{"id":654,"date":"2013-09-20T21:53:58","date_gmt":"2013-09-20T21:53:58","guid":{"rendered":"https:\/\/narrativenortheast.com\/?p=654"},"modified":"2014-01-12T15:31:46","modified_gmt":"2014-01-12T15:31:46","slug":"the-gift-menagerie-an-interview-with-artist-lori-field","status":"publish","type":"post","link":"https:\/\/narrativenortheast.com\/?p=654","title":{"rendered":"OTHER WORLD: A Conversation With Artist, Lori Field"},"content":{"rendered":"

In<\/strong> essence, we are all the ‘other’, and when we recognize this the world opens up.<\/b><\/b>–Lori Field<\/b><\/b><\/em><\/p>\n

\u00a0<\/b><\/p>\n

Pamela Hughes:\u00a0Your works are often magical combinations of human and animals for example; some of my faves: Little Babji, Pinky and the Brain, or Babes in the Woods that goes back from when you had a show at Bloomfield college in 2003. \u00a0 \u00a0How did these beings come to inhabit your mind and art?<\/strong><\/p>\n

\"Lorie_Field_Pinky_And_The_Brain\"<\/a>

Pinky And The Brain<\/p><\/div>\n

LF<\/strong>: By the way, in Pinky and The Brain, do you know who is The brain and who is Pinky?<\/p>\n

PH: No, who is who?<\/b><\/p>\n

LF:\u00a0 The flamingo is the Brain and the other one is Pinky.\u00a0 It would stand to reason that the flamingo would be Pinky.\u00a0\u00a0 I like to put ironic twists\u00a0 in my titles. Little Jokes. \u00a0 To have fun with them. \u00a0I appreciate puns, plays on words \u00a0 For example, one title is, \u201cYou\u2019re No Bunny Until Somebody loves You.\u201d\u00a0\u00a0 Sometimes what inspires me to create a piece is a having a title in mind that I like. \u00a0I did this show in Nashville called \u201cI am Curious Yellow,\u201d which is an old porn movie from the 70s–which I\u2019ve never seen–but I wanted to embrace this color and create a whole show around it because of the title.\u00a0 <\/b>Sometimes I have titles that I can\u2019t wait to create the art for.\u00a0 Like The Teflon Don.\u00a0 And it will not be image of John Gotti. \u00a0I like the tongue in cheek thing. \u00a0Though every surface indication about it will say otherwise, there will be a connection, but not an obvious one.<\/p>\n

<\/b> PH: \u00a0\u00a0So the is subtext is the connection.\u00a0 It could be ironic, comic or mythic\u2014and is often playful.\u00a0 Playful is always good.<\/b><\/p>\n

\"Babes<\/a>

Babes In Woods<\/p><\/div>\n

<\/b> LF: I have a lot of fun.\u00a0 This is my play.\u00a0 It is also my spirituality. \u00a0The anthropomorphism is like Native American myth making. \u00a0I am very influenced by mythologies from all over the world and different time periods.\u00a0 A lot of them have animal imagery or gods and goddesses. \u00a0I first started \u00a0getting interested in the animals of the Chinese zodiac.\u00a0\u00a0 Then I started to read about Native American myths.\u00a0\u00a0 I was drawn to totem animals\u2014animals as symbols. I was very drawn to animals and they rapidly became a way to interpret human emotions. \u00a0They became symbolically emotive personifications of human traits–a rabbit can representative of fearfulness, tigers of fierceness or protectiveness. \u00a0 \u00a0Pigs are an interpretation of indulgence or hedonism. \u00a0However, animals have different range of emotions that they can express, not just one. \u00a0 \u00a0The combination of humans and animals are archetypes–they become like my own little set of gods and goddess.<\/p>\n

\"Babji\"<\/a>

Babji<\/p><\/div>\n

PH:\u00a0\u00a0 A sort of mythological cast of characters.<\/b><\/p>\n

LR: \u00a0That\u2019s a good way of putting it. \u00a0\u00a0I wanted to say one more thing about my use of animal imagery very often I use animals that don’t make a sound make sounds like rabbits, giraffes, deer. \u00a0I either use an animal that makes a big sound–like a tiger–or animal that makes no sound. \u00a0 \u00a0I like the hyper-awareness of listening. \u00a0Rabbits have this giant hyper awareness with their ears. \u00a0Of course all animals can hear better then we can. \u00a0I love to use animals that make no sound or cry out. \u00a0 They have this presence–a power that comes from listening and not speaking.<\/p>\n

