Page 16 - the NOISE July 2014

tinA Mion: A CRACK in thE
It comes as no surprise that artist Tina Mion spent part of her child- hood living in a mortuary. But even before that, Ms. Mion was fas- cinated with death more than the typical eight-year old. She remem- bers pestering her mother relentlessly about what happens after we die, and being frustrated by her mother’s inability to provide an an- swer. One night, as she was being tucked into bed, she said, “I figured it out, Mom. Whatever we think is going to happen, is what happens.”
“For some, that might be angels and harps,” says Ms. Mion, at a young 53. “But I’ve never been particularly fond of harp music. I’d rather see someone with an accordion, and a whole line of dancing rabbis and circus elephants. But that’s just me.”
So began a lifelong fixation with the subject of death, specifically the liminal space in between this life and where we ultimately end up — what Ms. Mion calls “the crack in the teacup” (a reference to a poem by W.H. Auden) or “Mion Land.” It is the exploration of this terri- tory that forms the predominant theme of Ms. Mion’s current show at Coconino Center for the Arts, which consists of mostly new, never before seen work.
Entitled “Memento Mori,” Latin for “remember you will die,” and a tradition of painting that dates back to the early Renaissance; the ex- hibit takes you on a literal and figurative journey through drawings and paintings that present the gravest of issues — personal, politi- cal, environmental and universal — but that, translated through Ms. Mion’s razor sharp humor and wit, evoke laughter despite the deli- cate subject matter and occasionally disturbing imagery.
“Memento Mori paintings were meant to, as are mine, remind the viewers of the fragileness and the beautifulness of our existence,” says Ms. Mion. “And not just of our existence, but the existence of the entire planet. I want people to leave thinking, ‘Wow this is an amazing planet and life I’m living, and maybe to take care of it more because it is so fragile.’”
Outside the exhibit are prints of two of her best known works — the Warhol-esque Jackie O (which has hung in the White House and is part of the Smithsonian’s National Portrait Gallery’s permanent col- lection); and its mate, JFK as the King of Hearts torn into confetti by a bullet. Both were part of a series of over 100 wall-sized portraits of Presidents and First Ladies that Ms. Mion distilled down to their icon- ic essence. Another particularly striking piece in the series — Nancy Reagan with nothing but Ronnie reflected in her eyes — hangs in La Posada, Winslow’s historic Fred Harvey hotel, which Ms. Mion and her husband, Allan Affeldt, purchased in 1997 and have operated and made their primary residence ever since. (The couple is currently in the process of purchasing two more historic hotels in Las Vegas, New Mexico with similar plans for restoration).
Although Ms. Mion accepts she might be forever associated with this seminal series, the true beginning of Memento Mori begins when you push through the gallery doors and are greeted by an un- usual self-portrait — Ms. Mion as a busted open piñata (and clearly deceased clown) with an odd assortment of objects tumbling out: paintbrushes, dog bones, a dirty tampon, cigarettes, pills, matches, birthday candles, an X-Acto knife, American flag toothpick, a salt packet, erasers, and, not be overlooked, a wishbone.
“If I were a piñata and you were to break me open, this is what would come out,” says the artist. “I want the viewer to think, ‘What would come out if I were a piñata?’ If I were to do a portrait of you, that’s one of the first questions I would ask.”
The piece just got back from the Smithsonian where it was part
16 • JULY 2014 • the NOISE arts & news • thenoise.us