Face to Face with the Fellows: Erin Barnes
Small Starts, Big Results
When Erin Barnes wrote a letter to her mayor asking them to get the cars barreling by her neighborhood playground to slow down, she didnʻt know what to expect. After all, she was a fifth-grader. But weeks later, she saw the traffic signs go up. It was a small win, but it set her on a journey that led her to help found the neighbor-driven organization, ioby (In Our BackYards).
ioby focuses on changing the way decisions are made for local communities. By working with residents who have good ideas to make their neighborhoods even better, ioby helps them plan, fund, and bring their ideas to life. Whether it’s raising money to make an intersection safer or buy paint for a public art project, one of ioby’s principles is “small is big,” a reminder that in lots of small steps towards progress taken collectively, big changes occur.
Q: To start, maybe you could tell us where you grew up and what you learned from your own neighborhood?
A: I grew up in Alexandria, Virginia, right outside of Washington, DC, and I went to a private school. Everyone in my family and friend network worked for the government, and I was surrounded by the idea that all people should be part of a healthy, functioning democracy working for change.
I’ve learned so much from my neighborhood. I remember one day when I was 10 or 11 years old, an African American couple knocked at our front door—we always knew it was someone we didn’t know when anyone came to the front door, because everyone we did know would come around to the side door. My parents weren’t home and I knew I wasn’t going to know them, but I opened the door to greet them anyways.
They explained that they were there to get signatures to change the law in the neighborhood that prevented African Americans from buying property. I remember feeling really helpless and like there was nothing I could do. I was also embarrassed and thought that surely my parents weren’t a part of this on purpose. At the same time, I felt like they should have known.
What I learned later is that I grew up in a neighborhood with a racially-restricted covenant designed to allow white families to build wealth at the exclusion of black families. When I think back on that encounter now, I can’t imagine how awful and humiliating it must have been for adults who just wanted a home to explain to some kid how the entire world and systems had been structured against them, making it tough for them to simply own property. It really made me wake up to the inequalities and injustices in this country.
Q: That must have been a powerful realization for you, especially at such a young age. Is there anything else you think impacted your path to co-founding ioby?
A: Yes, I do. When I was in fifth grade, I had an assignment where I was supposed to write a letter to an elected official. In my neighborhood, there was a park that we called “The Pit” and my friends and I would go there all the time. It was literally a hole in the ground. It had one slide that got way too hot in the summertime and it had one shade structure that had a huge bee’s nest in it. It wasn’t a nice park, but it was our park. The only real downside was that cars would whip around the corner way too fast.
I decided to write a letter to the mayor asking him to make sure cars wouldn’t drive so fast by the park. He wrote back and thanked me for the letter and within three months a “Children at Play” sign was installed. I got tons of positive feedback from my teacher, from my parents, and even from my classmates.
The whole process made me realize that I can change the way that my neighborhood functions. I can change the way it looks, I can change the way people behave in the neighborhood. Everyone should have the same opportunity to realize that small actions do make a big difference in shaping the way our neighborhoods and our democracy functions, and that a healthy democracy really depends on all of us doing that work. That’s in part what motivated me to co-found ioby.
Q: You mentioned that after you wrote to your mayor, you realized that you can implement change in your neighborhood. How does ioby help people realize that they can also create change?
A: My experience of writing a letter to an elected official and having something change as a result of it couldn’t be further from most people’s first interaction with government. Most people’s interaction with government is about taxes or going to the DMV or a boring community meeting, or something worse, like a family member getting in some kind of trouble with the law. I think it takes a long time for people to realize that change can actually happen and we all can be agents of change if we work with our neighbors and build power. It’s hard work, and I’m coming from a position of immense privilege so my experience is going to be super different from everybody else’s.
At ioby specifically, it’s interesting to watch the nearly 20,000 people we’ve trained bring thousands of projects to life. Seeing people’s opinions about what’s possible in their neighborhoods shift dramatically after going through the experience of coming up with an idea, developing it, asking their neighbors to help fund it and then actually implementing it is astounding. We try to change the way people think about their own interactions with their neighbors and their government.
Q: What was it like starting ioby?
A: At the heart of it, ioby helps and inspires people to start things. The world is not designed for people to make positive change. If somebody has a good idea of how to improve their neighborhood, their block, their kid’s school, whatever it is, there’s nothing in place to help them achieve that change and there’s nothing designed to give positive feedback and encourage people to keep doing it. There’s so much bureaucracy involved in this kind of work, and it took us years to get everything in order to do business as a nonprofit organization.
ioby never would have been this successful if it weren’t for my co-founders. We also have an incredible board of directors, and our staff is so incredible, hard-working and dedicated. But really, it’s all the people — the ioby Leaders, donors and volunteers working for change in their neighborhoods — who took a risk to try something new with us, they are really the people who made ioby what it is today. If anything, this process was a reminder that the idea of one charismatic leader who comes in and changes everything just isn’t true. No one is ever going to change things on their own.
Q: What were some of the first projects ioby helped community members create?
A: One of our first projects and my favorite project is from Rosedale Queens. It’s a project started by Fred Kress and Barbara Gersen. Barbara refuses to tell people her real age. She and Fred take care of this special triangular park that’s on the way to John F. Kennedy Airport. It has a small veteran’s memorial in it, and since it’s on a major highway, a lot of people tend to litter and trash ends up in the memorial. Fred and Barbara felt that if you’re going to make a memorial to veterans, they deserve the respect to not have garbage in it.
After 9/11, many people planted daffodil bulbs in New York City parks so that they all bloom around the same time. It’s meant to be a symbol of rebirth, so it was important to Fred and Barbara to put daffodils in that area, too. They raised around $130 for plastic gloves, plastic bags, some daffodil bulbs, and a couple of spades. It’s a project that made me feel amazed and good about the work that we’re doing at ioby.
Q: That’s terrific. Are there any other projects you can tell me about?
A: There’s a project where two neighborhoods actually teamed up on a project in Cleveland, Ohio. Back in the 1950s, nearly every major US city got a highway that tended to cut directly through black neighborhoods, which would displace thousands of people into different parts of town. In the case of these two Cleveland neighborhoods, the major highway had divided one neighborhood into two.
One neighborhood was much closer to the Cleveland Clinic and the universities and has benefited from a lot of the new amenities and developments. People are able to build wealth and the streets are lined with flowers. On the other side of the highway, however, that neighborhood hasn’t experienced the same kind of development and hasn’t progressed well at all.
In this particular instance, two individuals from each of the neighborhoods came together and organized their own Make Art Talk Race conversation for their communities—one that was experiencing new wealth and one that wasn’t. They talked about the history of how racism-fueled practices and policies led to the highway destroying that neighborhood altogether several years ago and how other parts of redlining and gentrification caused the larger and larger split between the two communities. Then they started talking about what the neighbors could do to talk about it.
