Joyce Wilson
Limericks: The Rockettes Appear on The Tonight Show
In the past The Rockettes made us laugh.
The sexism seemed like a gaffe,
The look and the sound
Obscurity bound
Beside the endangered giraffe.
It's been years, now we're used to the form.
The costumes are part of the norm.
The legs that advance
A synchronized dance
Have taken our senses by storm.
When the tap dancers kick up a breeze
As holidays put on the squeeze,
It isn't a sin—
We like all the skin!
('Though I couldn't do it. Bad knees.)
You remember the Walgreen's cashier,
The tall skinny girl without fear?
She's living her dream
To work for the team
That magnifies holiday cheer.
Jumping Spider of My Mind
After Emily
Was it because I turned the faucet handle
That she emerged from hiding, pincers taut
In antic dance, part scurry and part scramble
To chase the glimmer of elusive thought?
She skimmed the counter as if she'd measure
Each plane and fault with palm and underside
Of her being, then made a quick seizure
Of its surface, to finish with a slide
Into the sink, across the dip and down.
Wouldn't she have known where the gleaming edge is
By now? She's out, over the rim and gone,
Casting a line to unseen distant bridges.
How often does she wait behind the spigot
Winding silk to snare her catch, confined
By nervous appetite, or fear of its
Release, this jumping spider of my mind?
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| Anna Lee Hafer is a studio artist based in the Philadelphia area whose work is heavily influenced by such famous surrealist painters as René Magritte, Salvador Dali, and Pablo Picasso, all of whom strove to build their own realities through small glimpses into a particularly confusing, but utterly unique worldview that dictates its own specific set of instructions. With references to the laws and physics of Alice's Wonderland, the artist challenges the audience's inherent understanding of perspective, reality, and universal order.
In her work, Hafer pours and layers paint to create dimension and texture, mixing different styles and colors onto each other until they produce a 3D effect. Through marker and pencil that create shadow, she further enhances these forms and separates them from the background. Heavier layers and thicker brushstrokes in the foreground of her work push the painting toward the viewer, whereas the thinner layers and small brushstrokes in the background, elongate the space and push away from the viewer. By juxtaposing interior and exterior elements, Hafer makes the audience question whether they are looking at something inside or outside.
For additional information, please visit www.hafer.work.
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