American Dream Erin Currier peels away layers looking for the truth

by R. Scott Gerdes

One prevalent view of art is that it should be for its own sake - without purpose or worldly function, and regarded in total detachment from other things. Art, from this viewpoint, cannot be evaluated by its ability to folfill a purpose, but rather, be judged only by its ability to provoke feelings or emotion. This outlook upholds the notion that ares kingdom is "not of this world" because art is independent of the acci, dents of time and place, and.is above representation, sentimental emotion and morality.
It could be argued that every action and artifact has at least a minimal "political" component. This is particularly so of representations, because as such, they are-intentionally edited and shaped by the artist or author to coincide with an end purpose.
Not that ther&s anything wrong with a delicate landscape or a dancing abstract, but it
appears that, around here at least, restraint tends to be the norm. And while a rich portrait representing an exotic person of an American minority group may invoke feelings that confirm the viewer's impression of an established social system, it is unlikely that the portrait might motivate the viewer to question it.
In contrast, here lies the visual image intentionally committed to persuasion and education. Painter and mixed media artist Erin Currier cannot just create art for art's sake and be detached from life because the aesthetic realm does not stimulate the creation of her art.
What does stimulate her is traveling around the globe and observing humanity, especially "the human struggle against bondage and oppression."
Among the subjects of Curriees work in recent years includes the oppression of women in Afghanistan, African-American heroes of the Civil Rights movement in die United States (specifically those people who didn't get much space in school textbooks), human rights martyrs in Central America and the effect of consumerism on Western culture.
" The Other America," Currier's newest series, will be on display at Parks Gallery through the end of August. An opening reception takes place Saturday (Aug. 7) from 4 to 6 p.m.
" The Other America," attempts to reclaim the "hijacked term 'America' from its current, exclusive context."
All of our African, Asian, European and indigenous ancestors dreamed of the Americas in the context of freedom and liberation," Currier said. "Martin Luther King Jr. spoke of 'the dream' 40 years ago; European colonists dreamed it when they came to the Americas, then promptly stole it from the people they encountered here, as well as from the people they brought here and enslaved. 'The Other America' attempts to take stock of this dream, to examine to what extent this dream has been realized and to measure the magnitude of the inevitable struggle to come."
This work was inspired by a recent trek through South America, a land stereotyped as filled with evil drug lords, cutthroat bandits and vicious guerrillas. Conversely, the series is dedicated to those whom Currier did come into contact with as she traversed through Brazil, Argentina, Peru, Bolivia and Chile over a period of five months - the Quechuan women of Peru, Chilean school girls, a soccer team drawn from a poor neighborhood in Buenos Aires and shoeshine boys from the outskirts of La Paz, Bolivia.
" When I travel I approach a new journey pretty openly, or I try to. For example, when I went to India, it was everything I imagined and nothing I imagined," she expressed in a soft and airy, almost child-Iike voice. "When I went to South America, I was aware of the U.S. perceptions of pretty much anywhere south of the border, but I found it to be completely different. Each country (in South America) was completely different from the rest."
Currier recalled the people as being "highly educated, gracious, gregarious and handsome," but more importantly, "passionate."
" The women there are so strong and vivacious that even the frailest and oldest among them could have talked Rocky Marciano out of a victory," she relayed of her experience with the South American masses. "The men are macho, swaggering peacocks who, when they are not crying or fighting over soccer matches, debating Eastern philosophy or international politics, are cat-calling to, whistling at and, serenading women on the streets."
For Currier, these travels are not just a kind of hands-on personal education, they are missions to gather material for future artwork. With the use of acroc paints and trash that she scoops up on her journeys, she creates fascinating assemblages which contain layers of meaning and occasional humor. In her work, the viewer is called upon to not only respond viscerally but also to literally read it, pore over its surface for cues and symbols. They create a rich, highly dimensional experience which offer a great deal more than what may be observed at first glance. That, in a way, is just how Currier likes it.
Some of that source material was drawn from disconcerting imagery, such as pregnant teenage girls, dressed in standard Catholic school uniforms, in northern Chile. From that experience Currier created "Chilean School Girls," in which she meshed "nudie playing cards" and discarded advertisements for sex clubs into their pleated Catholic uniform skirts that were "very, very short." Other refuse used in the piece includes a Roe vs. Wade Poster and "Christian Girl Scout trash," producing a not so-subtle play on related issues.
Of her intent, Currier said she typically portrays "human and civil rights activities out of the packaging I collect from different countries. I'm going for social realism, although I wouldn't claim to have achieved it. It's a style I admire, like the work of Diego Rivera."
" Where to start?" began Parks Gallery owner Stephen Parks about Currier. "She is unusual in both her great skill and her political commitment of passions. Art seems so conservative these days. Shes not afraid."
As some scratching went on in the background of my conversation with Currier (she was applying a basecoat to a new work in progress), we talked about intent and more deeply on the subject of inspiring the masses. If a viewer doesn't see more than a wall decoration in her work, Currier won't go crazy, because in the end she's getting her political convictions out. But, she does see how art has the potential to be effective on a larger scale when it comes to politics. As a case in point she cited the 2003 incident in which Attorney General John Ashcroft ordered the "Spirit of Justice" statue be covered up because he couldn't handle the sight of her naked marble breasts.
" I think that is a good example of how art can be extremely effective in a political way," Currier said, suggesting that such a serious character flaw in one of our leaders is at the same time amusing and sad. "That statue was effective enough for those in power to feel the need to do something like that."
If just one of her pieces informs just ' one person, Currier would be happy in knowing that she filled a void.
" There were a lot of subjects I never learned about in school," she added. "I want to open the viewer's mind a notch. I try to introduce the people you dont generally hear about in public education." If Currier wasn't able to remain politically active through her art, she would"probably go to law school."
Parks said, "It's important to me that I trust the artists I represent. I trust that they are doing work with all the skill and passion they can muster, whatever the subject is, and are not on cruise control. I trust her, but that doesn't mean I necessarily agree with her politics. Nevertheless, I feel that what she's doing is important. Erin is a champion of the underdog and there's not many of those around in the mainstream."
To break down the separation and isolation between the creator and the viewer, and to have others 'infected" to react or at least cognizant that they could be infected, attests to the force of art.
Currier's works are indeed a force.

The Parks Gallery is located at 127 Bent Street. Call 505-751-0343 for more information.