They decided that they wanted to paint the story of how racism impacted these two neighborhoods on the bridge that connected the two neighborhoods over the highway. They called it “A Bridge that Bridges,” and they got people from both sides of the neighborhood to come out and paint the story. There’s so much symbolism in taking one step at a time and making the road by walking it together. It was a really beautiful project.
Q: That paints a vivid picture—no pun intended—of what you and your team are doing at ioby. What do you think attracts people to learn how to create tangible, local change?
A: There’s a metaphor that lots of people use about the government as if it’s a vending machine—you put your taxes in and you get your stuff out. In that metaphor, a protest is when the candy bar gets stuck and you try to shake the vending machine to get it out. But that’s not what democracy is. We all have to participate in taking care of civic spaces and in processes to help make decisions in our communities. And so many of the people and communities we work with want to do their part.
Q: And to close, how has the Obama Foundation Fellowship impacted your work?
A: I think one of the things I’m most excited about has been discovering new ways to support pathways to deeper civic leadership. ioby works with hundreds of people every year who are great civic leaders for their communities. The Obama Foundation Fellowship has given me a chance to learn from other Fellows, and to hear insights from the amazing advisors that we have access to, and also to hear directly from President Obama himself about the importance of local leadership. It’s been meaningful to bring those learnings back to ioby as we continue to grow.
You can learn more about Erin, ioby, and meet the rest of our inaugural class of Fellows here.
Erin Barnes’s Lacrosse Profile | ConnectLAXErin Barnes’s Lacrosse Profile | ConnectLAX
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Attack, Midfield, Defense, Draw
Very strong lacrosse IQ; excellent on the draw circle; very coachable; multi-sport athlete; strong work ethic; lefty but plays and scores with both hands; cool under pressure.
I have been playing lacrosse for over 10 years. I am left hand dominant; most of my goals are right-handed. I am very strong on defense and creating caused turnovers. I was brought up to Varsity as a Freshman for my school team, which is a 4-time state championship program. I can handle the ball on both ends of the field. I’m very confident transitioning the ball through the midfield and helping my teammates score.
I also play Varsity basketball for my high school. I am currently taking all honors classes.
I am the youngest of four sisters; 3 of us are lacrosse players and one is a basketball player.Game film visible only to logged in college coaches.
For a full evaluation of Erin’s field play, athleticism and academics, please text me directly at 610-357-3479.View All Endorsements View @erinnbarnes on Instagram
Resolving disputes can be a stressful and complex process. With her even-keeled and strong-willed nature, Erin successfully negotiates and settles even the most tumultuous of claims for her clients.
Erin has represented clients at all levels of court in British Columbia. When advocating for their interests, she is vocal and motivated.
She demonstrates intellectual aptitude when dealing with sophisticated construction and coverage matters and has in-depth experience working through high-stakes disputes. Erin is skilled at developing comprehensive assessments for her clients, as well as crafting clear and practical guidance that results in fair and efficient resolutions.
|Coverage advice and disputes||Directors & Officers defence and coverage|
|Contract Disputes||Complex liability defence and multi-party litigation|
|Construction and real estate litigation||Civil and commercial litigation matters|
|Contract review and risk assessment||Litigation and negotiation between Aboriginal groups and government bodies|
|Aboriginal and Treaty Rights (opinions, negotiations and agreements)||Environmental impact assessments and regulatory matters for projects related to energy and natural resources|
Erin’s services are founded on trust and reliability. With a background in psychology, Erin distills the human element from her work and endeavors to understand the issues from the perspective of those involved. Whether advising on complex coverage matters or advancing a strategic defence, Erin does not lose sight of why each matter is important to the client. This approach delivers effective and positive outcomes, and provides a foundation for long-lasting business relationships.Download PDF
Erin Barnes – National Portrait Gallery
As Associate Curator of the sixteenth-century collections I am principally involved in the research for a forthcoming exhibition on the Elizabethans (10 October 2013 – 5 January 2014), in Tudor gallery displays and in designing displays and temporary exhibitions for our collections at Montacute House in Somerset. I am also working on a new digital interactive for our Tudor and Jacobean miniatures collection.
I joined the National Portrait Gallery from the Courtauld Gallery in 2011. Following an MA in design history (V&A/RCA) I became curator of a private collection, later returning to the V&A to undertake a Collaborative Doctoral Award with the University of Sussex as part of the exhibition Baroque 1620-1800: Style in the Age of Magnificence (V&A 4 April-19 July 2009). My DPhil thesis focused on the relationship between sight and the concept of insight in the figurative arts of the Baroque.
I have broad research interests in the relationship between European religious history and visual culture, particularly portraiture. I have a particular interest in the family portrait, developed during a period as Leverhulme Fellow in the History of British Portraiture at the Gallery in 2009.
- ‘The Theatre of Death’, Oxford Art Journal, Vol. 36, No. 1 (forthcoming March 2013)
- ‘Reflections on a glass Madeleine Pénitente’, Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Michelle A. Erhardt and Amy M. Morris (eds.), Leiden and Boston: Brill (2012), pp.315-337
- ‘Power and Sacred Art’ in Baroque 1620-1800: Style in the Age of Magnificence, Nigel Llewellyn and Michael Snodin, assisted by Joanna Norman (eds.), London: V&A Publications (2009) pp.241-257
- ‘The Triptych Portrait in England 1575-1646’, British Arts Journal, Volume VI, No.2 (Autumn 2005) pp.3-11
Who is Casey Barnes? – Casey’s Circle
Casey Erin Barnes came into our life on April 23rd 2006. She was a few weeks early, but just 3 days from being full term (37 weeks). Casey came early, but not easily. Marty (Casey’s mom) had a sudden and severe uterine rupture. Casey and her placenta left the uterus and floated in Marty’s abdominal cavity.
Luckily Marty and Tim (Casey’s dad) were close to the hospital, where doctors worked fast to get Casey out, but she went about 30 minutes with limited to no oxygen. The APGAR was 0 at birth, no breath, no heart beat. After 5 minutes the resuscitation team had a heart beat; after 10 minutes they had gasping breaths.
Casey’s primary diagnosis was HIE (Hypoxic Ischemic Encephalopathy). In addition and as a result of HIE, Casey was also diagnosed with Quadriplegia CP (Cerebral Palsy), seizures, many orthopedic contractures, as well as many other HIE side-effects such as hearing and vision loss. Casey was missing some basic reflexes, unable to suck, swallow, gag or blink. Without the ability to swallow, Casey’s air way was in constant risk for serious pneumonias that were often escalated to Acute Respiratory Distress Syndrome – ARDS. A feeding tube was required for all of her nutrition and medications.
