Published April 5, 2004
The Astrophysicist & The Ant (diptych) by Nancy CarriganWith a few twists of skill and a grand imagination, artist, novelist and poet Nancy Carrigan takes microscopic-scale images and merges them with a view of the universe at large. She sees an insect walking across the lawn and compares it with physicists who seek to understand the mysteries of space and time. These thoughts, and the resulting images, create a powerful fusion of the personal with the infinitely large and epic. Her art merges people, objects and concepts in the most unexpected of fashions.
Her work often asks, "Who are we? What are we? Where are we going?" — her poetic nature leads her to add the post-script: "And what is the beauty in all this?" Carrigan's art combines many elements and sources, ranging from modern dance to modern physics, from Classical and Renaissance art to the cubistic and the surreal. It involves literature and music, politics and passion, all of which reflects the multiform aspects of her life. Her supreme accomplishment is the matching of such wide ranging interests and sources with a purely visual beauty which stuns the eye. Hers is an intellectually questioning vision: sometimes very funny, sometimes very serious, but presented via richly decorated tableaux of great visual magic.
Carrigan's range of interests extends to the work of modern choreographers whose dancing motions frequently seem to find themselves mixed up with the motions of vibrating quarks and leptons in her graphics. Her art is frequently full of decorative linear fantasy and yet it is grounded in clear, strong designs, with a profoundly sculptural sense, reflecting her love of the clarity and order of Renaissance and Baroque art as well as the fantasy of Persian decorative miniatures. She executed recent work (like "Paso Doble" and "Il Cigno e La Sirena") in the unusual media of paintings on clear acrylic film for a quasi-stained glass effect, with transparent colors and changes in reflectivity of the painting's surface.
The Choreographer Dreams by Nancy CarriganHer technical skill as a draftsman, sculptress and printmaker leverages multimedia techniques with virtuosity. Her prints often have a layered appearance, dense with imagery (either self-created or from various sources) and use various processes to suggest a mixing of epochs and styles. Frequently in her work, myths of the past and speculations about the future seem to float in a free-flowing fantasia.
Many literary influences run through Carrigan's work. One notable series of her prints is done using the opening phrases of the first sentence of A Tale of Two Cities as the basis for a print, and each print is, in turn, based on a different city, including Paris, Belfast and Los Angeles. Shakespeare-related works include a ravishing sculpture of Titania, the Queen of the Fairies. Many of Carrigan's sculptures are made of wood which is cut and assembled into layers to make wall reliefs. These are then painted and usually peppered with smaller sculptures, found objects, toys, or even bits of handwriting.
Carrigan was born in Chapaign, Illinois, where her father was the pastor of the First Presbyterian Church. The family moved to Chicago in 1938 when Rev. Bohn was called to become the pastor of the Edgewater Presbyterian Church at Bryn Mawr and Kenmore avenues. Something of this early religious influence can be seen in Carrigan's frequent references to Adam and Eve and imagery, which calls back to the etchings and engravings of Albrect Durer present in her childhood home. Her use of these religious themes explores modern meanings of moral dilemma and universal themes like the nature of love, justice, and the man-made and natural laws that govern our lives.
Carrigan attended some of the best schools in Chicago, including Swift Elementary School and Senn Academy on Chicago's North Side. College included three years at the University of Illinois and a finishing term at Northwestern University. Further study at Carnegie-Mellon University connected her with sculptor George Koren, and she quotes him as saying, "The reason I teach you the rules is so that you can break them." This is something Carrigan kept in mind over the years as her approach to both media and content is based in traditional method, but is anything but traditional in application. The term "multi-media techniques" applies to a large portion of her work.
Nancy Carrigan has collaborated extensively with her husband, physicist and science writer Dick Carrigan. Working together as co-authors, the Carrigans have two published science-fiction novels: "The Siren Stars" and "Mushroom in a Minotaur Maze." (Click here to read a short excerpt from "The Siren Stars.")
