On days when I cannot control the chaos in my brain, I sometimes turn to my desk drawer and tend to the chaos in there instead. Nothing like a bit of sorting and discarding to make yourself believe there can be order in the world, if only for two seconds.

This time I straightened out an accumulation of calendars; as regular readers know, I create one each year as a fundraiser for Streetroots, a PDX organization that produces a weekly paper, working with the houseless, and I also use them as gifts for the many people in my life who deserve one. Well, that sounds abominably condescending. Scratch it. Calendars make for good gifts, how’s that?

Last year’s calendar, Fusion, was all about showcasing some lovely birds I had photographed over time, putting them playfully into settings where they did not belong, still lives for the most part. Note the word playfully. It has taken me a long time to feel confident enough to work with birds without some intellectual excuse, given that the Portland slogan “put a bird on it” resonates with its sneer.

I had done two series with birds before, both concerned with the impact of environmental damage on avian populations, a serious enough concern to warrant working with birds. There was Dreaming, while snared, of Murmuration which displayed starlings symbolically netted.

And there was Denizens of Climate Change, which I had actually exhibited.

So, Fusion seemed like progress, psychologically, incorporating just something that I found beautiful and not in need of justification.

Well, that was short lived. I am working with birds again, this time for a more complex project where they are no longer the main actors, but part of a larger assembly of concepts that will tell a story. And wouldn’t you know it, the unease of being a woman artist who creates beauty with something that could be seen as cute, or pretty, lovable or simply chirpy, has returned in full force.

Pelicans (2023)

Of course, some multimedia artists seem to have no such qualms. Jamaican artist Ebony G. Patterson‘s powerful new show at the New York Botanical Garden is a case in point. (NYC friends, go see it!) Glitter-crusted wakes of vultures roam the flower beds, more than 400, as it turns out, and there’s a strange peacock to be found.

…things come to thrive…in the shedding…in the molting… points to the transitory nature of things, the uncanny intertwined with the undisputed beauty of the flora. There is no hesitation to use birds as messengers. Then again, the ones on display are quite symbolic birds, and not your garden variety starling and finches, golden or not.

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Female artists often have to contend with a kind of scrutiny that goes beyond what male artists experience. Their work is also still valued less than their male counterparts’, if you look at the rate of both exposure and compensation. (Ref.) Just look at the titles of what you find in the literature exploring this phenomenon. This is what randomly pops up at a first search about double standards.

Male artists dominate galleries. Is it because ‘women don’t paint very well,’ or just discrimination? (Ref.)

The staggering lack of female artists in America’s museums (Ref.)

Race- and gender-based under-representation of creative contributors: art, fashion, film, and music (Ref.)

The Dam (2023)

I’m happy to report, though, that we have a chance to look at the work of female artists across some part of our region, all in one place, likely to defy the gender stereotypes. If you have no other plans, make sure you go to the opening reception of Women Artists of the Gorge this Saturday, June 17th, at the Columbia River Gorge Interpretive Center Museum in Stevenson, WA. It’s a short and easy drive from Portland and the acres surrounding the museum offer beautiful vistas as well.

I will write about this show next week, when the crowds have dispersed. It is a gorgeous place out there, perfect for visiting, and, I happen to know, for photographing birds.

Music today is about Mozart’s starling. Explanation here.