Dawn F. Neyland is a self-taught artist who was born in 1975 and raised in the Irish Channel/Garden District of New Orleans. She is a published author, a loving wife, and a mother of two. Interested in art for many years, she did not begin to take those interests to paper until the summer of 1998 when she actually created two of the images from her recent collection, Novelle Orleans Reves en Noir et Blanc (New Orleans Dreams in Black and White). For about 13 years, she simply deemed her artwork as “just a form of meditation” and never earnestly considered publication. Until the artist was urged by persistent commentators regarding her natural ability for the medium was she; then, compelled to consider her “meditations” in a different light.
Love is Amazing:
This pieces happened organically just like the real thing, and simply speaks to the reflections, fruitful persistence, fullness and resiprocity that is love — THE ULIMATE HARVEST!
Koizumi Hearn in NOLA Light Divines : an abstract, drip painting from the new series entitled New Orleans: East (Part I).
It speaks to the seamless relevance that the city’s tapestry has on a
global scale. New Orleans has always been that city that cannot go unnoticed. It has a peculiar surge: a catalyst in America’s rich history.
Patrick Lafcadio Hearn (“Koizumi Yakumo”), as an artist he used woodblock illustrations and wrote impressionistic articles for the New Orleans Daily Item and the Times Democrat. His writings commented on New Orleans’ mystical environs, political corruption, French Opera, Creole culture and cuisine. Hearn’s work depicted and enabled the overall impression of New Orleans as an exotic locale.
The piece features Hearn walking as he was known to do, extensively, during his stay in the Crescent City; in that special light that is familiar to those who live in New Orleans. Filtered through lush flora which accents most of the city; the light offers another vibration to those taking the time to appreciate it.
A widow decides to be unveiled once again. She courageously submits to the process of a second marriage.
She appears to be walking in a moonlit forest, clad in a wedding gown, head inclined; gleaning wisdom from a book.
What she must undergo a second time awaits to test her virtue to the core.
The title includes numeric digits to signify the dates of the Katrina Disaster and Japanese Tsunami of 2011. The title also suggests bridging the gap between East and West as it is an extract from my new series New Orleans: East (Part I), implying that there is only one cardinal direction in view of global concern― forward. Featured are three visages and points of view. One is an affected Japanese boy, one a wounded African-American girl and, finally, a mature female. All of them were depicted in a way that could allude to multi-racial bloodlines, but especially the woman. This fusion of racial traits was captured specifically to connote our interconnectedness and how moving forward into a brighter, more sustainable future affects us all. We are all one on Earth. The ray of colored light featured over the woman’s left eye signifies our forward vision, come what may via natural catastrophes. By coalescing with true, clear sight; we’ll move forward as a blended family.