There are many children with HIE, some not as serious as Casey, some much more serious. However, there are still not a lot of medical options available to help children with these types of brain injuries. The suggested methods are really just to treat symptoms individually and wait. If the patient and family want to take a proactive, more progressive approach, the cost is all out of pocket. Some treatment options like Hyperbaric Oxygen Treatment – HBOT and umbilical stem cells are not only costly, but they are rarely available, and in some cases available not yet approved for these complex children. We truly believe that these procedures, as well as her many doctors, nurses and therapies (her circle) made such a huge improvement in Casey’s life. Our hope is that more options become available and affordable for these complex and deserving children.
Casey had many serious complications, and a very hard start to her life. Regardless of the challenge or the pain, Casey fought through it all. Doctors originally gave a very grim expectation for Casey. Some said she would never go home at all. Others said if she did go home, she was unlikely to see her first birthday. Casey proved them all wrong. She had a huge, wonderful personality to go with her amazing will and strength. She was disabled; but she was definitely determined.
After a very full, yet very short life, Casey passed away on March 10, 2016 just before her 10th birthday. She will be forever in our hearts. She has inspired all of the efforts and programs you see here on Casey’s Circle. She touched many lives while she was here, and she continues to help medically complex children and their circles everyday.
We will continue to keep CaseyBarnes.org online as a way to look back over Casey’s life, we will keep photos and videos online there as well. We feel that keeping CaseyBarnes.org online helps serve as a tribute to her amazing spirit.
Erin Barnes – Next Generation Wellness
I want to share with you the culture I wish to change.
It’s small. It’s simple. But it has an outstanding impact on our next generation.
THE CURRENT CULTURE
Achieving wellness is extreme.
This culture stops many from even starting the journey.
It keeps others perpetually learning, yet never fully integrating.
Neither works in leading our next generation of children to wellbeing and personal possibility.
Then there’s those who are incorporating superb habits, but it feels like there is still an impossible mountain to climb to be ‘good enough’ comparatively to the wellness and personal growth gurus.
And everyone’s lives are already so full. They don’t have time for more ‘to do’s.
A NEW CULTURE.
Wellness that is value driven and enabling, rather than comparative and extreme.
For our next generation.
(Note: “Extreme” is a perception. The perception of extreme becomes a truth for us, when we follow someone else’s process without addressing how it fits with our view of the world and values, and our current position in relation to the new behaviour)
WHAT MOST PEOPLE REALLY WANT
The tiny pockets of space that they do have available, to be fun and social.
Pleasure and purpose combined.
To be known and trusted.
To enjoy a coffee or chocolate without stressing about liver failure or oestrogen dominance.
To have a beautiful glass of wine without stress and pressure driving them to consume 10 and then feel regret!
To strive for superb experiences, without situational comparison and guilt for those who have less.
To have consistent energy and optimism.
To be remembered for contributing to better, for kindness, for standing for something, for showing up well, for being the ultimate all-rounder, a leader from within.
A BOLD PROMISE.
We can achieve and lead wellness, without the fear of losing these things.
We can strive for more in life, without being seen as greedy.
BUT THE TRUTH.
The Cold. Hard, Truth.
Not everyone wants to feel fantastic. Not everyone wants to live a full and purposeful life.
Some people fight really hard to stay living small and unhealthy. Some others fight to be right, and will never expand because of this crossed-armed-ness.
Not every workplace leader wants to be affiliating and enabling. Some love to save status through demeaning and dictatorship.
I have let those people go. No judgement.
I don’t seek to change the view of these people, nor desire to.
There’s enough of the other type of person, to elicit change.
THE OTHER TYPE OF PERSON
I rely on this person. It may just be you.
They’re already full (contributing, being ‘healthy, relatively conscious, and purpose driven)
They’re slight FOMO’s (fear of missing out), juggling the desired JOMO (joy of missing out)
They love fun, and certain choices around wellness create fear of missing out on that fun (total perception. Only the truth when we try the extremes of wellbeing)
They’re committed and appreciate personal effort. Not a dabbler (or at least committed to the release of dabbling)
They’re someone that influences (whether aware of it or not), driven to expand self, then lead others.
They’re enablers – they lift others up
They have the whisper of knowing they’re capable of more, but doubt, fear or perceived restrictions keeping them in status quo.
They have a posture of responsibility, connection, curiosity, mindfulness + authenticity.
Do you know this person?
HOW WE CHANGE THE CULTURE
I’ve been entrenched in the wellness industry for 20 years.
It’s been broad learning and integration. It had to be.
Positive Psychology, Nutrition, Neuro-Linguistic Programming, Advanced Mindfulness Training, Cognitive Behavioural Therapy, Exercise Physiology, Meditation Diploma……
Always seen by others as healthy. But there was a lot of unhealthy.
Rheumatoid Arthritis from 19yrs- 28yrs.
Superbly low self-confidence
But twenty years of learning and values based integration has shifted those things.
I now create a science and research based, sustainable and integrative approach to stress reduction.
Elevating wellbeing and personal possibility.
Taking the complex propaganda in the health and wellness sector, I transform it into simple frameworks and value based, sustainable behaviours.
Educating and empowering with my unique 4 C’s Coaching Methodology:
Transparency of values, ambitions, intentions and priorities.
A shift in the personal paradigm.
Those habits, beliefs and opinions that people have hoarded unconsciously.
The paradigm that keeps them falling short of what they want.
Keeps them getting the same of the same.
It guides them, whether they’re aware of it, or not.
We command the dream voice to shout louder than the doubt voice.
We’re usually distracted, reactive and over 95% on autopilot.
We change that up with transition strategies and focus triggers.
We transform complexity into simple frameworks to integrate sustainably.
Enabling perseverance over pleasure.
A bias for committed, focussed, intentional, value driven and purposeful action.
THE OTHER STUFF
– Bachelor of Applied Science (BAsc) – Human Movement Sciences- encompassing nutrition, psychology and exercise science
– Advanced Neurolinguistic Programming (NLP) Practitioner
– Certificate 3 + 4 in Fitness – Personal Trainer
– L2 Certified Wellness & Lifestyle Coach with a focus in positive psychology
– Master Mindfulness Practitioner
– Certified Twenty8 Health & Lifestyle Educator in aromatherapy, chemical free skincare and essential oils
– Cognitive Behavioural Therapist (CBT)
– Sports Trainer
I am blessed to live on the beautiful Sunshine Coast, with my encouraging husband and two edifying children and love having energy and being social. I enjoy a great glass of wine, an amazing coffee and chocolate without guilt, but I also can’t go without my real food, veggies and smoothies. I am energised most days by the beach, yoga, strength training and generally being active.