PH: I’ve noticed that the subjects of\u00a0your art pieces are very diverse kinds of people.\u00a0\u00a0 How or why does multiculturalism play into your vision as an artist?\u00a0<\/b><\/p>\n

LF:<\/strong> When I first started making these pieces 15 years ago I only seemed to include Asian faces. I think it was a past life.\u00a0 \u00a0I have always had an affinity for 1920’s China,\u00a0especially the Shanghai Girls posters from that era. So I started off using those faces in my work. Then, I expanded and started to include faces from other cultures, Africa, South America, and faces from the past, 1920’s flapper portraits or 1920’s. \u00a0French pornographic cabinet cards in particular. \u00a0I did this because I started feeling it was too much of one kind of face.\u00a0\u00a0 I wanted the work to feel more universal–to reflect the human condition. \u00a0 I began looking for anything outside of mainstream WASP sensibilities in an effort to exaggerate the ‘other’ characteristics in the figures.<\/p>\n

PH:\u00a0\u00a0 Speaking of the other, after seeing your show,\u00a0Becoming Animal<\/i>,\u00a0at Westminster Hall at Bloomfield College back in 2003,\u00a0I started to have my creative writing students choose one of your art pieces and write a stream of consciousness poem about it.\u00a0 \u00a0At first the students had a general response to your work–that it was weird, or disturbing.\u00a0 \u00a0 I interpreted this that they were afraid of what they didn’t know about the other–both outside and within themselves. \u00a0 After they wrote their poems\u2014made a connection and got an understanding of the other figure–and I like to think \u00a0about themselves–there was almost with a kind collective of sigh of relief.\u00a0 \u00a0 Can you touch on this frightening other?<\/b><\/p>\n

LF: <\/b>\u00a0 I think the initial reaction of your students is a universal one when confronted with the strange, the different or the outcast. People recognize something of themselves in a depiction of the other and they become either subconsciously or consciously repelled. \u00a0 This is because on some level they know what it is like to be ridiculed, singled out as different, shunned or treated with prejudice and they don\u2019t want to deal with that. The success of Reality TV in my opinion is successful because of this.\u00a0\u00a0 The people we are watching are laughable, ridiculous, and strange–we, the viewers can feel safe; so we are okay. My work elicits the same responses at first. Those creatures are odd, people think: I don\u2019t want to recognize myself in them. I want to separate myself from their predicament. <\/i><\/p>\n

Upon closer inspection or intimacy with their subject\u2014the writing of the poem about it–a realization and a self-recognition probably took place. A curious emotional bond might have occurred, and what was alien at first becomes familiar, and accepted. The same way a person can be prejudiced against a group of people, but when they get to know someone individually from that group, their attitude towards them changes. A person who treats gay people differently, less than or as the other, might change their approach if they find out a treasured member of their family turns out to be gay.<\/p>\n

\"Lori

New Work at Lori’s Studio<\/p><\/div>\n

PH:<\/b> \u00a0 \u00a0That\u2019s a profound recognition.<\/b>\u00a0\u00a0 One of my students who wrote one of the stream of consciousness poems said he met you.\"Lori<\/a> <\/b><\/p>\n

LF:<\/b> He worked at Mail Boxes Etc! \u00a0I had been going there literally for years \u00a0 I send my artwork through there.\u00a0 I do my Xeroxing there.\u00a0 He was not unfriendly but was very business-like. \u00a0He didn’t know what I did. \u00a0And then one day when I was making copies he said to me, “Mrs. Field I just wanted you to know I didn’t know who you were before, but I saw all your work. \u00a0I take this class at Bloomfield College and saw all your work!” \u00a0\u00a0 He was pretty much gushing and prior to that he was removed and business like as you can be. \u00a0 \u00a0We had this nice conversation.\u00a0 I already knew what you were doing with your students.<\/p>\n

PH:\u00a0 A connection through art. \u00a0 Your work must have really resonated with him. \u00a0<\/b><\/p>\n

LF: \u00a0 Which pieces were you showing the students–the older work?<\/p>\n

PH:<\/b>\u00a0 Both the older, and more recently, the newer work from your portfolios\u00a0\u00a0 As \u00a0I said, a lot of times students think new things are strange at first–especially if they are not into the arts or literature.\u00a0\u00a0 They tend to think one dimensionally, but after they explore a work of art\u2014let\u2019s say a poem\u2014or in this case one of your pieces–they start to build some layers of meaning, to open up.<\/b><\/p>\n

