|Hynes' art from present draws from family's past (SF Gate)|
|Written by Stephanie Wright Hession|
"With this new work, I started working more from my head, more abstractly. When we look at the past, we remember some things but our memories are all distorted," says Hynes.
With her most recent series, "Migrational Echoes/Mercurial Futures," a body of more than two dozen finely detailed monoprints featured in her current solo exhibition, she continues her exploration into these issues, placing the dialogue within the context of unpredictable outcomes.
"With this new work, I started working more from my head, more abstractly. When we look at the past, we remember some things but our memories are all distorted," says Hynes, 42. "In the present, we know what's happening, we know what's happening right now and the prints that I have in this show were made directly in the present. I just made them; I wasn't thinking about what I was going to make, I just made them. When we think about future things, we don't know what's really going to happen in the future."
Hynes and her brother Dan Homer, a social justice lawyer by day, also collaborated on "Clan Amnesis," a companion installation piece emphasizing the past and intermingling fabric, photography, a video montage and recorded conversation between the two siblings.
"We've been talking about doing this for about four years, and I've been working with fabric for a really long time, but I've never shown it before," she says. "He wanted to work with light, so he created these window panes with photographs and light, and I created a bunch of fabric pieces that went through a ton of transformations."
Working intuitively marks a fundamental shift for the San Rafael artist, who also radically changed her color palette for the new pieces. This transformation stems from her discovery of Wabi-Sabi, participating in a juried exhibition about the Japanese aesthetic at the O'Hanlon Center for the Arts and observing the springtime blooms of sage, lion's tail and lantana in her backyard.
"People were really surprised and shocked at how colorful they were, because my previous work was a lot darker. I was just ready to try something totally new. Also, I was dominated by the figure in my work for a really, really long time. I couldn't get around it-one figure or two figures-and I just really wanted to break away from that, and it just happened," Hynes says. "It was hard and it was scary at first, because you're going into the unknown when you do that, when you're not working from a figure and you're working from just your head and you have this palette in front of you, but I don't know, something just snapped."
Article by SF Gate
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