I do what I say I am going to do.
My values are Integrity and Wellbeing.
I invite you to join the movement.
Take care and be well,
Erin Barnes, PhD, IA | Mind Diagnostics
More about me
PhD, LMHC, CRC, NCC
Years in Practice: 4
I want to help clients in their efforts towards becoming the best version of themselves. Through non-judgmental listening, I support clients by helping them to 1) identify their goals, and 2) develop a plan for monitoring and evaluating progress towards those goals. In the first phase of the process, I will provide nonjudgmental listening. We will talk about your goals, challenges, and overall well-being. You should feel empowered to be honest (and vulnerable) with regards to your thoughts and feelings: I won’t judge you. In the second phase, we will monitor progress towards goals, and the third phase will focus on the development of a plan to sustain gains made during therapy and what to do when setbacks occur.
To give you a bit of background about me, I want to mention my roles. My primary career role is that of an educator. I teach full-time and devote additional time to my role as a clinician. (I’m also a mother of an only child, which is a very important and meaningful role as well.) My clinical experiences in rehabilitation and mental health counseling have included: homelessness, bereavement, sexual assault, smoking cessation, employee assistance, higher education, and vocational rehabilitation. I earned my Master’s Degree in Rehabilitation Counseling in 2005 and my PhD in Rehabilitation Counselor Education in 2011. I am highly skilled in workplace issues and career development.
About online counseling
Online counseling allows you to receive care from an online mental health practitioner via phone, video chat, or instant messaging. It is convenient for those who may have trouble getting to or would prefer not to have in-person therapy appointments. Ranging from $35 to $80 per week, online counseling is generally more affordable than in-person counseling. A study by researchers at University of California, Berkeley found that online counseling can be just as effective as face-to-face therapy while being more convenient, affordable, and accessible.
- Addictions Self esteem Career difficulties Coping with life changes Stress Anxiety Relationship issues Family conflicts Grief Parenting issues Coaching
- Languages Spoken
Open seminar on alchemy
“Hieroglyphic monad, OR WHY WE DRAW CRESCENT”
Hello everyone. I am glad to welcome you to the seminar on alchemy dedicated to the “Hieroglyphic Monad” of John Dee, one of the greatest alchemists and thinkers of the Middle Ages. Today we will discuss some of the features of the symbolism used in alchemy, and why we draw all these symbols when we write down alchemical reactions.Let’s think about why we are drawing the Earth as a point within a circle?
Aleera Serpens: Maybe because the earth has a crust and a core, or because it is somehow connected with the Sun?
Victoria Eretti: I think the point in the circle is the Earth inside the galaxy or maybe the universe.
Damien Hallway: What if the Earth is designated as a certain center of the Beginning? And the circle may represent the universe. And by the way, a circle is essentially a perfect figure. So in this case, the circle and the point in it are in some way ideals
Andy Manson: Ma’am, perhaps because by the circle we mean the Cosmos – infinity, limited by our understanding.And the Earth is only one of the small objects of the Cosmos, albeit very important for us, therefore it is depicted as a dot.
Erin Barnes: Professor, but isn’t the dot inside the circle the symbol for the sun?
Merelana Hanrahan: A circle with a dot in the center means that this circle revolves, I think revolves around the Sun.
– Good guesses – and you are absolutely right, Miss Barnes, Mr. Hallway, Miss Hanrahan. Indeed, the symbolism of the image of the Earth in the form of a circle with a dot in the center goes much deeper into history than the history of geology.In those days, it was believed that the Earth is the center of the Universe, and the Sun revolves around it. And this is how John Dee explains the symbolism of the Sun: “… the central point that we see in the center of the hieroglyphic Monad forms the Earth, surrounded by the Sun.” But let’s see – what is the hieroglyphic Monad?
Erin Barnes: The hieroglyphic monad symbolizes the Earth surrounded by the Sun, Moon and other planets.
Victoria Eretti: I think the hieroglyphic Monad is a symbol associated with the Sun.I could say that this is a combination of the symbols of the Sun and the Moon, if I am not mistaken.
Merelana Hanrahan: The Hieroglyphic Monad is a kind of composition describing the combination of the symbols of the Moon, the Sun and the primary elements.
You are right, Miss Barnes, Miss Heretti, the hieroglyphic Monad depicts the Earth and the surrounding planets and elements. But do you know what the word “monad” itself means?
Andy Manson: Monad is from mono. That is, something single, indivisible, whole.
Merelana Hanrahan: The Monad is, apparently, a system in which all the elements are interconnected.
Victoria Eretti: I think it has something to do with philosophy. I heard somewhere that this is a spiritual element that forms the basis of the universe. Isn’t that so, Professor Reitan?
Miss Manson, Miss Hanrahan, Miss Heretti, you’re right. A monad is a spiritual unit, an indivisible smallest particle of everything, an immaterial point. That is why we depict the unity of nature, Earth, elements and planets in the Hieroglyphic Monad.Pay attention to the board. The hieroglyph depicts the Earth surrounded by the Sun, the Moon, the Quaternary of the Elements and the sign of Aries – the sign of Fire.
// Professor Reitan turned to the blackboard and drew a hieroglyph on it. //
Andy Manson: Looks like a man.
Erin Barnes: That is, the hieroglyphic monad symbolizes a whole, indivisible system, including the Earth, the Sun, the Moon and the elements, right, professor?
Victoria Eretti: So, professor, we can say that a monad is that which is cohesive and inseparable?
You are right, Miss Barnes, Miss Heretti.So, John Dee and his semi-cabbalistic views on the symbolism and hieroglyphics of alchemical science. He considers the monad as a system – that is, as the smallest unit of spiritual perception of the surrounding world for the adept of alchemy. For John Dee, the biocenosis system of the Earth, Sun, Moon and elements is an indivisible whole. Now let’s think about why he depicts the moon as half a circle, and the sun as full?
Damien Hallway: Professor, as far as I know, the Sun is associated with Gold.And the Moon is with Silver. Gold is considered to be what you need to strive for – the ideal. Therefore, it is something solid, round, perfect.
Andy Manson: Perhaps because the Sun was considered the main luminary, a kind of “ruler” in the world of astrology. And the Moon only reflected the light of the Sun, not being a full-fledged luminary.
And maybe the fact is that the Sun is always round, and the Moon can change its shape, turning either into a semicircle, then generally into a thin sickle.
Erin Barnes: Perhaps this is due to the change in the phases of the moon, because most often we see the crescent moon, the shape of the moon takes the form of a full circle only at the full moon.
