An interview with The Art Complex Museum’s yoga instructor Kezia Bacon
Tell me a little about your background.
I’ve been teaching yoga since 1997- almost half my life! I did most of my training at Kripalu, in the Berkshires, and try to get back there regularly to learn more. I teach several weekly public classes, including Wednesdays at The Art Complex, and also work with several private clients. (These days they are all online, because of Social Distancing). I also teach various workshops (“Meditation Basics” is popular), and run the outdoor Yoga at the River’s Edge program for the North & South Rivers Watershed Association.
When did you know you wanted to do what you are doing now?
I started teaching yoga when I was 25. I had been studying it for several years and my teacher encouraged me to become a certified instructor. At the time, I was also beginning a career as a freelance writer, and my hope was that the two vocations would balance each other and provide a sustainable income. It wasn’t until I added my work as a Wedding Celebrant (writing and officiating wedding ceremonies) to the mix that I truly found the balance I was seeking. So yes, I have three different lines of work, and together they are very fulfilling!
Who are your biggest influences?
For yoga, Mary Norton was my mentor. She ran The Yoga Center in Cohasset, and informed a lot of my teaching and business sense when I first got started. I’ve especially enjoyed Stephen Cope, a teacher and scholar, for his insights into yoga-related “big picture” stuff. These days I’m especially enjoying classes with Emma Boyle, who runs Dragonfly in Marshfield.
Where do you find inspiration?
Nature. Much of the writing I do (articles and website content) centers on discovering and sharing aspects of the natural world, at the local level (South Shore). Our local rivers (North, South, Green Harbor) are my happy place. Between that and talking with friends and family, I often gain insights and perspectives that I can incorporate into my yoga classes. For me, the meaning of life is to spread as much goodness and love around as possible. I’m always looking for ways to do that.
What do you like to do for fun?
Walk in the woods, kayak and paddleboard on the rivers, discover new places, share stories with friends and family. I’m also a huge music fan – listening to albums and podcasts, talking about music, reading about music, going to shows, and even playing/singing a little bit.
What are you reading right now?
Liz Phair’s memoir, Horror Stories, and the latest issue of Harper’s Magazine.
How has the current pandemic affected your teaching – the challenges, and advantages?
I had to learn quickly how to teach live classes online! Teaching to the camera on my laptop, constantly checking to make sure that I’m remaining in the frame, and not cutting off my head or feet – it’s been a learning curve. Also, my voice tends to get tired more quickly, because I have to project quite a bit more. On the bright side, people are generally at home, looking for things to do, and also looking for solace, so I’ve seen an increase in attendance, which is – of course – very welcome!
What’s the funniest thing you’ve seen on Zoom?
My students typically set up their laptops and phones at home, where life continues to happen, so there are often random sets of legs (human) walking through the backgrounds, and also pets and small children. But my favorite was the toddler who noticed herself on her grandmother’s monitor and started dancing joyfully, fascinated by her own image!
Social Distancing!
In late February, the Duxbury Middle School installed an exciting and colorful display of paper mache masks created under the guidance of their teacher, Amy Squillante. This exhibit is the latest installment of of our ongoing “Complex Collaborations” hallway exhibit series, showcasing the talent of our local students.
The masks are still there, hanging out together, while the museum waits to greet visitors again.
As we know, teachers, on a very short notice, had to adapt to teaching remotely. When Amy was asked how it was going, she responded:
“Remote teaching has been different and challenging. I have been creating drawing videos each week from ‘’Mrs Squill’s Art Basement”. The kids are practicing drawing, photographing their drawings and submitting in Schoology, our online platform. I’m a YouTube artist!”
Amy’s love for teaching and enthusiasm is infectious (sorry, no pun intended), and it shows in her students’ work.
Sally’s update on the Fish Project!
I have been working on completing the museum’s community herring run fish mosaic to be part of the Plymouth 400 celebration.
The mosaic is 23 feet long and will be installed on an exterior wall in the sculpture court at the museum.
While quarantined at home, in the spirit of hope and compassion, with the help of Michelle Green of High Street Studios in Hingham, I have been hand-making ceramic fish pendants to be given out to visitors at the reveal of the mosaic, date TBA.
The idea was inspired by the tale of Sadako and the Thousand Paper Cranes.
