Beth Kokol Maker

“If You Are Quiet Enough”, is an on going collection of personal narratives that I began after a move to the woods in the Western North Carolina mountains, as well as, the isolation I experienced as the Covid pandemic continued to evolve. This perfect storm of absolute and extended quiet led me to this mixed media approach to creating a personal, somewhat abstract, narrative of my emotional and professional transformation. It became time for me to examine barriers and explore opportunities to embrace my fears and hopes more fully. Through my approach of combining many mediums “If You Are Quiet Enough” serves as a metaphor for my movement and change.

As I created these narratives, I acknowledged where the power came from that paved the road when one consciously chooses to transform. Archetypical symbols, images, and people appear and fade away representing what we all know to be true of this journey; the mystery beyond the mist, the openings of darkness and light created by the sun and moon, foreboding or illuminating weather conditions, headlights and guard rails blinding or guiding the path, road signs signaling what lies ahead . These barriers and natural openings narrate aspects of my story as a child, wife, mother, and artist; addressing my life challenges and accomplishments, as well as, my hopes for the future.

I found myself becoming more comfortable with being quiet and moving further away from my original images and memories, allowing myself to be taken on the journey without reservation.

As a young child growing up on the water in Florida as well as the mountains of North Carolina, being outside has always been my favorite place to be . While I was in Florida, my husband and I often go out on our kayaks and fishing boat very early in the morning or at sunset. When hiking in the woods in North Carolina, we often stumbled on some of the most breath taking color and views one can imagine. I find great peace and serenity in nature. It offers me a chance to clear my head, take solace in the silence and breath deeply to listen and see what is being offered by Mother Nature. The ever changing world of land and seascape continue to inspire me often taking me back to some of my most favorite memories and feeling.

Printmaking which is always done on the most wonderful paper was my first love. As a result I have always had an affinity for the very best paper I could buy. Over time I realized I wanted to make my own paper. I quickly fell in love with the process of taking a plant matter or organic fiber, turning it into a pulp that then turned into the most beautiful and textural paper one could imagine. Often the pulp would be pigment and then used to create pulp paintings. Many of the pieces in this collection are in fact pulp painting. Often after creating paper, I would then use it for collage or I would imbed other objects creating something more sculptural.

Construction in the mountains of North Carolina as well as our homes currently and in the past have always been a huge part of my life. If it wasn’t roads or environment that I was living in, it was my perspective on life, specifically how my art work fits in that. I constantly feel I am a project that is being worked on ,remodeled and changed hopefully for the better. During hunting season, I wear bright orange when walking through the woods of our new home as a safety precaution. The influx of Fluorescent orange has given me the opportunity to address color in a whole new way. Fluorescent orange is a very strong color and has a huge impact on everything around it because it is so reflective.

The acrylic collaged paintings in this series titled” Big babies", are often loud and out of control. Acrylics skins have a wonderful transparency and flexibility that makes them the perfect medium for working to create composition of light, color , endless energy and texture.

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Acrylic skins are created by applying paint to a surface other than canvas. Once the painting is finished, it is removed from the original surface . These transfer either to paper where I might add more paint, or I sandwich the painting between sheets of Plexiglas giving the viewer the option of both sides of the painting, much like stained glass. These skins are also used as a collage element as seen in the Babies collection found here on the website

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This series came as a result of my acrylic skins which at times are mounted between plexi. The challenge was that I could not reasonably make skins in large scale and ship them in two sheets of pleix glass. In a world where folks are always on the move, I thought it would be wonderful to have large paintings in a scroll type form that could be rolled up and move with great ease. Mylar is an translucent archival material that is extremely durable,light weigh and is a great support for Acrylic painting.

At times these paintings have a bolder side and a softer side, something I have tried to continue to maintain. This give the viewer the option to flip the painting according to the mood they wish to have in the environment. Many of these can be hung traditionally on the wall or in front of a window or as a room divider. This again address the idea that no matter where the piece reside , there should always be a spot for it.

As you scroll down you will see a collage of the piece below. This give you the chance to see a portion of each painting right next to each other.

Nirvana, a transcendent state in which there is neither suffering, desire, nor sense of self, and the subject is released from the effects of karma and the cycle of death and rebirth. These Mono prints are on BFK 100% Archival paper using Acrylic paint, India ink and watercolor.  I have always had an affinity for Ancient Asian art, especially landscape scrolls.  This series came along after a trip to China. There is something wonderful and very freeing about this process and it sets me free of too much thinking but working from my soul. For me its done in one printing pass, not layering but laying the image down quickly and emotionally and then letting it be what it is with no second visit.