Excellent answers, Mr. Hallway, Miss Manson. Let’s turn to John Dee himself. He explains it this way: “Although the semicircle of the Moon is located above the circle of the Sun and seems to be higher in its position, we still know that the Sun is the ruler and King. This is similar to ordinary people, but her face or hemisphere, always only reflects the light of the Sun. Onatak longs to receive the sun’s rays and turn into the Sun, which from time to time disappears completely from the firmament, and after a few days appears again, so we depict her in the form of a Horn (Cornucopia) “.
Victoria Eretti: Because the Sun always illuminates exactly half of the Moon’s surface.
Excellent hypothesis, Miss Heretti. That is, now we understand that the ideal of the system is the Sun, and the Moon only tends to it, and all the Moon signs are just a pale shadow of the Solar ones. Let’s look at a couple more parts of the Monad. Thus, John Dee speaks of the unity of Quaterner and Turner in the cross as part of the Monad. Quaterner is four lines connecting in the center of the cross; they symbolize the unity of the four elements.Who can give me a definition of what Turner is?
Andy Manson: Turner is the cross, professor. That is, just the intersection of two lines.
Alina Nordine: Professor, I can assume that since the quaterner is a tetrad of some signs, then the turner, respectively, is a triad. And if we have already talked about the elements, then now it would be most reasonable to mention a person, that is, his body, his mind and his spirit.
Merelana Hanrahan: If Quaterner is the unity of the four elements, then Turner is the unity of three alchemical principles, maybe three basic elements.
Charlotte Sorel: Well, judging by the theory that the Sun is whole and the Moon is similarity, then perhaps if Quaterner is four straight lines (even in the name itself you can hear the root “kva”, which I personally associate with a square and number four), then Turner is the intersection of two straight lines, more simply, a cross.
Quite right, Miss Manson, Miss Nordine, Miss Hanrahan, Miss Sorel. Turner is two straight lines and the point of their intersection, this is the triad of the unity of body and mind as lines and spirit as their intersection points.Thus, the Monad already includes the Earth, the Sun, the Moon, and the septet of the elements and the triad of spirit, mind and body. It remains for us to make out only one symbol – the symbol of Aries, it is also the symbol of Fire. Who can characterize it?
Andy Manson: Perhaps this means the sky, which was split in two by the impact of some heavenly fire? Lightning, for example.
Selena Ari: Fire is a powerful symbol, but at the same time very vulnerable if it comes under the influence of the symbol of Water or Air.
Erin Barnes: The sign of Aries symbolizes the celestial equator. Perhaps here it is needed to distinguish, shall we say, the time of the Sun and the time of the Moon.
Miss Manson almost got it, while Miss Barnes, your guess is correct. John Dee himself in his work describes the symbol as follows: “The figure of the zodiacal sign of Aries depicted below, which is used by astronomers, is the same all over the world (something like a cutting and piercing structure at the same time), and it is also generally accepted that it means the source of the fiery triplicity of the corresponding part sky.Therefore, we added the astronomical sign of Aries to show the need to use fire in the practical application of this Monad. “In this he speaks precisely about the alchemical meaning of the entire Monad – how the Sun and the Moon desire the division and split of the elements with the help of Fire – which, in fact, and we, alchemists, are engaged in our laboratories
Merelana Hanrahan: The sign of Aries supports the Monad, this sign is usually used to designate Aries as an astronomical sign, apparently, it means heavenly fire.
Damien Hallway: Professor, it turns out that, roughly speaking, Fire is needed to “divide” other substances by incandescence?
Yes, Miss Hanrahan. And, Mr. Hallway, that’s right. John Dee proposes to consider Fire as a matter that splits the four elements and helps us to practically apply the Monad in alchemy.
Now let’s figure out why the Monad helps us in depicting other planets that are not included in the main hieroglyph. Who can guess how, for example, this will help us in symbolizing Saturn and Jupiter?
Alina Nordine: They will probably be somehow connected with the Moon, because in their symbols we see semicircles, which remind us of the Moon entering the Monad.
Damien Hallway: Maybe this is related to other signs of the zodiac? You can, probably, somehow connect with their designations.
Erin Barnes: Parts of the hieroglyphic monad are similar to the symbols of other planets. For example, the symbols of most of the planets contain a quarterner.
Charlotte Sorel: Since we see semicircles in the symbols of Jupiter and Saturn, this can only mean that they are associated with the Moon, which at the same time is part of the Monad. Or maybe they are somehow connected with other signs of the zodiac, those that are similar to them in the elements.Or something similar.
Selena Ari: Saturn appeared after the first lunar revolution around the earth, and Jupiter after the second.
Merelana Hanrahan: The symbols of Jupiter and Saturn can be drawn based on the Monad, Saturn is the elements and the right half of the Aries symbol, and Jupiter is the elements and the left half.
Erin Barnes: It turns out that Saturn and Jupiter include in their designations the quarterner, symbolizing the elements, and the sign of the moon.
Andy Manson: Both Saturn and Jupiter got half of the celestial equator, separated by fire and Elements.That is, in their symbolism there is a turner and a half of Aries – right or left. I mean, half the moon, depending on the phase of its rotation.
// The professor smiled with satisfaction, nodding in response to the students’ remarks. //
From your answers, one can compose a separate treatise worthy of reading by Dee himself. Yes, that’s right – almost all alchemical symbolism contains the Quaterner, just as Saturn and Jupiter contain the revolutions of the Moon. Let’s look at Dee’s chart showing Lunar symbols on the left side of the table and Solar symbols on the right.
Selena Ari: Mars is like the Sun and Aries.
