When Cecily began to crave color and a paintbrush, she simply went to the hardware store and purchased some house paint and masonite.  Never formally trained as an artist, yet completely enamored with color and line, she began using spontaneous swipes to celebrate, if not exaggerate, the female form, particularly the lines of the hips, breasts, jaw, and collarbone.  The result is a poetic series of paintings pregnant with vulnerability, sensitivity, and sensuality- projected aspects of herself that she denied for too long.  "The female body is itself art.  I accentuate the curves and shapes because to me femininity is synonymous with authentic spiritual power, both receptive and open."

Cecily's art is classified as Outsider, Naive, Folk, or intuitive.  She was never formally trained as an artist .  Started out sculpting with clay, then craving color started painting the female form. When she came across a vintage mannequin in an antique store she bought it and, with a handful of nude photography magazines and Anthropologie catalogs, she started to collage her mannequin and hasn't been able to stop!


​    Her most recent endeavor is a collage-on-mannequin series exploring how society corners women , drawing thin distinctions between pornography and power, fantasy and reality.  Crosses juxtaposing breasts hint at the insidious judgement lingering behind women's bodies and choices.  Her inborn inclination to sift through and integrate the layers of her own life story, as well as her lengthy involvement with family systemic work, is no doubt part of what drives her to spend hours and days gluing together these collective stories. These stark, mesmerizing bodies of light and shadow, questions and answers point to a favorite quote- "There are two things in life, to love and to be afraid."


How Cecily came to sculpt the divinely imperfect and paint the Divine Feminine is as interesting as the pieces themselves.  She was in love with an unavailable man.

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    Her heart split open and the process was so excruciating that she had to literally "get it out." So she began sculpting herself in agony - body limp with despair, crumpled in fetal position, rising in ecstasy, or stretched out with  limbs and expressions longing for redemption.  And there in the earthen clumps of grief lay the seeds of new life.


​    A journey towards forgiveness and letting go. that would prove nothing short of mythic, had begun for this single mother of four.  Cecily began to see that her aching for a man only represented a greater, more universal longing for the Divine.  "What I was feeling with this person was symbolic of the relationship we all want with God.  I was able to see this through creating art.  I was also healing my relationship with my father, loving at last his fallibility, as well as my own."
 

​Cecily Fazekas