LF:<\/b> That\u2019s the other thing about of my work.\u00a0\u00a0 I like the idea of pulling someone in with something beautiful and then clobbering them over the head. \u00a0To try to force that opening.\u00a0 The beauty in the work needs to be seductive.\u00a0 \u00a0Especially for the people that haven’t been exposed to art that much.\u00a0\u00a0\u00a0 On one level, they are drawn in, but will still say things like: \u201cthat is really weird! \u00a0I don’t know I can deal with that!\u201d \u00a0 That is my intention.\u00a0 I want them to be shocked by it.\u00a0 But not shock for just for shock value alone, I want them to think the art is beautiful and be touched by it. \u00a0 Sometimes the things that are the most beautiful are the things that are most strange \u00a0 You don’t get to say what is beautiful by these hallmark card ideas or by top model beauty standards.\u00a0 Sometimes beauty is something very very different. To me it is like opening your eyes to what beauty really is. My mother is very conservative. \u00a0The other day I posted one of my images that had a little bit less strangeness to it.\u00a0 I did it for a show in Berlin where the focus was about Hollywood movie stars. \u00a0 I put Merle Oberon\u2019s face in it surrounded by all these flowers.\u00a0\u00a0 And my mother called me up all excited.\u00a0 \u201cOh my god,\u201d she said \u201cthis one is so beautiful!\u00a0\u00a0 It is so different then the other ones where you have where all this strange things growing out of their heads.\u00a0I said \u201cyes, mom that is nice, but did you notice that she had thread sewn all over her face–that she has tattoos made of thread? \u00a0She was like \u201cI didn\u2019t notice that because it was so beautiful!\u201d<\/p>\n

PH:\u00a0 Art should shake us from complacency.\u00a0\u00a0 Now more than ever, it seems like many people just want to absorb information from TV and computer, smart phones– just sit around doing this for long periods of time, which is really doing nothing.<\/b><\/p>\n

LF:<\/strong>\u00a0\u00a0 Art can shift us from our narrow parameters.\u00a0 Again, we are learning about the other, the intimate stranger.\u00a0 In speaking to the your earlier question about the other, I really want to address the idea that people in society are being marginalized for their differences.\u00a0 It\u2019s absolutely diabolical how groups are being targeted for their otherness, whether they be minorities, or an ethnicity, or gay. \u00a0Just people who are different in some from what is way not \u201csanctioned\u201d by our society. \u00a0It seems like we\u2019ve gone into this retroactive phase, a reactionary phase, where people are being treated worse again.\u00a0 \u00a0We\u2019ve made some strides, but now we\u2019ve taken so many steps back. \u00a0 It is alarming \u00a0 I really want the want the figures that I am putting out there to address this otherness.\u00a0\u00a0 They are exaggerated for this reason.\u00a0 I want people to identify with these figures–to be weirded out and then to recognize themselves. \u00a0Because we are all the other.<\/p>\n

PH:\u00a0 That\u2019s where I get a sense of the so called quantum consciousness about your work–not only does it embrace diverse people but also animals and the connection between all things. \u00a0\u00a0\u00a0Can you speak to that? <\/b><\/p>\n

\"art,<\/a>

Love and Fear, Love or Fear<\/p><\/div>\n

I have an absolute reverential feeling for animals.\u00a0\u00a0 They are here for significant and profound reasons.\u00a0 I did one really large piece called \u201cLove and\u00a0 Fear, Love or Fear\u201d that was done specifically because I had been working on a solo in New York and I was working so hard that weekend when one of my beloved animals become ill and I figured, I\u2019ll take her to the Vet on Monday.\u00a0 I was too fearful that I wouldn\u2019t to get things done on time.\u00a0\u00a0 It was a holiday weekend so it ended up being four days instead of two.\u00a0 When I dropped her off, I thought: we dodged the bullet<\/i>, but she died overnight. \u00a0\u00a0I considered her to be my equal companion, and I chose fear over love.\u00a0 I still could cry when I talk about it now.\u00a0\u00a0 You can choose love or fear, but you are always better off choosing love. \u00a0\u00a0That\u2019s what that question invokes in me. \u00a0Yeah, they are right up there with us, animals.\u00a0 Sometimes I think they are superior in a lot of ways.<\/p>\n

