He gave it to me, and I started to use it as a powdery element on my paintings at Skowhegan. I was the only Black person there, and it was in Maine. I was so far away from everything I had known in Mississippi. I was a person who could not afford to be there, but there I was, painting. I used the lamp black to make marks on the canvas, and that’s where the Lampblack series began.
When I got back to Howard, I showed Mr. Driskell what I was doing. He said, “You could be a great art historian, but if you like what you’re doing, go for it.” He also said, “Let me show you something.” He showed me a book about the cave paintings in France. I was knocked out. I started to see how important it was to mark, to mark on the cave walls. He said, “You have to understand that we are in a society that doesn’t want us to leave our mark, so you have to be undeniable.” That’s what I’ve been doing ever since.
H: Your work often addresses themes of social justice and personal empowerment. How do these ideas influence your artistic practice?
MLO: When I was teaching at UC Berkeley, I was able to bring in people who were outside the mainstream, and I celebrated them. I was able to bring in people who were in the mainstream and question them. I was able to bring in people who were not even on the scene, and they became stars in my classroom. I was able to say, “You are the important ones.”
When I was at Howard, I met Malcolm X. He told me, “You have to know who you are, because if you don’t know who you are, they’ll tell you who you are not.” That was important. I also met Martin Luther King Jr., who said, “We have to have an element of love in what we’re doing, because if we don’t, we’ll be destroyed.”
These people were important in my life, and when I paint, I think about them. I think about what they said. I think about the people who have come before me. I think about the people who are not here now. I think about the people who will never be here. I think about the people who can’t be here. I think about the people who are here now. I think about the people who are coming. I think about the people who will never be able to come. I think about the people who are in the street. I think about the people who are in the schools. I think about the people who are in the factories. I think about the people who are in the stores. I think about the people who are living. I think about the people who are dying. I think about the people who are not here. I think about the people who are never heard from. I think about the people who are here. I think about the people who are not here. I think about the people who are here. I think about the people who are not here. 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O’Neal recalled the challenges she faced during her studies, including criticism from prominent figures in the Black Arts movement for not conforming to their expectations of a Black artist. She also described the influence of her professor, Stephen Greene, and how she struggled to balance her own artistic vision with the prevailing trends of minimalism and Color Field painting.
One pivotal moment for O’Neal came when she stumbled upon black pigment at an art supply store. Intrigued by its velvety texture, she eventually mustered the courage to experiment with it on canvas, leading to a breakthrough in her artistic practice. By incorporating slashing, dripping, and layering techniques, O’Neal found a way to merge her personal expression with formal and political considerations, creating a unique visual language that resonated with her experiences as a Black artist.
Reflecting on her time at Columbia University, O’Neal acknowledged the social and political upheavals of the era, including riots and student protests, which influenced her decision to focus on resistance rather than direct activism. She highlighted her role as a “resistor” and emphasized the importance of staying true to her artistic vision while navigating the challenges of the art world.
In the 1970s, O’Neal moved to the Bay Area and began teaching at the School of the Art Institute before joining the faculty at the University of California, Berkeley. It was during this period that she embarked on her iconic “Whales Fucking” series, inspired by a memorable encounter with whales at a beach. The series explored themes of power, nature, and sexuality through vibrant and expressive compositions that captured the majesty of these marine creatures.
O’Neal also discussed her collaboration with master printmaker Robert Blackburn, whose workshop in New York introduced her to the transformative potential of printmaking. Inspired by Blackburn’s guidance and encouragement, O’Neal delved into the medium with newfound passion and creativity, leading to a series of striking prints that showcased her evolving artistic sensibilities.
Additionally, O’Neal shared her experiences in Morocco, where she visited at Blackburn’s invitation and embarked on her “Panthers In My Father’s Palace” series. Influenced by the vibrant colors and cultural richness of Morocco, O’Neal’s work in this period reflected a fusion of personal narratives and global influences, exploring themes of identity, heritage, and memory.
Overall, Mary Lovelace O’Neal’s journey as an artist is a testament to her resilience, creativity, and commitment to exploring new artistic horizons. Through her innovative approaches to painting, printmaking, and storytelling, O’Neal has made a lasting impact on the art world and continues to inspire audiences with her bold and dynamic creations. Exploring the Intriguing World of Women’s Dress in Morocco
During a conversation with a friend, he mentioned, “You’re gonna go over there and wear shorts and drink whiskey, and they don’t like that.” Intrigued by the cultural differences, I embarked on a journey to Morocco with Toro, where we delved into the local customs and traditions.
Living in a small palace, I found myself working on the rooftop overlooking the bustling activities of women. From cutting, dyeing, and braiding hair to preparing meals and bathing children, the rooftop served as a hub of domestic life. The palace itself was adorned with beautiful mosaics, and at night, I could gaze at the moonlit ocean, evoking memories of childhood Christmas performances.
Recalling a performance of the opera “Amahl and the Night Visitors,” I was transported back to a time when I danced in a choir production directed by my father. The opera’s reference to a black marble palace with black panthers and white doves resonated with my surroundings in Morocco.
Inspired by the vibrant culture and rich history of the region, I began a series of paintings titled “Two Deserts, Three Winters.” Drawing from my travels to Chile and Egypt with Toro, I explored the contrasting landscapes of the Atacama Desert and the Sahara. The stark masculinity of the Atacama Desert juxtaposed with the sensuality of the Sahara sparked my creativity.
Observing the women navigating through the desert, I was captivated by their resilience and resourcefulness. Their colorful attire and unexpected touches of defiance, like green jelly shoes, added layers of complexity to my paintings. As I delved deeper into the stories and memories of my travels, I found myself grappling with the balance between narrative and artistic expression.
Now, at a stage where age has tempered the exuberance of youth, I approach painting with a sense of purpose and mindfulness. The process of creating art is a constant challenge, requiring a delicate balance of intuition and technique. As I navigate the studio, I am open to the serendipity of materials and inspiration, allowing the paintings to evolve organically.
In conclusion, my journey to Morocco and beyond has enriched my artistic practice, allowing me to explore the intricate world of women’s dress and cultural nuances. Through my paintings, I strive to capture the essence of these experiences and create a visual narrative that transcends borders and traditions. The world of technology is constantly evolving, with new innovations and advancements being made every day. One of the most exciting developments in recent years is the rise of artificial intelligence (AI). AI has the potential to revolutionize countless industries, from healthcare to transportation to finance. One of the most promising applications of AI is in the field of robotics.
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