How Cecily came to sculpt the divinely imperfect and paint the Divine Feminine is as interesting as the pieces themselves. She was in love, obsessed really, with an unavailable man.
Her heart split open and the process was so excruciating that she literally had to "get it out". 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 mother of four. Cecily began to see that her aching for a man 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.
When Cecily began to crave color and a paintbrush, she simply went to the hardware store and purchased some housepaint 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. 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."
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 judgment lingering behind women's bodies and choices. These stark, mesmerizing bodies of light and shadow, questions and answers point to Cecily's favorite quote- "There are two things in life, to love and to be afraid"