PH:\u00a0\u00a0 I have to agree.\u00a0 Animals don’t kill for the pleasure of killing.\u00a0 Sometimes cats will play with small creatures, but generally animals only kill what they need to eat.\u00a0 Animals don\u2019t create the destruction to the planet we humans are creating. \u00a0<\/b> But getting back to the creation of your art, Jung said “the creation of something new is not accomplished by the intellect, but the play of instinct acting from inner necessity the creative mind plays with it loves.” \u00a0 Your art has a Jungian feel to it–do you ever dream of your art pieces?<\/strong><\/strong><\/b><\/p>\n

LF<\/strong>: I do not, but when I\u2019m in the shower, everything comes to me.\u00a0 I\u2019m going to invent a writing pad to take it into the shower [Laughs]. Because I have the most amazing ideas there.\u00a0 \u00a0I\u2019ve learned that I\u00a0 need a paper to write it on.\u00a0\u00a0 I\u2019m dripping on as I write it.\u00a0 \u00a0[Laughs] \u00a0It is kind of like when people have a dream journal beside their beds and they need to jump up to write down their dreams before they are lost.\u00a0\u00a0 There is some kind of primal thing about water that does this for me.\u00a0\u00a0 \u00a0It\u2019s probably because of the spirituality of water. \u00a0 I have an affinity for it. I was raised in Florida .\u00a0 The Gulf of Mexico is precious to me.\u00a0 \u00a0I don\u2019t dream about my work but, I have day dreams about my work in<\/i> the water.<\/p>\n

PH: \u00a0So what other things inspire you?\u00a0 Who are your artistic influences?<\/b><\/p>\n

LF<\/strong>: Oh that\u2019s easy.\u00a0\u00a0 My top three are Hans Holbein, Kiki Smith and Henry Darger. \u00a0 \u00a0Darger is probably on top of the list.\u00a0\u00a0\u00a0 He was an outsider artist who didn’t even know he was an outsider artist.\u00a0 He was a marginalized person living as a janitor his whole life in Chicago and when he passed away his landlord went into his apartment and found an amazing treasure trove of the work he had been doing his whole life. \u00a0 He also wrote a book this about this big [holds hands about a foot apart] about an\u00a0 entire mythic world \u00a0It was called something like The Vivian Girls Vs. the Glandeco-Angelinians. <\/i>\u00a0\u00a0He was quite crazy, but not in an aggressive way. \u00a0 He had never had any training, but he was compelled to make these impressive pieces kind of like scrolls. \u00a0 He would take children\u2019s coloring books and use the figures to create the world that he wrote in the book \u00a0\u00a0He is my major influence and speaks to me on deep level.. See that piece over there with the sheep?\u00a0 [Points to a studio wall behind me]\u00a0 It\u2019s a piece of a little girl figure who is wearing a dress and has this tiny penis peaking out. \u00a0Darger did this a lot with these girls in baby doll dresses.\u00a0 They would often have ram horns and tiny penises. \"Lori<\/a><\/b><\/p>\n

PH:\u00a0 Hermaphrodites?<\/b><\/p>\n

LF<\/b>: \u00a0Yes, he did this very hermaphroditic thing. \u00a0\u00a0<\/b>The pieces are very strange.\u00a0\u00a0 They seem to tap into the collective unconscious.\u00a0 Switching to Holbein, he did portraits that were so beautifully detailed that almost hyper real. \u00a0 \u00a0I love history and that he did portraits of historical figures and captured them so intensely you felt you were in the room with them just blows my mind. \u00a0 I could stare at his work all day.\u00a0 I left off a host of other influences.\u00a0 And then Kiki Smith is a contemporary artist, who does print making, sculpture, does a lot of mythological pieces related to the body and feminism.\u00a0 She is just incredible and extremely prolific.<\/p>\n

PH: \u00a0Any suggestions for teens or young adults that want to become artists?<\/b><\/p>\n

LF<\/b>: \u00a0Grow a thick skin! \u00a0Do what you love and the rest will follow. \u00a0Never give up. It is very hard to be an artist of any ilk: writer, visual artist, actor. \u00a0 There is tremendous competition. \u00a0People envy the connection that artist\u2019s have with their inner life. \u00a0\u00a0The working world cuts you off so much from that, that it\u2019s appealing to see that artists still have that. \u00a0\u00a0That could manifest in a lot ways.\u00a0\u00a0 Sometimes people outside of the art world will put artist\u2019s down.\u00a0 I think they want them to feel-less-than, because they are not able to get in touch with that.\u00a0 They are not even speaking the same language anymore. I would tell a young person to be persistent. \u00a0 Also know when to let your art evolve. \u00a0Find people that in your corner that understand what you are trying to do.\u00a0 If it is really your calling and you stick with it, you will find the way.\u00a0 Another thing, don’t copy other people. \u00a0That\u2019s important. A friend of mine, who is an artist, was devastated when she took another artist under her wing and that person started doing work that looked exactly like hers. \u00a0And<\/i> she is also showing her work.\u00a0 That is a problem.\u00a0\u00a0 \u00a0So it is the worst thing you can do, not only for the other person you are copying, but for you. \u00a0 You can lift a little inspiration here and there, but find your own voice or vision.<\/p>\n

