Cecily Fazekas (She/Her)
How Cecily came to sculpt the divinely imperfect and paint the Divine Feminine is as interesting as the pieces themselves. She was in love. Her heart split open and the process was so excruciating that she literally had to “get it out.” She began sculpting herself in agony-body limp with despair, crumpled in fetal position, rising in ecstasy, or stretched out with limbs and expressions longing for redemption. And there in the earthen clumps of grief lay the seeds of new life.
Sitting in front of dozens of life-size, vintage mannequins carefully collaged with thousands of tiny, torn bits of paper is unlike any other art experience. It’s almost like being at a silent poetry reading where glossy, three dimensional men, women and children tell their non-linear stories in crooked words, colorful clips, black and white photographs, and evocative images. They wear their statements out loud. They point out duality without judgement. And they nakedly display, from head to toe, all the beauty, agony , hypocrisy, and holiness of the human predicament.
