Parallel Paths

Pedagogy as a Two-way Street

Essay by Dr. Gerald Mead

It is a pleasure to provide my perspective on this dual exhibition of Cindi O’Mara and Ruby Merritt’s most recent work since I have followed their careers closely and admired their artworks for many years. During that time, I have watched their work grow and develop, and this exhibition marks a unique milestone in both of their creative journeys. I am also proud to have shared their work in my own collection with the public through several group exhibitions at venues throughout Western New York.

Pedagogy has a long and revered history and countless artists credit a beloved educator for the long-lasting influence they’ve had on their artistic practice. Case in point, to this day, the renowned photographer Cindy Sherman who began her career here in Buffalo, acknowledges her (second) photography professor at Buffalo State College, Barbara Jo Revelle, who introduced her to conceptual art and other contemporary trends, stressed that ideas and concepts made a good photograph, and inspired Sherman to "just take pictures." This was liberating moment for Sherman and, as they say, the rest is history.   

O’Mara and Merritt’s pedagogical story began over 20-year ago when Merritt was O’Mara’s promising and inquisitive art student at North Tonawanda High School. Taking advantage of every opportunity in and outside of class, Merritt credits O’Mara with instilling in her a spirit of “perseverance and the permission to experiment.” Seeing Merritt’s potential, skill and dedication, O’Mara encouraged her creative passion over the years, and as Merritt continued her undergraduate and graduate studies - eventually becoming an educator herself - that personal and professional guidance continued.   

At some point, if a connection continues beyond those formative years, the student-teacher dynamic in the relationship begins to morph into a fellow-artist relationship. O’Mara and Merritt are now happily in that stage of their association, hence in this moment presenting a tandem exhibition, which includes a number of collaborative works as well as thoughtfully chosen pairings of works by each of them.         

There are a number of reasons why their relationship has been sustained over the years. There is of course the shared respect they have for each other’s artwork and work ethic, however, more significantly, it is the mutual appreciation they have for the “natural objects from land and sea” that have served as poignant references for their individual work over an extended period of time. While they share sources of inspiration, the nuances of their response to that material varies, which makes seeing these works exhibited together all the more satisfying.

A consummate draftsman, O’Mara is drawn to the shape and forms of natural objects, characteristics that can only be fully appreciated upon close examination of these materials as subject matter. Intrigued by both the simplicity and intricate details of these objects, O’Mara is increasingly pushing the envelope by deftly abstracting them. It is the liminal space between representation and abstraction that she is exploring that makes the work so compelling.        

While Merritt is also heavily inspired by the natural world, her work is more visceral. Her deep rooted and broad-based interest in the natural world manifests itself through her exploration of the “connections where art and science collide and mix curiosities,” putting her squarely in the contemporary art realm of “bio-art.” Also drawn to the physical characteristics of natural objects, she is intrigued by the mark-making possibilities of using natural processes such as evaporation and solubility, as well as printing with natural materials to create unique patterns and textures. The resulting works are dense and alluring palimpsests that seem to channel the micro and macro forces of nature.

In this exhibition, the individual works show the artists at their best, and the decision to pair works that share commonalities was an exceedingly wise one. This tandem format creates an enriching dialogue between the works and provides an increased level of introspection when viewing them together - an excellent example of “the whole is greater than the sum of the parts.” 

While this exhibition is titled “Parallel Paths,” we are fortunate on this occasion to see how those paths intersect through the collaborative works that are included in this exhibition. They represent the dynamic and potent collision of shared affinities and disparate approaches to artmaking as well as the heightened visual acuity of each of the artists. 

Finally, including a selection of the actual natural objects that each of the artists have collected as reference material gives us an “insider view” of what inspires the artists and encourages viewers to discover the inherent visual power these objects possess. Presenting them in concert with the artworks is a highly effective strategy to enhance appreciation (not unsurprising in that both of the artists are educators at heart).

I congratulate O’Mara and Merritt on this superb collaborative exhibition that was two years in the making. For these now fellow artists, it represents a period in their association wherein the channels of inspiration are flowing back and forth between two “kindred spirits” makers who are passionate about their craft. To the viewer, I advise you to look closely at the work, then look even closer. You will be amply rewarded.        

Dr. Gerald Mead is an independent curator and emeritus lecturer of Art & Design at SUNY Buffalo State University. A former art critic for the Evening Observer in Dunkirk, NY, he has been a contributing arts writer for Afterimage: The Journal of Media Arts and Cultural Criticism, Artvoice, Cornelia Magazine and Buffalo Spree.