The fish was sacred to the Greco-Roman mythology, where it held symbolic meaning of change and transformation.
In ancient Eastern Indian mythology, the fish is a symbol of transformation and creation. This is observed in the ancient flood myth in which Vishnu transformed himself into a fish (Matsya) to save the world from a great flood. In this form, he guided king Manu’s boat (which contained the select few survivors and seeds of life to re-create the world after the flood subsided) to safety.
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Sarah Meyers Brent, "Bird Song," 2020, broken toys, studio debris, found objects, and mixed media.
One of four women artists with solo exhibitions in 2021.
This is an excellent opportunity to see the DAA Winter Juried Show with Contemporary Curator Craig Bloodgood as your guide!
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Zoom is the leader in modern enterprise video communications, with an easy, reliable cloud platform for video and audio conferencing, chat, and webinars across mobile, desktop, and room systems. Zoom Rooms is the original software-based conference room solution used around the world in board, confer...Many of us find comfort in a cup of tea and, in many cases, this sensation may derive, not just from the contents of the cup, but from the cup itself.
A vessel’s well-matched functionality and appearance might offer its user a sense of ease and contentment, in turn revealing the object’s inherent beauty. “Yo-no-bi," meaning “beauty through use,” is all about this concept, and it’s a driving notion in Mingei tradition.
The Japanese folk art movement, Mingei, was developed by Yanagi Sōetsu in the late 1920s and 30s. Through close collaboration with Yanagi, potters Hamada Shōji and Kawai Kanjirō deliberately practiced their craft with Mingei in mind.
Now is a better time than ever to appreciate the beauty of use in everyday objects.
Share with us, in which useful objects do you find beauty?
Kawai Kanjirō, Bottle-Shaped Vase, Showa period ca.1961-65, stoneware and three-color glaze.
Hamada Shōji, Tea Bowl, 1971, clay and glaz
A peek at Jackie Reeves’ work space at the Chalkboard Studios in Barnstable. Jackie is one of four women artists with solo exhibitions in 2021.
On Flashback Fridays, Craig Bloodgood, Contemporary Curator, provides behind-the-scene photos of what happens during an installation.
Captions: One of our more creative installation situations from last year’s "Draw the Line" exhibition. This is Zach Horn installing "Cave," his 8 ½ ‘ by 12 ‘ drawing on canvas. We actually had to heighten the wall for this.
Its hard to believe it’s been almost a year since we installed "Draw the Line" here at the museum. This is step two.
This is step 3.
Gallery photo of last falls "Draw the Line," exhibition. This view shows Zach Horn’s, "Cave,"drawing as well as work by Michele Lauriat on the back wall, John Roman to the left and Leslie Cohen on the right. Rotations Gallery. wall.
The museum is fortunate to have in its permanent collection work relating to our historic region, among which is a portrait by American physician and folk painter Rufus Hathaway. 2020 marks the four hundredth anniversary of the founding of Plymouth Colony. In 1629, Colonists, including notable settlers John Alden and Myles Standish, were granted land to the north, along the coast. Later, in 1637, Duxborough was incorporated, becoming the second town in the Commonwealth.
There are certain names that have been known and recognized throughout the long history of Duxbury. They can be seen on street signs and buildings throughout town. Winsor is one of them.
The portrait of Judith Winsor as a young woman was painted by Rufus Hathaway in 1795, a time when Duxbury was rising in prominence as one of the world’s most renowned ship-building towns. In it, the sitter is depicted in the artist’s idiosyncratic style, marked by naively rendered forms and emphasized elements of pattern and design. Hathaway may have worked as an apprentice ship-carver but was presumably self-taught as an artist, traveling through southern Massachusetts creating portraits. It is thought that the sitter and artist fell in love while this portrait was being made!
After their marriage, Hathaway took up medicine, studying under Dr. Isaac Winslow of Marshfield. He spent the rest of his life in Duxbury, serving as the town’s only physician.
Caption: Rufus Hathaway, American, 1770–1822, “Judith Winsor,” 1795, oil on canvas
After her husband Rufus died in 1822, Judith Winsor Hathaway, at the age of forty-four, was left responsible for their nine children. Her modest circumstances forced her to board ship’s carpenters in her home on Washington Street which has since been destroyed. She was admired for her courage and resilient efforts to keep her children together.