PH: \u00a0I love that art can help a person find their own voice or vision.\u00a0 We touched on this indirectly, but can you speak to arts as catalyst for positive change in the world?<\/strong><\/p>\n

LF:<\/b> \u00a0\u00a0Oh yes!\u00a0 A lot of my work inspired from stories I hear about in the news and the desire to elicit change. \u00a0I see a lot of navel gazing in the art world these days and less work about political situations or about affecting social change.\u00a0 Every once in a while you will see it and there needs to be more of that actually<\/p>\n

PH:\u00a0 \u00a0Is there a single message or theme that you would like your viewers of your artwork to get?<\/b><\/p>\n

LF<\/strong>: \u00a0 My work is always about vulnerability in some way.\u00a0\u00a0 It\u2019s about so many other things, but a reoccurring thread, to distill it down to one word, would be vulnerability. \u00a0 It is the human condition. \u00a0We are all out there and you can make a fuss or put on whatever protective mask you want to wear, but if you scratch the surface that fact is it always there. So people wear their power suits like armor. \u00a0I’m going doing a series of jewelry pieces that will become part of an art installation called \u201cThe Attack of the Killer Business Men.\u201d \u00a0It will have anthropomorphic figures and be about power versus vulnerability.\u00a0 \u00a0Who is really powerful?\u00a0\u00a0 In our society, we have our mythic characters.\u00a0 We have our Wall Street bankers.\u00a0\u00a0 That is our contemporary mythology. \u00a0 \u00a0\u00a0It\u2019s real\u00a0\u00a0 And at the same time it\u2019s not real. \u00a0When you take away all the trappings–the facades–we are all equivalent.\u00a0<\/b><\/p>\n

PH: \u00a0 I guess you could say that the mythology of your art\u2014like the power of all art\u2014can be a kind of counter balance, a sort of equalizer.\u00a0 \u00a0It does seem to have an effect on people. <\/b><\/p>\n

LF<\/strong>: The symbolism of my figures works on the subconscious level.\u00a0\u00a0 I was doing this show at college gallery in New Jersey.\u00a0 It was Fairleigh Dickinson. \u00a0The name of the show was Other World.<\/i>\u00a0 \u00a0The gallery was a walk through space. \u00a0People weren’t necessarily seeking art when they would pass through. \u00a0 A few weeks later, I got an email from a woman who worked at the school. \u00a0She was someone who never looked at or liked art.\u00a0 But as she walked through the gallery to get to work, she fell in love with this piece, a little animal anthropomorphic drawing with a piece of animal in rabbit in with wings. \u00a0I actually have the collage here if you want to photograph it. \u00a0\u00a0She was so taken by it that she tracked me down and bought the piece. \u00a0She said never in a million years would I think that something like that would speak to me, but it was screaming out to me as I walked past.\u00a0 \u00a0That is the effect that I would love my art to have on people, to touched by\u2014even if they are not \u201cart\u201d people–and don’t even understand why.<\/p>\n

\"Flora\"

Flora<\/p><\/div>\n

PH: \u00a0\u00a0\u00a0And that was Flora?<\/b><\/p>\n

LF: \u00a0<\/b>Yes.<\/b><\/p>\n

\"Lori

Lori Field, Girlfriends with Flora figure<\/p><\/div>\n

PH: \u00a0\u00a0I\u2019ve written about Flora.\u00a0 \u00a0I\u2019ll have to send you that poem<\/b>.<\/p>\n

LF:<\/strong> \u00a0\u00a0Here, let me bring it over so you can see it. \u00a0[Goes to get the framed collage]\u00a0 \u00a0One of the original ones was called Flora and Fauna.<\/p>\n

PH:\u00a0 \u00a0I saw another of the originals at Westminister Gallery. \u00a0Flora was on slate.\u00a0 I took a photo of it on the wall and then wrote a poem about it.<\/b><\/p>\n

