Mary Hambleton’s Late Works
Thanks to the background information we were provided, I felt a connection to the abstract strokes and ambiguous themes of Mary Hambleton’s late works. Having watched my mom fight breast cancer, I felt a particularly strong connection to the work “Enough.” Furthermore, I found the exhibit left me with some lasting and powerful impressions.
Several elements of the work spoke to me. The first thing that jumped out to me when I first saw “Enough” was the layers upon layers of paint that resulted in the coral-like, 3-D texture of the majority of the work. This was distinctive among the rest of Hambleton’s late works and, to me, spoke to the rawness of the emotions that the artist was trying to convey. While most of her works incorporated layers, “Enough” was the only one featured that included textures that were not flat and parallel to one another. The irregularity of the structures gave me a sense of loss of control, which perhaps is what Hambleton felt in her last years struggling with cancer. Furthermore, the structures and colors added atop the irregular, raised layers of black paint inspired images of pain and struggle.
Protruding from the black were seemingly sharp objects, shards that were reminiscent of being stabbed and injured. Beyond the shards were, most disturbingly, rusted nails. Finally, hazards of color were splashed over the black structures, which to me symbolized a desperate attempt to achieve or maintain the same order and joy prominent in the bordering regions of the work. Together, these elements communicated to me a sense of struggle—a fight to maintain a philosophy and a perception of life while undergoing pain and abuse. The reading by Tiffany Bell suggests that this work could be addressing Hambleton’s frustration at the countless operations and procedures she must have undergone in attempt to regain and preserve her health. Examining the work inspired in me feelings of pain and frustration, and having analyzed these different elements in the piece I would have to agree with Bell’s assessment of its meaning.
Leaving the exhibit, I found myself endowed with two lasting impressions. The first of these was a greater appreciation for the power of art, and more particularly abstract art. Before today, if someone had asked me if I was a fan of abstract art, I probably would have said that I did not understand it, and that perhaps it was less valuable because its interpretation is so subjective. However, being exposed to Hambleton’s works today made me realize that understanding just a little bit of an artist’s life can enable you to understand and appreciate the profound nature of his work. Moreover, having seen the works in the gallery today, I would be more likely to submit to the possibility that in some cases, abstract art can be more powerful for its ambiguity than can other more straightforward works.
The second impression I left with today was of a more personal nature. Leaving the gallery, I found I had a greater awareness, or had been reminded, of what my mom must have gone through when she had cancer. I was only nine when she was diagnosed, and as a kid I could not fully understand what cancer meant. More importantly, the thought never crossed my mind that she could die from the disease. Touring relics of a real person’s life who died from cancer, I found myself with a new appreciation of how lucky my mom was and how lucky I am that she is still here. The fact that Hambleton’s work inspired in me such a personal realization further speaks to the power of abstract art. While other forms of art may limit audiences’ interpretation of a piece, I feel that abstract art may provide a greater opportunity for sympathy. The high level of ambiguity found in abstract art may allow viewers to place themselves, their experiences, in the context of the work and therefore to gain more personal insight. This further reminds me of the discussion we had last week about the narcissism of the artist. While the experience of creating her artworks may have functioned to help Hambleton cope with her struggle, the abstract and ambiguous nature of the product makes the work less narcissistic and more humanistic.
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