That courage can be seen in a daughter of Judith Winsor Hathaway and Rufus Hathaway, Judith Winsor Smith. She went on to become an American women's suffrage activist, social reformer, and abolitionist.
Caption: Judith Winsor at age 102, 1880, photographed by M. Chandler, Marshfield Massachusetts
The museum is fortunate to have in its permanent collection work relating to our historic region, among which is a portrait by American physician and folk painter Rufus Hathaway. 2020 marks the four hundredth anniversary of the founding of Plymouth Colony. In 1629, Colonists, including notable settlers John Alden and Myles Standish, were granted land to the north, along the coast. Later, in 1637, Duxborough was incorporated, becoming the second town in the Commonwealth.
There are certain names that have been known and recognized throughout the long history of Duxbury. They can be seen on street signs and buildings throughout town. Winsor is one of them.
The portrait of Judith Winsor as a young woman was painted by Rufus Hathaway in 1795, a time when Duxbury was rising in prominence as one of the world’s most renowned ship-building towns. In it, the sitter is depicted in the artist’s idiosyncratic style, marked by naively rendered forms and emphasized elements of pattern and design. Hathaway may have worked as an apprentice ship-carver but was presumably self-taught as an artist, traveling through southern Massachusetts creating portraits. It is thought that the sitter and artist fell in love while this portrait was being made!
After their marriage, Hathaway took up medicine, studying under Dr. Isaac Winslow of Marshfield. He spent the rest of his life in Duxbury, serving as the town’s only physician.
Caption: Rufus Hathaway, American, 1770–1822, “Judith Winsor,” 1795, oil on canvas
After her husband Rufus died in 1822, Judith Winsor Hathaway, at the age of forty-four, was left responsible for their nine children. Her modest circumstances forced her to board ship’s carpenters in her home on Washington Street which has since been destroyed. She was admired for her courage and resilient efforts to keep her children together.
That courage can be seen in a daughter of Judith Winsor Hathaway and Rufus Hathaway, Judith Winsor Smith. She went on to become an American women's suffrage activist, social reformer, and abolitionist.
Caption: Judith Winsor at age 102, 1880, photographed by M. Chandler, Marshfield Massachusetts
IN MEMORIAM Elaine Plakias, one of the museum’s most dedicated supporters, passed away peacefully on Tuesday, April 21, at Newfield House in Plymouth. Her involvement with the museum began as a volunteer, many years ago. Eventually, she started working as a staff assistant in which position she filled many roles - one of which was as leader of an art-centered discussion group held in the museum’s library. She worked into her nineties and developed strong relationships with staff, volunteers and visitors. Her welcoming smile, ready wit and contagious enthusiasm meant so much to everyone.
Elaine was also an ardent library supporter. She was so engaging and interested in books, writing, people and the arts. A great woman!
So sorry very special person
Condolences
Elaine was a true class act. ❤️🙏
Artist and the first director of The Art Complex Museum, Ture Bengtz, created this intriguing lithograph that features two colorful fishermen leaning over the edge of the Duxbury Bridge, hoping to reel in the catch-of-the-day.
A printmaker and painter, Bengtz directed the drawing and graphic arts departments at the School of the Museum of Fine Arts, Boston. Bengtz also co-founded the Boston Printmakers in 1947 and continued to be involved in the group until his death in 1973.
The bridge is much loved by Duxbury residents, although now closed due to COVID-19. Bengtz’s work reminds us of just one of the many familiar scenes awaiting once our world has returned to normal.
Caption: Ture Bengtz, “Duxbury Bridge,” 1973, lithograph
Share your images or thoughts of the Duxbury Bridge on The Art Complex Museum Group page!
Staff at The Art Complex Museum have missed greeting its many visitors but thought this would be an excellent time to introduce some of the art objects in the collection - many of which have been shown in various exhibitions.
Considering the dynamics of the current COVID-19 and the stress many people feel, the first painting, “Moonrise On The Beach,” by Lowell Berg Harrison projects an immediate sense of peace and tranquility. Often referred to as the painter of moonlight, Harrison firmly believed that artists should suggest more than describe in order to stimulate the imagination of the viewer.
This work displays his preference for the lyrical rancher than the dramatic. It presents fine nuances of color rather than brilliant hues. The viewer is reminded of what awaits when, once again, a visit to the seashore is allowed.
Well-written insight into Harrison