{shortcode-263b14255093f7ed81cdbfda3b68aed1c531c862}
Boston-based artist Cicely Carew epitomizes contemporary art by taking a fresh approach to painting and sculpture with her flying paintings. Although contemporary art can often be an enigma for viewers, Carew takes a compassionate approach, while intent on being part of the change contemporary art aims to make.
A winner of the 2023 James and Audrey Foster Prize, Carew’s work has been on display around Boston at Northeastern University, the Fitchburg Art Museum, the Prudential Center, and Boston’s Institute of Contemporary Art.
“I’m grateful, I'm very blessed that it’s worked out,” Carew said, in an interview with The Harvard Crimson.
Like many artists growing up, Carew notes being no stranger to art, a media which “felt like home” for her. She credits a conversation with her mother as the catalyst for her artistic journey. A high school teacher suggested she display her portfolio, and following this event, her mother told her: “Cicely, you’re an artist.” However, Carew revealed that her path to success was often unclear and tumultuous.
The idea of abandoning a traditional path was frightening to her. It wasn’t until her mother died during Carew’s freshman year of college that she took the jump.
“I’ve gotta get out of here. I need to go to art school,” Carew said, recounting what she told herself at the time. “I’m going to do this because [my mom] said I was [an artist].”
Creating consumed Carew’s days, even when she couldn’t paint due to her pregnancy. She credits her son for her motivation and inspiration. Her mother’s death allowed her “to believe in what’s unseen,” while her son was “not weighed down by the past.” These relationships inspired the pure joy Carew so intently incorporates into her work.
Carew’s work also presents a novel take on materiality. Trained as a painter, Carew says she approaches her work with that skill set rather than that of a sculptor, despite often producing three-dimensional works.
In contesting Western notions, Carew notes her fondness for reusing materials by repurposing contents of previous works or incorporating recyclable material, such as the recycled mesh that acts as the main media for her work entitled, “The Density of Light.” She equates this recycling to “breathing magic into the everyday.”
However, her imagination goes beyond physical materials; Carew also considers how “thought, light, sound, [and] texture” can be incorporated into her works. Moreover, this focus on materiality led Carew to equate art to nature and the comparison further than simply analogizing recycling in both art and nature.
“[Creating art] is like nature,” Carew said. “We don’t see what’s happening underground, but it is constantly turning over, is dying, and is renewing.”
As for artistic inspiration, Carew cites movements such as Dadaism and Constructivism, many post-war artists, and artists from Black Mountain College. Despite the vast differences between these movements and individuals, they share one common trait: originality. Carew often asks herself: “How do I push myself?”
Carew did just that when she decided to pursue a Master’s degree at Lesley University. Despite the risk of going to school as a single mother, Carew was eager to be an example for her son. Once again, Carew’s son and her mother are unknowingly her support system, both encouraging her to follow her dreams.
“I have to show my child who I am and what’s possible in the world,” Carew said. “Dreams do come true, but he has to be true to himself.”
Taking the leap to continue schooling for art has paid off big time. Carew is now a part of the Boston Public Schools curriculum as a contemporary artist, an experience she called “significant and special.’” She also won the Foster Prize at the ICA last year which she called “a huge honor and totally unexpected.”
Carew focuses on channeling the hope and perseverance that led her here in her art as it pertains to prompting change. Carew says her philosophy on inciting change is “calling in, it’s not calling out.” For her, this approach comes from self-care practices such as prayer, dance, and yoga, activities that inspire a stillness in her work to allow viewers to find moments of serenity — Carew even noted her happiness upon hearing that someone napped in her exhibit in the ICA.
As a woman of color, Carew encourages viewers to use these moments of peace for reflections, such as reflecting on “how we might ‘other’ others,” something she notes experiencing.
“It’s important to see how we are ‘othered,’ to give voice and witness to others experiencing that,” Carew said. “It also feels unfair sometimes, to have that put on you.”
This implied responsibility seems to be simply part of her journey, as Carew acknowledges her hard work while not shying away from encouraging others to follow their dreams as well.
“Eventually, you’re going to have to do what your soul is calling you to do, whatever that means and however you define that,” Carew said. “I think that’s a worthy pursuit, even if our parents are like, ‘don’t do it.’”
Carew has worked hard not only in physically creating the breathtaking pieces that freckle Boston and beyond but also in remaining true to herself and her desires. As an artist, Carew pushes the boundaries of what art is and how it can incite change. As a single mother and a woman of color, she also serves as an example of the wonderful possibilities that open up when following your dreams in the face of adversity.
It seems no artist finds a straight and narrow path to their craft, yet Cicely Carew forged a unique course despite the obstacles while remaining humble and true to herself. She and her work are prime examples of the power of human emotion; happiness, love, and play are so integral to Carew’s practice and are a large part of what makes her work so intensely captivating.
Carew creatively manifests change by inviting viewers to consider the importance of thinking before doing, as Carew illustrates the importance of reflection rooted in joy and curiosity and of creating beautiful and unmatched connections to the natural world.