Those who speak of the parts of the Moon and the Sun in these symbols are right. Now, I guess you will never be able to look at these small icons the same way as before. But – let’s move on. Let’s read the following passage from Dee: “Each of these signs is very easy to explain in accordance with our basic hieroglyphic principles, given above. First, we will describe those that have the features of the moon: then – with solar signs.When our lunar nature, in accordance with the science of the Elements, completed the first revolution around our Earth, it was called Saturn in the mystical sense. After that, after the next revolution, she was named Jupiter, and is depicted as a very secret figure. Then the Moon, making its third revolution, was represented – also very secretly – by means of a figure commonly called Mercury. You see that these are all manifestations of the moon. The fourth turn will not contradict our secret plan, no matter what some of the sages say.In this way the pure magical spirit, due to its spirit qualities, does the work of bleaching in the place of the Moon; only to us alone, it is clear, as in daylight, he speaks hieroglyphically without the help of words, representing and capturing these four geogonic figures in the pure Earth … Now consider the mystical sign of Mars! Isn’t it formed with the help of the hieroglyphs of the Sun and Aries, with the participation of the magisterium of the four Elements? And the sign of Venus – I would like to ask, is it not formed from the Sun and the Elements, which would correspond to the best interpretation? So, the planets are striving towards the solar perimeter and the work of revision (return to life)… Further, we notice that another Mercury appears, which is the twin brother of the first: in accordance with the full Moon and Solar magic of the Elements, the Hieroglyph of this Messenger speaks to us very clearly, and we must carefully study him and hear what he says. And – by the Will of God – this is the Mercury of the Philosophers, the glorified microcosm and ADAM. For this reason, some of the most knowledgeable people tended to put it on a par with the Sun. This we cannot accomplish in the present era, unless we give the coral crystal that very SOUL, which is separated from the body with the help of the art of pyrognomy.It is very difficult to complete this, and very dangerous because of the fire and the breath of the sulfur. But there is no doubt that this Soul is capable of performing miracles. For example, connect it with an insoluble bond with the disk of the Moon (or at least with Mercury) with the help of Lucifer and Fire. Thirdly, we need to show (in order to demonstrate our Septenary) that this is the Sun of Philosophers. “
Andy Manson: Professor, tell me, how can you distinguish a quarterner from a turner in these figures? intersect – pure turner.
Charlotte Sorel: Professor, could you explain why the quaternary is on the right in Jupiter and on the left in Saturn?
Great question, Miss Manson. Indeed, is there a difference in the image of the quaterner and the turner? Not in the graphic, for sure – the cross is the cross. However, we will use terminology in the following sense: we will use the quaternary in practical conversations of an alchemical nature, when we will characterize the elements, their separation and operations in the laboratory.Turner is usually used when they talk about the spiritual, or spiritual aspect of the development of an alchemist or other scientist who learns the world and himself through scientific research.
Miss Sorel, you remember, Dee is talking about the revolutions of the Moon, which in our case goes in a certain direction around the center of its rotation. I think now you understand what he meant?
Now let’s summarize the analysis of the “anatomy” of our Monad. Take a look at this table from the treatise and try to guess what the logic of building the table itself is.
Damien Hallway: I think the table logic has something to do with the quaterner; maybe every two signs around the center refer to one of the four elements?
Merelana Hanrahan: It seems to me that the path of the Moon and the Sun is shown here, as well as solar and lunar signs and methods of constructing symbols based on the Monad.
Erin Barnes: Signs opposite each other have opposite meanings. Like the Sun and the Moon, or Mars and Venus, or two different designations for Mercury.
Aleera Serpens: Perhaps it has something to do with the order of the planets relative to the Sun and the Moon?
Selena Ari: The table is built in the form of a cross with a dot in the center. I mean, it’s Turner and Quaterner.
Andy Manson: The logic is that Mercury is the coolest planet. Because there are most of his hypostases in the table. And he stands on a par with the moon and the sun.
You are all right in your own way. Indeed, opposite signs are located at opposite ends of the table; also, moving clockwise, we see the movement of the Sun in the outer circle and the Moon in the inner; and finally, this is how we build the Monad.Well, now for my promised master class in shorthand, which will largely build on this discussion of John Dee’s Monad. You don’t need anything special – just a magic wand, and perhaps a pen and parchment to write the symbols themselves.
Ready? Let’s start then. So, in order to record an alchemical experiment, scientists often need to record reactions very quickly. But if your hands are busy preparing Salt or Sulfur – how then can you manage to also record the reaction? To do this, we enchant the records.You can enchant your feather. But in order to do this, you also need to direct the pen to the desired writing, right? That is why the Alchimia scribus enchantment exists, ”the professor wrote down the spell on the board. – But one spell is not enough: the pen needs to indicate what type of reaction we are recording, and also needs to bring himself into a state corresponding to the types of reactions that we carry out today – as always in an alchemical laboratory. Therefore, with a stick, we write out a number of symbols in the air.
So, the primary element of any alchemical operation is Fire. Therefore, with a stick, we draw either the sign of Aries, or a triangle “looking” upwards, that is, with a base parallel to the floor – she drew both symbols with a stick. – Then, if water is present in the reaction, we draw a triangle with the point down. If the reaction is dry, draw a salt sign that looks like Ө. And finally, depending on the metals used in the reaction, we draw additional symbols for them in the air.As you practice with the Chara, you will notice that a bluish haze trail remains behind the wand, which allows you to draw more accurately.
Now let’s try to put this into practice. I have equipment on my table for several reactions that I will conduct; you take them in shorthand. Let’s try together first. The first reaction is to fire cleanse and test the purity of salt, a very basic reaction.
// Professor Reitan, putting on gloves, took a large deep spoon with salt and turned on the burner, then bringing the spoon to the fire and observing the reaction.//
Speaking a spell for the students:
– Alchimia Scribus! – the professor brought the reaction to the end and nodded at the pens and parchments, which recorded the reaction in its entirety, revealing also in verbal form the impurities in the salt in the form of sand and limestone dust.
– As you can see, the reaction was recorded quite correctly, and you only needed two basic symbols to write a long formula.That is why this method is called “cursive writing” or “shorthand” of alchemical science. Now try enchanting the quill and parchment yourself; in the next reaction, I accelerate the fire distillation of aqueous solutions of gold and silver salts.
The professor changed her thin gloves and went to the next building – a distillation apparatus.
Andy Manson: Professor, I have a question. In this example, it was necessary to draw a triangle and a circle with a line.Is there a difference which sign to draw first, and which one – the second?
As a rule, Ms. Manson, alchemists prefer to draw symbols in the order of fire-water-salt-metals in order of descending value (i.e. gold first, iron last), but this is just for convenience – the Enchantment will understand you anyway.
Erin Barnes: Professor, is a salt symbol needed when the reaction is not with the metal itself, but with its compound?
The salt sign in this case is not required, but desirable, because the metal compound is already salt.Well, and as you can see, Enchantment works great. Well, now let’s try something more complicated … if anyone here remembers the winter seminar on luminescence, I used salt, water, fire, but also luminol, that is, a substance obtained from living fireflies. How do you record this reaction?
Alina Nordain: With her usual movement, she drew a triangle in the air with a point up, added the same one, but with a point down, and drew a circle with a line across.She stopped, wondering how to draw the meaning of the last ingredient more accurately. She grunted and added a graceful crescent moon.
Andy Manson: Possibly like a combination of water and sun? That is, a circle with a point inscribed in a triangle pointing down?
Erin Barnes: Drawn the sign of salt (crossed circle), two triangles – symbols of fire and water, and, after thinking, the symbol of Sulfur, the spirit of life .
