (2016)

"What’s a dream and what is real? (Entropy)" by Miranda Becht, 84x54x6in, wood, cast resin, hydrocal, embroidery floss, lace (2016)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Are you interested in being on Artebella? Click here to learn more.

Painting, Public Art

Vignette: Sabra Crockett

"Mural at Le Moo" by  Sabra Crockett , 14x12ft, acrylic on brick, NFS

"Mural at Le Moo" by Sabra Crockett, 14x12ft, acrylic on brick, NFS

Sabra Crockett has worked extensively on public art of one kind or another: as a scenic artist, a muralist, sign design, and in her more personal art she turns to the natural world, motivated by memory and childhood nostalgia: “My focus in my art is to bring the viewer a heightened awareness and connection to nature, because I believe it is disappearing. Since I was a little girl, I have always found refuge being outside with the birds and trees. Growing up was really tough. Family life was tumultuous, and I had no true friends. I would spend hours in my back yard, or exploring the then empty lots of undeveloped fields surrounding my suburban neighborhood - observing the birds, trees, insects, and amphibians. It all fascinates me. I learn life lessons by observing the plants and animals.”

There is a discovery of recurring pattern that has perhaps informed Crockett’s work, whatever the field. She has developed her technique for decorative painting from this observation, bringing a feeling for organic rhythms of our environment into interior spaces. 

"I Stand Alone" by Sabra Crockett, 18x24in, acrylic on canvas, $490  |  BUY NOW

"I Stand Alone" by Sabra Crockett, 18x24in, acrylic on canvas, $490 | BUY NOW

Not surprisingly, we also find an undercurrent of sensitivity to the threat to that natural world that has preoccupied us for the last few generations: “I find it all beautiful, even when it is cruel and terrible. However, there is a definite threat to the magic and lessons nature provides. I am aware of the over development of the land, the oil spills, the pesticides, the bee and bird populations plummeting. It terrifies me. For now, I have a desire to capture the essence of how I view nature through my paintings, and hope it inspires the viewer to remember the intrinsic value nature provides us all.”   

Hometown: Rochester, New York
Age: 42
Education: BFA, Rochester Institute of Technology
Website: http://www.sabralynne.com

"Raven on Gold" by Sabra Crockett, 8x10in, acrylic and gold leaf on canvas, $460 |  BUY NOW

"Raven on Gold" by Sabra Crockett, 8x10in, acrylic and gold leaf on canvas, $460 | BUY NOW

"Arms Wide Open" by Sabra Crockett, 43.5x73in, acrylic and gold lead on wood, $1650 |  BUY NOW


"Arms Wide Open" by Sabra Crockett, 43.5x73in, acrylic and gold lead on wood, $1650 | BUY NOW

Are you interested in being on Artebella? Click here to learn more.

Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

Please contact    josh@louisvillevisualart.org    for further information on advertising through Artebella.

Please contact josh@louisvillevisualart.org for further information on advertising through Artebella.