505.501.2290 hmargret@cybermesa.com

H Margret Arts

Paintings   Prints  Sculpture Video   

 

" In her self portraits, H Margret is not concerned with capturing the likeness of her mouth, eyes, coloring and certainly not her hair....instead of the world of appearances, she refers to the invisible world- a quicksilver place of color, texture and mutable shape. H Margret's art renders the invisible visible......Margret's paintings skew the reasonable and probable for a wacky, whimsical, head on, inside out view of life." Kathleen McCloud, Santa Fe New Mexican, Pasatiempo

“No surprise really. The artist not only comes from a journalism background, she’s a visual artist in the bargain. Telling stories is natural to her, whatever the medium. The film Captive Head Breaks Out is based on a symbolic being called Captive Head…given that one character from her personal mythology has taken to the silver screen, one wonders if others will. H Margret, like a modern Homer, perhaps has been creating a new epic without realizing it.”    Craig Smith, Santa Fe New Mexican Pasatiempo

My art path began in the late 1970’s.  Early media were pastels, conte, oil paint, paper and masonite. Later, I switched to acrylics for health safety.  I showed at the Schubert Gallery in Albany, Oregon, in the 1980’s and Shirley Coffin was a key mentor. I owe much to her and her artist group. Seattle was my next stop. Lots of shows,  few sales. I had a brief stint of work for Dale Chihuly, the famous glass artist,  at the Boathouse. I applied to 12 graduate schools for MFA work. All 12 rejected my applications.  Cranbrook, Mills & RISD; I also applied to state schools in CA, WA, OR, UT, TX. It was crazy to be rejected by all after showing 7 times in one year in Seattle galleries and a painting used for an Intiman Theatre cover. Years  later, I was told MFA’s were an “insider game” — you had to know art professors in the program you applied to. That was how they controlled who got MFAs. Two years later, 1993, I landed in Santa Fe, NM, and rented a 300 sq ft space on Canyon Road with hanging light bulbs– no track lights. Concrete floor and a scary kitchen didn’t bother me. I slept on a fold up futon couch and opened the studio to customers most days. Many artists lived in the small studios on Canyon Road then. We helped each other with  tips on how to ship art abroad and other business techniques to succeed in our studio galleries. I didn’t know  that Santa Fe was a world-class art market; as art customers came, they were from all over the world. They  loved art. They were middle class people, not the billionaires or millionaires that engulfed Canyon Road after 2001.

A Japanese art lover studied my work and made a pile of works on paper, speaking no English, he handed me a Visa Card to pay, taking the art with him, wrapped in glassine paper and cardboard. Another time, a Scandinavian couple visited on a snowy day. They looked through the portfolios and asked me to put the group of paper drawings on the wall with tape. I did. After looking at the 16 water color & ink drawings from The Spectre series, they said they couldn’t decide, so they bought them all. Again, the art went out wrapped for travel. These and many other wonderful experiences showed me that regular people loved and wanted original art. As one artist said, “Canyon Road was far better than graduate school!”

I worked & lived on Canyon Road for 10 years. Captive Head Breaks Out was created there. After Canyon Road, I moved to Sandoval Street to operate a larger space. 9-11 events ended the Santa Fe artist movement for artists, except the wealthy ones. Artists couldn’t make a living and moved to Mexico, Thailand and other places. Artists are not financiers. I saw for myself how the investor class can destroy the creative class.

 

 

                                                      Going Up! Acrylic/canvas, 30″ X 36″

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