She is also active as a poet, widely published, and has won several prizes for her poetry. She was recently awarded one of three grand prizes by the Dancing Poetry competition of San Francisco, which includes having her poetry choreographed for a dance performance at the Legion of Honor in San Francisco — click here for a few examples of Mrs. Carrigan's poetry.
Carrigan's work is the reflection of an imagination which stretches the limits of what we conceive of as real, but it remains, above all, a profoundly humanist art based on the human figure and on things which matter to real folks. It is full of the contrasts of the large and the small, with musings about family, woman, romantic love, and beauty, sitting side by side with the many faceted grand visions of science. Her art might be seen as a reflection of the words of the poet e.e.cummings who wrote, "There's a hell of a good universe next door, let's go!"
Explore the following galleries of her artwork and light the rocket of your imagination.
— Robert Kamezcura
Gallery One
The Astrophysicist & The Ant (diptych)
50" X 48 ", Acrylic on Canvas, 2000
Carrigan states that this work "grew from the artist's longtime association with her husband's physics colleagues, who, as soon as they seem to have unraveled a thread or two of the gauzy fabric of reality, often find more questions await them. While she watched an ant setting off on a journey across the street, she realized that their quests were similar only on a different scale." The texts are by the artist and read: (The Physicist) "Can I unveil the gauzy fabric of the stars?" and (The Ant) "Can I unveil he matted carpet of the earth?"
Il Cigno E La Sirena
32-1/2" X 23-3/4", Acrylic Film Painting, 2003
This translates as "The Swan and the Siren" and might be said to echo two classical themes, common in renaissance and baroque art; "Leda and the Swan," Leda being the lover of Zeus while he was in the form of a swan, and secondly the tale of the mythical sirens whose magic song enchanted sailors and led them to their doom. However, in this work all enchanters seem mutually enchanted with one another to the point were the eyes of each totally mesmerizes the other. Their infatuation seems to be giving off vast waves of energy in the form of embracing linear lines. The drawing began while the artist sat near a lake in Italy watching swans swimming.
The Munny Mommie's Amazing Feat
10" x 13-1/2" x 8-1/2", Mixed Media, 1992
Another rocking sculpture of which Carrigan states, "It addresses the feat of balance a working woman must exercise daily in her ability to walk the narrow line between the needs of her children and those of her job. The woman walks the line on the balanced ball which must match the line on a bridge across the cradle. If the cradle rocks she falls off."
The Choreographers Dreams, #20
11" X 14", Drawing in Graphite and Prismacolor Pencil, 1990
The overlapping realms of space and form as seen by a choreographer. In the creator's eye the dance can be seen either as art, or, as a scientist might see it, via an abstract series of measurements and properties. The work is a study in the dualities of the points of view out of which a choreographer creates a dance. The witty, quasi-scientific text reads: "No. 20 of 106, 993, 205,379,072 possible configurations using 13 equilateral triangles each of which may be colored red, blue, or yellow and oriented 'up,' or 'down,' 'left,' or 'right.' Possible configurations for the dance are infinite as the Choreographer's Dreams ..."
Titania's Blessing
63" X 90", Acrylic and Mixed Media, 1992
A large wall sculpture, whose epic size suggests the breath of Titania's magical powers, and also, the powers of love and nature. The half-lit forest of Shakespeare's "Midsummer NIght's Dream" seems to echo the mystery of Titania's incantation. Her arms aloft gesture betokens both a blessing on the happy couples in the play but also suggest the fierce power of love. This majestic work seems a thing that might hang over the door of some great temple or theater in the manner of a sacred icon.
Truthseeker
38" X 24", Lino Cut and Collage, 1994
A heroic figure consults his own reflection in what might be a magic mirror, a shield, or a plate, while behind his head hover eddy-like spirals which suggest galaxies. They seem to simulate the whirling of his thoughts. This linocut and collage work combines cutting and rubbing techniques for a unique look that echoes ancient Greek pottery and also looks forward to neo-cubist, Deco design. The combination of Ars Nova and Ars Antiqua is mixed with modernist preoccupations with the self and how our deepest thoughts reflect the energy and patterns of nature.
