ARTS & CULTURE; COMMUNITY NEWS
By Diana Newton
correspondent
Many places of worship are decorated with liturgical art that references sacred stories. The stained glass windows of a medieval cathedral depict colorful images of Biblical disciples. A contemporary quilt of a menorah made from textile art may hang in a Jewish Reform synagogue. Intricate geometric patterns adorn the domes of some mosques. Although religious beliefs and traditions vary, the art in these spaces tends to reflect and reinforce long-standing iconography, ritual objects, and even placement that is essentially liturgical.
Art does not have to be religious
Not so at Community Church, a Unitarian Universalist congregation with an art gallery that spans all four walls of the sanctuary. The church features five exhibitions each year by selected artists from the congregation, regardless of subject matter (as long as they are not disturbing), genre or medium. Marni Goldshlag, a member of the church’s art team, explains that the rotating exhibitions are consistent with the vision the church adopted in 1996: “We want to be a congregation centered on Sunday worship, which includes a beautiful, bright, accessible sanctuary enriched by all the arts.” Goldshlag explains, “One member of the art team is assigned to shepherd each exhibition.” While the artwork previously hung on the original cinder-block walls, a 2002 renovation allowed for more art-friendly walls and better lighting for the mostly two-dimensional works that are displayed there year-round.
Ippis Halme thinks out loud – in colour
The current exhibition, Thinking aloud (runs through August 25) highlights 22 colorful and fantastical artworks by Ippis Halme. Halme was born in Finland and later attended Hornsley College of Art in London. Although she and her husband have now lived in Chapel Hill for nearly 50 years, images of Finland still permeate much of Halme’s work: carpet weaving, the lakes of her childhood, reindeer, Nordic forests, fairies. Her world travels also feature regularly, as can be seen in works titled “Travel Diaries” and “Postcards.” She also admits that patterns and textile designs of the past – from Celtic to Native American to Art Nouveau – influence her work.
Large baskets of colorful permanent markers provide a vibrant palette for Ippis Halme’s artwork. Photo courtesy of Ippis Halme.
For a long time, Halme made drawings with pen, ink and colored pencil. But with the Covid pandemic and the darkness and isolation that came with it, her works burst into bright colors when she began working with permanent markers on watercolor paper. Huge baskets of markers, some in bright neon colors, beckon her to capture her inner vision. She finds that even dried-out markers leave faded streaks of color that are more visually interesting. Halme says her work can start with a dream of an image or a doodle she’s jotted down, and then begins to grow almost on its own. Certain natural motifs, like birds, leaves, fruit and mushrooms, recur repeatedly. Halme has developed a technique where she creates a pattern template to aid repetition. She’s even used a halved pineapple as the basis for a pattern that interested her.
Halme’s drawing “A Landscape in the Moonlight” features intricate line work in cool tones. Photo courtesy of Ben Alper.
The works are intricate and often contain visual elements made up of hundreds of tiny black lines and circles that appear like textiles. Halme finds working on these black and white pieces much more visually demanding than the vibrant colors. In fact, each work takes about a month to complete. Interestingly, Halme does not sign her name in the bottom corner, as many artists traditionally do. “I don’t like seeing it there,” she explains simply.
Ippis Halme’s Thinking aloud The exhibition shows that the spiritually darkening experience of the pandemic has flipped a bright switch of productivity for the artist, and offers an unusually colorful opportunity for contemplation during worship.
Those who wish to view the changing art exhibits at Chapel Hill Community Church can easily visit before or after the 10:30 a.m. Sunday service during the summer. During other seasons, there are two services – at 9:30 a.m. and 11:15 a.m. – that allow for viewing before, between, or after the exhibit. Another option is to call the church and schedule a specific time to visit the gallery.
Diana Newton is a coach, presenter, filmmaker, author, artist, yoga teacher and a Renaissance woman. Her documentary The bonds that connect, is available to stream on UNC-TV. She lives in Carrboro and is a UNC graduate. This reporter can be reached at [email protected]
