The Secrets we Keep: an Unburied Spotlight
-By Sophie Swenholt
As Unburied comes to a close, we caught up with Isabel Cureux, the show’s curator and a contributing artist. A mixed-media sculptor and painter from the Washington, D.C. area, she has studied art at VCU in Richmond, Virginia and at Wells College in Paris, France.
Isabel’s work addresses mental illness, the concept of home, family tension, and of course, secrets. We asked her about her art, her creative process, the inspiration for Unburied, and more. Here’s what she told us.
Convergence: What inspired the theme of Unburied? What sort of pieces did you look for as you curated the show?
Isabel: Originally the idea for Unburied was that we would try to have a conversation between the artists and the viewers about what it’s like living as a creative person. This original theme felt too broad, so theme we ended up sticking with was more precise and to the point. The Secrets We Keep is based off of that original idea, the idea that you don’t see what it’s like to be a creative person, you see the end product. Many artists experience mental illness, and so there’s a mental and physical struggle that goes on before the end product is achieved. Unburied: The Secrets We Keep allows the viewers to take a peek into what goes on behind the scenes for creative people.
I tried to find as many different mediums and artists as possible to speak to an incredibly varied audience. I was more concerned with the concept rather than the end product, and so I was looking for a lot of emotion behind the pieces. I looked for a story, for passion, and for someone really putting themself into the work, not something they just threw together to be in an art show. I wanted to see that it was very personal and it took some struggles to create it.
Convergence: The pieces in the show are so incredibly personal (and all around incredible)—were you hesitant to display such intimate art? Were you concerned about its reception?
The hardest part for me was that the secrets I keep have to do with family, home, and upbringing. Strangers seeing these secrets I don’t mind, but I was somewhat hesitant about potentially hurting a family member who might not understand the therapeutic process. I was a bit concerned about the reception, actually, when hanging the pieces, I sort of stepped back and realized how much darker my stuff was than the rest of the art that was in there. It seems to be received well, so that was good!
Convergence: What has been your favorite experience so far with Unburied?
Isabel: Honestly, my favorite part was Dan calling and telling me that he had a space he wanted me to fill for the summer. Having been given the trust and respect from these people at the gallery to fill their space, and simply having this opportunity has been my favorite part.
Convergence: Do you find your creative process to be cathartic/therapeutic?
Isabel: I base a lot of my art off of things that help me experience my feelings in a different way. It’s not my primary means of emotional release, and I like to think it’s more inspirational than therapeutic.
Convergence: Some of your pieces address very dark themes. Is it difficult to access such heavy subject matter?
Isabel: No. I like it, I enjoy it. I don’t find it something particularly difficult to access, and the heavy subject matter is something I really love dealing in. Every part of the process is amazing for me, and I take a very “better out than in” stance.
Convergence: There is a strong juxtaposition between Home Sweet Home and Did you plan this intentionally? And what led you to present the poignant, potentially heartbreaking text on such lighthearted, soft pink frames?
Isabel: I did plan the juxtaposition of Home Sweet Home and Studies intentionally. They’re both based off of the bland, commercial art that you see decorating “normal” people’s houses, items that you would see in your family’s home. Home Sweet Home is a cozy and sweet cross stitch that was made to look disturbing, but is really a completely innocent. The Studies look completely innocent but the wording is quite sinister.
Regarding my selection of the display for Studies, I wanted a really hard juxtaposition between what was being said and what was being seen. I think that it enhances the experience for the viewer, that once you come closer it’s not what you expect. I like to deal with a lot of inspiration from being in the home, with your family, in your house. Home is supposed to be a safe space and a lot of my work is sort of twisting that idea and messing with the illusion that every home is a safe and loving environment.
Isabel’s work will be on display at the Gallery at Convergence through the end of July as a part of Unburied: The Secrets We Keep. The show also features works by Rebecca Hiles, Marcus Ellison, Donald Harris, Jr., Naphtali Ginsberg, and Kid. Don’t miss out!
The Artist’s Journey: Exploring the path of the Contemplative Sculpture Garden →
Coping Mechanisms, an Unburied spotlight →