Eve
12" X 12 ", Engraving, 1996
The dualistic nature of woman and mother is suggested by the global shape of the unborn child in Eve's womb, suggesting the world coming into being, counter-pointed within the solid pyramidal shape of the hair of Eve, suggesting the solid base of the mother's roll in the creation of the universe. The figure's pose suggests ecstasy or pain or both while the corona of light suggests an aura of divine purpose. The fine engraved technique echoes artists of the Renaissance, which, considering the meaning of the word "Renaissance" ("Re-Birth"), seems singularly appropriate.
The Astrophysicist & The Ant (diptych)
50" X 48 ", Acrylic on Canvas, 2000
Carrigan states that this work "grew from the artist's longtime association with her husband's physics colleagues, who, as soon as they seem to have unraveled a thread or two of the gauzy fabric of reality, often find more questions await them. While she watched an ant setting off on a journey across the street, she realized that their quests were similar only on a different scale." The texts are by the artist and read: (The Physicist) "Can I unveil the gauzy fabric of the stars?" and (The Ant) "Can I unveil he matted carpet of the earth?"
Il Cigno E La Sirena
32-1/2" X 23-3/4", Acrylic Film Painting, 2003
This translates as "The Swan and the Siren" and might be said to echo two classical themes, common in renaissance and baroque art; "Leda and the Swan," Leda being the lover of Zeus while he was in the form of a swan, and secondly the tale of the mythical sirens whose magic song enchanted sailors and led them to their doom. However, in this work all enchanters seem mutually enchanted with one another to the point were the eyes of each totally mesmerizes the other. Their infatuation seems to be giving off vast waves of energy in the form of embracing linear lines. The drawing began while the artist sat near a lake in Italy watching swans swimming.
The Munny Mommie's Amazing Feat
10" x 13-1/2" x 8-1/2", Mixed Media, 1992
Another rocking sculpture of which Carrigan states, "It addresses the feat of balance a working woman must exercise daily in her ability to walk the narrow line between the needs of her children and those of her job. The woman walks the line on the balanced ball which must match the line on a bridge across the cradle. If the cradle rocks she falls off."
The Choreographers Dreams, #20
11" X 14", Drawing in Graphite and Prismacolor Pencil, 1990
The overlapping realms of space and form as seen by a choreographer. In the creator's eye the dance can be seen either as art, or, as a scientist might see it, via an abstract series of measurements and properties. The work is a study in the dualities of the points of view out of which a choreographer creates a dance. The witty, quasi-scientific text reads: "No. 20 of 106, 993, 205,379,072 possible configurations using 13 equilateral triangles each of which may be colored red, blue, or yellow and oriented 'up,' or 'down,' 'left,' or 'right.' Possible configurations for the dance are infinite as the Choreographer's Dreams ..."
Titania's Blessing
63" X 90", Acrylic and Mixed Media, 1992
A large wall sculpture, whose epic size suggests the breath of Titania's magical powers, and also, the powers of love and nature. The half-lit forest of Shakespeare's "Midsummer NIght's Dream" seems to echo the mystery of Titania's incantation. Her arms aloft gesture betokens both a blessing on the happy couples in the play but also suggest the fierce power of love. This majestic work seems a thing that might hang over the door of some great temple or theater in the manner of a sacred icon.
Truthseeker
38" X 24", Lino Cut and Collage, 1994
A heroic figure consults his own reflection in what might be a magic mirror, a shield, or a plate, while behind his head hover eddy-like spirals which suggest galaxies. They seem to simulate the whirling of his thoughts. This linocut and collage work combines cutting and rubbing techniques for a unique look that echoes ancient Greek pottery and also looks forward to neo-cubist, Deco design. The combination of Ars Nova and Ars Antiqua is mixed with modernist preoccupations with the self and how our deepest thoughts reflect the energy and patterns of nature.
