Intimacy of the Unseen: Interview with Mia Bergeron
he gift of true intimacy is typically understood in modern Western society as the reward for baring oneself through personal revelation. To be intimately familiar with another person, we believe, means to become the other’s confidant, the person with whom the most protected secrets and private matters are shared.
But in our rush to cut through the isolation of loneliness as neighborhoods and families become more temporary and transient, connections are now being made in hyper-speed, abbreviated, and as a result, something precious is perhaps being lost: intimacy which can only be earned through the extension of time, and space, through the luxury of noticing what is not, after a while, being said, what is being left out, partially obscured. For here is where the knowing begins: in silence. In the shadows. In the empty spaces above, around and yes, even between us.
INTERVIEW WITH FIGURATIVE PAINTER, MIA BERGERON
Chattanooga, Tennessee ~
Deanna Elaine Piowaty: I love your ritual of painting a new self-portrait with each birthday. What do you learn about yourself through this? Have you ever made discoveries that surprised you?
Mia Bergeron: For me, this is a way to digest the past year. It’s a very introspective process for me, and I spend a lot of time choosing a pose, lighting, mood that will fit with what I have experienced.
Mia Bergeron: The “Pay it Forward” show was derived from the want of the core group of women who started the Women Painting Women phenomenon to give back. We not only wanted to invite other female painters to show with us, thus magnifying the visibility of female artists, but we also wanted to reach outside of the scope of art and galleries. Hence the idea of giving 10% of painting sales to selected charities.
Deanna Elaine Piowaty: What is it about the method you stumbled upon in painting Space Between that proved so satisfying to you as an artist?
Mia Bergeron: Space Between was one of those pivotal paintings. It was actually made from a deep place of insecurity and frustration. There was this week, you know one of those weeks, where I just could not paint the way I wanted. I kept wiping out, repainting, wiping out, scraping. Finally, at the end of the day that Friday, I just picked up my palette knife and literally threw on a rough, ambiguous sketch of this man I found so fascinating to paint. After I steamed and fretted all weekend, I came back Monday morning and for some reason, I found myself sanding the surface of this thick paint, then started to paint with a brush slightly more refined skin tones. I repeated this same process over and over again, and really fell in love with this technique. I was fascinated with the textures I was creating and the harmonizing effect from the sanding.
I think what is so satisfying about this method is it really goes with my personality. I have always been a fast “starter,” and this allows me to look for big effects and color notes without getting bogged down by smaller details at the beginning. The effect is that I sort of creep up on the details, something that I really enjoy. It’s like I savor each step of the painting fully, then move a little bit closer.
Deanna Elaine Piowaty: Have you ever frightened yourself with the intimacy or honestly you’ve created with a painting? I’m thinking about When You Get There, in particular, which takes quite a different perspective than what the viewer has come to expect from you. Suddenly, it feels as if we are the ones being scrutinized.
Mia Bergeron: Ha! I think all of my work is about being vulnerable, which in turn means I’m constantly frightened by its intimacy. Though I have to say When You Get There strikes a particularly strong chord for me. This is a painting of my boyfriend John. It’s a strange thing to paint someone you love: I had to really fight my inner perfectionist not to chow down on all the details and get it all “right” immediately. Again, this is a painting where I savored every layer, and fought the urge to jump in too early. Sometimes I find painting details too early a bit like a performance… like I have to prove I can do it right away. But when I do take my time, the result is an extremely layered portrait.
When You Get There is my most recent painting. I was playing with painting the atmosphere around a person instead of the person directly. There are a lot of patches of paint that are in the way of the viewer seeing the subject, and I did this purposely. Oddly, having an obstacle block and hinder our view of something clear actually makes us realize the space between us and the subject. We focus slightly away from the subject, maybe a few inches in front of him. Somehow making the space the center of attention really adds to the intimacy, I think.
Deanna Elaine Piowaty: We feel this same sense of ourselves being the one scrutinized in Disarmed, Elasticity, and Perceptions…
Mia Bergeron: I’m so glad you can see this in my work! As an artist working alone, you often wonder…. Again, I’m working from a place where I’m just trying to listen to what feels honest, what pacing works for me.
Deanna Elaine Piowaty: A different kind of intimacy is created with Lucid. Just an exquisite piece.
Deanna Elaine Piowaty: Journalists are often criticized for crossing boundaries of privacy with those they profile. Does such a line exist for the artist? Is it ever possible to reveal too much? What is the responsibility a painter has to her or his subject? To her or his audience? Are the rules different when the subject is a child?
Deanna Elaine Piowaty: Lift is another of my favorites. Can you tell me what led up to the painting of this?
Mia Bergeron: Lift was a bit of an experiment for me. I have always admired Vermeer, Andrew Wyeth, and a lot of Asian art for their use of negative space. I love looking at the parts of a painting that don’t feature any particular object, and just seeing those areas as pure abstraction.
Mia Bergeron: I tried to work with that idea in this painting. I also wanted to show a pull upwards, since the image is so bottom-heavy. Conceptually, Lift is somewhat about waiting for the moment to be taken out of one part of your life, and being placed into a next phase. I wanted to stress the aspect of emptiness in a positive way here, like the quiet that comes with waiting.
Deanna Elaine Piowaty: And Loss?
Mia Bergeron: This is a hard painting, but one that is also pivotal. I painted this as my 33rd birthday portrait. That was a hard year for me. I had my first experience loving and helping someone who had mental illness. This painting, at its core, is about fear. When we experience one of the things we fear most, and we survive, we are left with this strange emptiness mixed with strength. Imagine facing the thing which scares you the most. What do you feel like the next day? Strong? Fearful? Numb? Angry? Grateful? In my own life, I felt all of these. I kept telling people I felt like I had been blindsided by fear.
Deanna Elaine Piowaty: The greatest reward from painting?
Mia Bergeron: There are so many, but one of the best moments I have ever experienced is when someone wanted one of my paintings badly, but they could only put $20 a month towards it. They did this for years until the painting was paid off. I know I have wanted art that badly too, and it’s a beautiful reminder that art has purpose, that it is important.
|New York City born Mia Bergeron studied painting at the Charles Cecil Studio in Florence, Italy, before moving to Chattanooga, Tennessee, where she teaches at Townsend Atelier.To view more of her paintings or to inquire about taking her classes, please visit her website.|