<\/b> LF<\/strong>: Was it the big one or the smaller? \u00a0\u00a0Because I did both.<\/p>\n

PH: It was the little one.\u00a0\u00a0<\/b><\/p>\n

<\/b> LF<\/strong>:\u00a0 \u00a0That\u2019s the one the woman bought!<\/p>\n

PH:\u00a0 That\u2019s pretty amazing.\u00a0 It\u2019s a synchronicity–Jungian.\u00a0\u00a0 That you\u2019re telling me about a woman who became so connected to Flora that she had to buy it–and that it was the same piece\u00a0that also captivated me and has become a part of my own art.\u00a0 <\/b><\/p>\n

PH: \u00a0I noticed that in this Flora, the deer has\u2026 [pauses]<\/b><\/p>\n

LF:<\/strong> . — A female body<\/p>\n

PH: \u00a0\u00a0\u00a0And also pubic hair.<\/b><\/p>\n

LF<\/strong>: The symbolic bush. [Both laughing]<\/p>\n

PH<\/strong>: I have a poem called Vote Bush.\u00a0\u00a0 The title appears to be asking people to vote for George Bush, but it\u2019s really asking people to vote for femininity, to honor the female body, to bring life into the world instead of destruction, war. \u00a0\u00a0It\u2019s kind of funny.\u00a0 \u00a0A poet named Joan Larkin said that when she read it she couldn\u2019t stop laughing.\u00a0\u00a0 \u00a0Also, I guess we should vote that back in instead of all the shaving.<\/p>\n

LF<\/b>: I think the young women are starting to revolt.\u00a0 My daughter actually did an art project at Pratt–I guess you could say\u2014in protest of that.\u00a0 \u00a0\u00a0\u00a0I always think, what if we have an economic collapse?\u00a0 What if you can\u2019t get money from the ATM machine?\u00a0\u00a0 Are you really going to spend your last few dollars so you can go out to buy a kit so you can get a Brazilian?\u00a0 [Both laughing.]<\/p>\n

PH<\/b>:\u00a0\u00a0 \u00a0Your funny!\u00a0 <\/b>I would love to see your daughter\u2019s art work on that theme for a woman\u2019s issue I\u2019m thinking about doing for the next issue of Narrative Northeast. \u00a0But since we are on topics womanly, your art also seems art seems grounded in some kind of feminine mythos. \u00a0How does that or female empowerment play into your creations? <\/b><\/p>\n

\u00a0<\/b> LF:<\/b> \u00a0It\u2019s very interesting.\u00a0\u00a0 A few years ago I had an open studio here.\u00a0 There was only one guy in the room. He was looking around while the women in the room were talking.\u00a0\u00a0 He looked at one of my pieces and looked back at me, and then he said, \u201cYou don’t have any male figures in your work.\u201d \u00a0 \u00a0At first that came as a surprise to me, then I realized that it was true.\u00a0 If they are in my work, they are effeminate, boys or non-specific in gender.\u00a0 It wasn’t something that was intentional. \u00a0 But ever since he brought that up, I\u2019ve embraced it. \u00a0 \u00a0I don’t think of myself as a feminist but of course I am. I have two daughters.\u00a0\u00a0 I\u2019m conscious of the things feminists are conscious of.\u00a0 I am female after all, and these things affect me as well.\u00a0 It\u2019s not part of my conscious thought process when I am creating my art, but if it does speak to people on that level than I am very happy. \u00a0 The figures are a kind of female shaman figures. \u00a0 They are very powerful in their own way, but they can also acknowledge their own vulnerability.\u00a0\u00a0 This is part of their strength. \u00a0 \u00a0The same goes for all women.<\/p>\n

\"THREE<\/a>

THREE TWINS<\/p><\/div>\n

\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

In essence, we are all the ‘other’, and when we recognize this the world opens up.–Lori Field \u00a0 Pamela Hughes:\u00a0Your works are often magical combinations of human and animals for example; some of my faves: Little Babji, Pinky and the Brain, or Babes in the Woods that goes back from when you had a show [&hellip<\/p>\n","protected":false},"author":1,"featured_media":479,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[39],"class_list":["post-654","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-creative-nonfictionmemoir","tag-lori-field"],"_links":{"self":[{"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/posts\/654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=654"}],"version-history":[{"count":10,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/posts\/654\/revisions"}],"predecessor-version":[{"id":1408,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/posts\/654\/revisions\/1408"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=\/wp\/v2\/media\/479"}],"wp:attachment":[{"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/narrativenortheast.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}