In my new drawings, I combine art and running as a way of speaking to the human relationship to nature. Running is a tactile way of connecting with the wild outdoors. Navigating the boundaries of a particular plot of land is a process of experiencing the terrain and noting, in a bodily way, how wild space, farmland, or watershed territory, for example, are contained and what encroaches on their borders. Most recently I’ve been running parts of the Casco Bay watershed, in Maine, as way of exploring the water pathways from Sebago Lake to Casco Bay, collecting data and narrative as I navigate my way along the Presumpscot River.
Each of these drawings begins with an experience of running. I track each run with a GPS watch, which results in a satellite map. The resulting drawings use the shape of each run, extrapolated from the map, as a starting point. Each experience generates images and narratives that drive the development of the work. The final drawings speak to the power of direct relationship with the land, with what sustains us, and to a vision of art practice that is actively engaged in the world and specifically with environmental concerns.
Artist Bio / CV
Lucinda’s studio practice consists of drawing, painting, and installation. She is based in Maine and has shown widely in New England, Chicago, and the Southwest. Exhibition venues include the University of Arizona; the Tucson Museum of Art; Dinnerware Artspace; The Brattleboro Museum; Aucocisco Gallery; Whitney Art Works; Rose Contemporary; The University of New England; Space Gallery; The Center for Maine Contemporary Art; Boston Center for the Arts; The Ross Gallery, in Charlotte, North Carolina; and Gallery 312, in Chicago.
Lucinda received an MFA in Visual Art from the Vermont College of Fine Arts (’99) and a B.A. in Art History from Skidmore College (’88). She currently serves as core faculty in the New Hampshire Institute of Art MFA program and as a guest critic and Artist-Teacher in the Vermont College of Fine Arts MFA.
Bliss’ career has led her to ancillary projects, including writing the chapbook Anatomy of Desire: the Daughter/Mother Sessions (Kore Press, 2000) and blogging about art and running (lucindasrunningblog.com). Her work has been featured in magazines and journals including Maine Farms, Terrain.org, Maine Magazine, The Saint Ann’s Review, and Hunger Mountain. She has received two Maine Arts Commission grants, residencies at Hewnoaks, Shotpouch Creek, and the Vermont Studio Center, and her work is included in the Viewing Program of The Drawing Center in New York and the Pierogi Flat Files in Brooklyn.