// The professor smiled. //
The question was tricky.In this case, you all know what is about to happen. ”She poured the rest of the liquid into the flashlight and shook it thoroughly, causing the liquid to start glowing in the twilight of the hall. – You are attuned to the appearance of luminescence, and your magic itself guides the feather, so any of the symbols that you yourself consider reflecting the essence of the process will reflect its essence. This is the beauty of this method for recording alchemical experiments, when we often invent new compounds, previously unknown – the pen will still write everything for us, because we ourselves can explain what is happening in our minds.Therefore, you were all right. I hope that this method will help you in the future, not only in the alchemical laboratory. Secretly: if the word “Alchimia” is replaced with the name of another scientific discipline that requires taking notes of actions – say, Transfiguration, Potions, or Herbalism – and ponder over the symbolism, then the pen will obey you in this case too.
Well, perhaps now we will open the discussion for the remaining questions, and then we will start and disperse – we spent a lot of time on all these interesting debates.
Alina Nordine: That is, it will work for recording Spells, do I understand correctly?
Theoretically yes. But to do this, you will have to do some work on the creative part of writing symbolism in the air – nevertheless, enchanting the pen for writing Enchant is not an easy task.
Andy Manson: If the formula is drawn incorrectly – the signs are confused, for example, can this somehow affect the reaction itself? Spoil components, make big bangs, or something else?
Since the Enchantment is only enchanted to record what is happening on the table, nothing will happen to the reaction – but the records will be corrupted.Therefore, even in this small spell, it is worth observing accuracy.
Eugenia Wright: Professor, I was just thinking that the notes are essentially individual, as in the reaction with luminol, everyone has different symbols. That is, based on someone else’s records, we cannot reliably reproduce the reaction, if necessary?
The fact is that the notes left by the pen will still bear the unified character of the generally accepted symbolism – the pen will write down the entire reaction in full, and the characters you have chosen for Charms will not even be reflected on the parchment.Therefore, any alchemist can make out your notes.
Jennifer Lynn Barnes “Games of the Heirs” – Reviewed by Yubestiya
THEY ARE READY FOR ANYTHING TO DESTROY HER.
This book had every chance of success! Exactly until the middle But first things first️
So, the most ordinary ordinary girl who can barely make ends meet after her mother’s death is suddenly announced that she has become the heiress of the billionaire philanthropist Tobias Hawthorne, whom she has never seen and does not know.At stake is $ 46 billion
According to the conditions, in order to receive the inheritance, Avery must live in the House of Hawthorn for 1 year. And all would be fine, but all the closest relatives of the old man Tobias live there, including 4 grandchildren, who expected to be full-fledged heirs.
House of the Hawthorns is full of secrets and mysteries. Labyrinths, hidden passages and doors are just a small part. This is where adventures begin in this interesting House. But my question is, according to the annotation, a risky game for the inheritance is still expected, but in the end the heroes solve riddles and go through a quest in order to find out why the heiress is Avery, and not the grandchildren? The heroine could simply not do it
Well, here we must pay tribute to the sexy Hawthorne guys.One is more beautiful and more mysterious than the other. They reminded me of the Royal brothers from Erin Watt’s book “The Paper Princess”, and there are similarities in the plot, only there are more sex scenes, and here are riddles / quests.
As a result, the last 150 pages are endless riddles of the same type and easy clues, but the disclosure of the mystery of “Why Avery was chosen” looks far-fetched. Hopefully this is not a definitive clarification.
In general, there are other action-packed intrigues here, but damn it, why such an ending ???
There were even more questions, I didn’t get any intelligible answers, everything slipped into a “so-so serial”.If I knew, then I waited for the continuation ((Ehhhh …
But I want to know how it all ends. So I have to turn on the “standby mode”
Anna Knightley – input / 7 | No. 1/7
Henri Raymond – input / 12 | cit. / 15 | №1 / 15 | No. 2/15
Armaris – input / 12 | No. 1/12
Violetta Glide – input / 7 | No. 1/7
Jolly Rouge – enter / 13
Isamphir Glayldone – input./ 4 | No. 1/6
Katie Diganal – input / 11
Lilian Lines – input / 14 | №1 / 14 | №2 / 15 | №3 / 15 | No. 4/15
Marietta Chantfleury – input / 12 | No. 1/12
Monica Müller – entry / 12
Ruta Skadi – input / 11 | №1 / 7 | No. 2/4
Celeste Richardson – input / 12
Susan Rome – entry / 7
Tom Winstore – input / 12 | №1 / 14 | №2 / 12 | №3 / 13 | №4 / 12 | №5/12 | №6 / 12 | №7/12 | cit. / 15 | cit. №2 / 15 | cit. №3 / 15 | cit. №4 / 15 | cit. №5/15 | cit. No. 6/15 | cit. №7 / 15 | Op.№8 / 15 | op.No. 9/15
Ummah Ratt – input / 11 | №1 / 11 | №2 / 11 | cit. / 10
Helena Felton – enter / 13
Charlotte Sorel – input / 8 | №1 / 11 | No. 2/14
Julia Austin – input / 12
Alexa Gray – enter / 13
Alice Felis – input / 7
Alice Whitehall – input / 12 | №1 / 11 | No. 2/12
Anika Bestify – input / 12
Emily Dark – input / 10 | №1 / 6 | №2 / 8 | No. 3/5
Gabriel Dark – input / 15 | №1 / 15 | №2 / 15 | №3 / 13 | №4/10 | No. 5/13
Jasmine Wood – input./ 12 | №1 / 8 | No. 2/12
Margaret Murrey – input / 10
Meisterin – input / 15
Anabeth Wheeler – input / 6 | No. 1/7
Vineta – input / 6 | No. 1/8
Jen Eyre – input / 6 | №1 / 6 | №2 / 8 | cit. / 6
Jim Voltaire – input / 15
Diadora Onens – input / 5
Ilira Kellen – input / 15 | №1 / 15 | No. 2/15
Cathy Dan – input / 6
Light Gray – input / 9
Liaria Sprout – input / 12
Marie François – entering./12
Hannah Gray – enter / 12
Charlene Quick – input / 9
Elizabeth Korf – entry / 12
Emily Drew – input / 12