Eve
12" X 12 ", Engraving, 1996
The dualistic nature of woman and mother is suggested by the global shape of the unborn child in Eve's womb, suggesting the world coming into being, counter-pointed within the solid pyramidal shape of the hair of Eve, suggesting the solid base of the mother's roll in the creation of the universe. The figure's pose suggests ecstasy or pain or both while the corona of light suggests an aura of divine purpose. The fine engraved technique echoes artists of the Renaissance, which, considering the meaning of the word "Renaissance" ("Re-Birth"), seems singularly appropriate.
Gallery Two
Five Cellos and a Tenor
15" x 11 ", Ink on Paper, 2001
A free fantasia on music for cello, but this cello seems to have a person for each string to suggest that the listeners, the players, the instrument, the music and the space which contains the music are one living entity.
Salome and Herodias (The Mother of the Bride)
15" x 11", Ink on Paper, 2001
A kind of free fantasia of line, form and symbols; mother and daughter, dreams and reflections of dreams, roses, wings and a dance of quasi-erotic, sinuous lines. Carrigan states this work (and "Five Cellos and a Tenor") to be a free response to pieces of music she was listening to when she created the drawing. The work is also a virtuoso piece in that is virtually created out of a single shape, a flowing crescent like cell, which is transformed and varied to create almost every element in the drawing.
Reading Lady Macbeth
48" x 60", Acrylic, 1992
The character of Lady Macbeth may be seen to be reflected in a reader of the play, but the reader of the play may be a modern Lady Macbeth, as her bloody hand might indicate. This work may be seen as exploring various aspects of words; as thoughts of a fictional character, as Shakespeare's reflection's on an aspect of life, or demonstrating how words inhabit the connecting link between fiction and our own experience.
Paso Doble
48" x 36", Acrylic Film Painting, 2003
The title means "Double Dance." The bright red color suggests passion. Carrigan states that this work was inspired by "a dance in Spain where the man dominates, but a look at the signorina's face might give him second thoughts." Nevertheless the dazzling virtuosity of the lines suggests some form of ecstasy is being played out, and that wild but elegant passions are creating a small hurricane of motion.
And God said ... Have dominion over every living thing ...
16" molded globe; Deer Hide, Acrylic, Toys; 1990
A great example of Carrigan's wit. A furry, warm, cuddly globe, suggesting the friendly environment of the earth, is plowed and despoiled by toy earth movers and littered with miniature trash and garbage. There is new parking lot that does nothing but make room for the earth mover to plow away even more fur. This is from a series of ball-shaped sculptures which actually rock back and forth to suggest the fragility of the environment and how its balance can be precarious.
The Choreographer Dreams ... #12
73" high, Mixed Media on Wood, 1984
A calm circus rider is perched on horse which rides on a base which holds geometric, robotic dancers moving swiftly through space. This work perhaps echoes themes of control and balance contrasting with the barely controlled forces of motion. The poetry of an artist's vision is suggested to be a combination of balance and free flowing, exciting forces. The philosophy of Descartes meets the philosophy of Zen in this playful yet serious sculpture. (This work is matched with a large circus wagon, not shown.)
Belfast
6" x 9", Intaglio Print, 1995
This work (seen here in two incarnations, painting and print) is part of a series which uses the famous first paragraph of Charles Dickens A Tale of Two Cities ("It was the best of times, it was the worst of times, it was an age of wisdom, it was an age of foolishness, it was the epoch of belief, it was the epoch of incredulity ... ") In her series each sentence signifies a city which is torn by some form of strife. In this particular work, Belfast is chosen to address the theme of religious intolerance.