Erin Barnes – input / 12 | №1 / 15 | No. 2/9
Yasmina Estelle Black – input / 12
Alena la Lune – input / 12 | №1 / 12 | cit. / 15 | cit. №2 / 15 | №2 / 12 | cit. №3 / 15 | No. 3/12
Arthur Julian Freeman – input / 12 | №1 / 12 | No. 2/12
Dorothy Flaymon – input / 9
Jeniss Griffild – input / 12
Millena Staunch – enter./ 7 | №1 / 10 | №2 / 10 | №3 / 6 | №4 / 9 | No. 5/7
Nageki Kamome – input / 15
Sourire – input / 12 | №1 / 12 | No. 2/12
Taylor Hill – input / 15 | №1 / 15 | cit. / 15 | №2 / 12 | №3 / 14 | №4 / 15 | №5/15 | №6 / 15 | №7 / 15 | cit. №2 / 15 | cit. №3 / 15 | №8 / 15 | doc. / 15 | No. 9/14
Titania Loudlen – input / 13
Victory Swan – input / 12 | No. 1/10
Jared Crean – input / credits | №1 / 12 | №2 / 11 | No. 3/11
Katharina King – entering./eight
Liriel Finch – input / 13
Midway Toild – input / 12 | No. 1/12
Miranda Dikkeli – input / 12 | №1 / 11 | cit. / 15 | No. 2/12
Monica Crystal – input / 8 | №1 / 14 | cit. / 10 | №2 / 12 | №3 / 15 | №4 / 15 | №5/10 | No. 6/12
Eilis Muse – input / 12 | №1 / 12 | No. 2/7
Amy Toar – input / 8 | No. 1/8
Angela Ricci – input / 12
Emily Jones – input / 12
Emily Porter – input / 10 | №1 / 11 | №2 / 12 | cit. / 15 | cit. №2 / 15 | No. 3/11
Heather McMillan – Enter./ 14 | cit. / 14 | №1 / 15 | doc. / 15 | №2 / 15 | №3 / 15 | cit. №2/15
Jane Goostof – input / 12 | No. 1/12
Liliann Brokensky – input / 12 | cit. / 15 | №1 / 15 | cit. №2 / 15 | doc. / 15 | №2 / 15 | cit. №3 / 15 | №3 / 15 | cit. №4 / 12 | №4 / 14 | cit. №5 / 13 | №5/15 | cit. No. 6/11 | №6 / 15 | №7 / 15 | cit. No. 6/15 | №8 / 15 | №9/15 | cit. №7 / 15 | Op. No. 8/15
Sarah Gabon – input / 4
Alanna Mitchell – input / 12
Alex Beckendorf – input / 12 | №1 / 12 | No. 2/12
Alina Nordine – input./fourteen
Anastasia Korf – input / 7
Welania Dolores Willington – entry / 15
Volme Hoffman – input / 6
Damien Hallway – input / 7 | №1 / 6 | №2 / 7 | cit. / 9
Jameline Ryde – input / 11 | No. 1/11
Inessa Riviera – input / 15 | doc. / 15 | cit. / 15
Linara Aiden – input / 12 | No. 1/10
Marvin Miller – input / 15 | №1 / 14 | cit. / 13 | No. 2/13
Riza Hawkeye – input / 7 | №1 / 7 | No. 2/15
Alice Smith – input / 5 | No. 1/7
Bor Klori – input./eight
Bruxsa Sedo – input / 12
Emily Fly – input / 12 | No. 1/12
Frederica Mitternacht – entry / 12
Gwen Bellez – input / 11 | №1 / 12 | №2 / 15 | No. 3/12
Leandro Dakia – input / 12
Mihai Maiorescu – input / 15 | №1 / 15 | cit. / 15 | №2 / 15 | cit. №2 / 15 | cit. №3 / 15 | cit. №4 / 15 | cit. №5/15 | cit. No. 6/15 | op.No. 7/15
Skye Betterley – input / 13
Eleodora Rankord Roseric – input./4
Daniella Stoll – input / 12
Columbus Artist Dorothy Jill Barnes will receive a US $ 10,000 award named in memory of former President of the Columbus Arts Council Raymond Hanley
CONTACT: Jami Goldstein
Columbus, Ohio – The Greater Columbus Arts Council is proud to announce that wood and other natural materials artist Dorothy Gill Barnes has been selected for the Raymond J.Hanley 2016, established in memory of the former Greater Columbus. President of the Arts Council. Barnes was selected by an anonymous panel of judges, along with the trustees of the foundation, as the 7 th recipient of the award. The $ 10,000 2006 Annual Award from the Raymond J. Hanley Foundation at the Columbus Foundation recognizes an artist who has demonstrated a high level of achievement in the arts for at least five years in any discipline. The bonus money is given out without restrictions, so that the artist can use it to continue his career as needed.The prize is awarded by the Arts Council and supported by a foundation established after Hanley’s death in XNUMX.
The award will be presented at a private reception on October 27, 2015 at the Columbus Museum of Art.
The materials and processes of nature have been a permanent presence in Barnes’s art, as she has shaped and reshaped the possibilities of handicraft art since the 1970s. Originally known for her intricate and innovative work in weaving, she is now involved in a large number of sculptural projects, many of which combine natural materials with glass.
Barnes was born in Strawberry Point, Iowa in 1927. She attended Coe College, Minneapolis School of the Arts, Cranbrook Academy and the University of Iowa, where she earned her bachelor’s and master’s degrees. She has lived and worked in Worthington, Ohio since the late 1950s. She has taught and participated in residencies and workshops in Denmark, New Zealand, Australia, Fiji, and Canada, as well as throughout the United States, and she continues to work with students as a visiting artist in the Glass Department of the Department of Arts at Ohio State University.
Fellow of the American Council of Crafts and recipient of the Governor’s Award for Individual Artists in the Arts in Ohio, she was selected to receive the 2015 National Basketball Organization’s Lifetime Merit Award. Other awards include the Excellence in Pedagogy Award from the Penland School of Crafts. (2013), Achievement Award to the National Museum of Women in the Arts (1993) and several individual Ohio Arts Council Fellowships (1998, 1994, 1986, 1983).Her work is in the collections of the Racine Museum of Art, the Ohio Museum of Crafts, the Mint Museum, the Museum of Art and Design in New York and the Renwick Gallery of the Smithsonian Museum of American Art. Her work can be seen at the exhibition until October 17. Reminiscence of Now at the Riffe Gallery of the Ohio State Council of the Arts, and also recently exhibited at the Ohio Museum of Art (2015), Browngrotta Arts in Wilton, Connecticut (2014), Wayne Center for the Arts in Wayne, PA (2013) and the Museum of Art Racine in Racine, Wisconsin (2011–12).
Barnes says: “My intention is to build a ship or related facility using materials respectfully collected from nature. Some of these objects look like a trash can; others do not. The diversity of nature and creativity provides me with almost tremendous opportunities for design and experimentation. I hope my works honor the growing things from which they come. ”
The Columbus Foundation Raymond J. Hanley Foundation was created by the former presidents of the Greater Columbus Council for the Arts.