Belfast
48" x 32", painting, 2003
This work (seen here in two incarnations, painting and print) is part of a series which uses the famous first paragraph of Charles Dickens A Tale of Two Cities ("It was the best of times, it was the worst of times, it was an age of wisdom, it was an age of foolishness, it was the epoch of belief, it was the epoch of incredulity ... ") In her series each sentence signifies a city which is torn by some form of strife. In this particular work, Belfast is chosen to address the theme of religious intolerance.
Five Cellos and a Tenor
15" x 11 ", Ink on Paper, 2001
A free fantasia on music for cello, but this cello seems to have a person for each string to suggest that the listeners, the players, the instrument, the music and the space which contains the music are one living entity.
Salome and Herodias (The Mother of the Bride)
15" x 11", Ink on Paper, 2001
A kind of free fantasia of line, form and symbols; mother and daughter, dreams and reflections of dreams, roses, wings and a dance of quasi-erotic, sinuous lines. Carrigan states this work (and "Five Cellos and a Tenor") to be a free response to pieces of music she was listening to when she created the drawing. The work is also a virtuoso piece in that is virtually created out of a single shape, a flowing crescent like cell, which is transformed and varied to create almost every element in the drawing.
Reading Lady Macbeth
48" x 60", Acrylic, 1992
The character of Lady Macbeth may be seen to be reflected in a reader of the play, but the reader of the play may be a modern Lady Macbeth, as her bloody hand might indicate. This work may be seen as exploring various aspects of words; as thoughts of a fictional character, as Shakespeare's reflection's on an aspect of life, or demonstrating how words inhabit the connecting link between fiction and our own experience.
Paso Doble
48" x 36", Acrylic Film Painting, 2003
The title means "Double Dance." The bright red color suggests passion. Carrigan states that this work was inspired by "a dance in Spain where the man dominates, but a look at the signorina's face might give him second thoughts." Nevertheless the dazzling virtuosity of the lines suggests some form of ecstasy is being played out, and that wild but elegant passions are creating a small hurricane of motion.
And God said ... Have dominion over every living thing ...
16" molded globe; Deer Hide, Acrylic, Toys; 1990
A great example of Carrigan's wit. A furry, warm, cuddly globe, suggesting the friendly environment of the earth, is plowed and despoiled by toy earth movers and littered with miniature trash and garbage. There is new parking lot that does nothing but make room for the earth mover to plow away even more fur. This is from a series of ball-shaped sculptures which actually rock back and forth to suggest the fragility of the environment and how its balance can be precarious.
The Choreographer Dreams ... #12
73" high, Mixed Media on Wood, 1984
A calm circus rider is perched on horse which rides on a base which holds geometric, robotic dancers moving swiftly through space. This work perhaps echoes themes of control and balance contrasting with the barely controlled forces of motion. The poetry of an artist's vision is suggested to be a combination of balance and free flowing, exciting forces. The philosophy of Descartes meets the philosophy of Zen in this playful yet serious sculpture. (This work is matched with a large circus wagon, not shown.)
Belfast
6" x 9", Intaglio Print, 1995
This work (seen here in two incarnations, painting and print) is part of a series which uses the famous first paragraph of Charles Dickens A Tale of Two Cities ("It was the best of times, it was the worst of times, it was an age of wisdom, it was an age of foolishness, it was the epoch of belief, it was the epoch of incredulity ... ") In her series each sentence signifies a city which is torn by some form of strife. In this particular work, Belfast is chosen to address the theme of religious intolerance.
Belfast
48" x 32", painting, 2003
This work (seen here in two incarnations, painting and print) is part of a series which uses the famous first paragraph of Charles Dickens A Tale of Two Cities ("It was the best of times, it was the worst of times, it was an age of wisdom, it was an age of foolishness, it was the epoch of belief, it was the epoch of incredulity ... ") In her series each sentence signifies a city which is torn by some form of strife. In this particular work, Belfast is chosen to address the theme of religious intolerance.
Artwork Copyright © 2004 Nancy Carrigan
Text Copyright © 2004 Robert Kamezcura
