Angela Yarber

Painting Guadalupe and Mary by Angela Yarber

As we feminists struggle to elevate Mary and Guadalupe, we sometimes forget that speaking of birth and gestation is not always empowering or even essential to womanhood.

It is early morning on the Hill of Tepeyak on December 9, 1531 when a wondering peasant named Juan Diego first caught a glimpse of her presence. Diego sees a vision of a teenage girl surrounded by light; the young girl asks that a church be built on the hill in her honor. After hearing her speak and seeing the light emanating from her presence, Diego recognizes her as the Virgin Mary. He rushes to the Spanish archbishop who insists on a sign as proof of Diego’s vision. The young girl instructs Diego to gather flowers from the top of the hill, even though it is past their growing season. Upon climbing to the top of the Hill of Tepeyak, Diego discovers Castilian roses—a beautiful flower otherwise unheard of in Mexico—which the glowing young woman arranges in his cloak. When Diego returns to the archbishop, he opens his cloak to reveal the miraculous flowers and they fall to floor; in their place was an image imprinted on the fabric of his cloak. It was the image of Our Lady of Guadalupe.

Guadalupe is one of Mexico’s most popular religious and cultural images and her icon, now on display at the Basilica of Our Lady of Guadalupe, is one of the most visited Marian shrines in the entire world. On December 12, countless Christians—particularly Catholics—celebrate her feast day. Her feast day occurs within the four week celebration of Advent, which is the period of waiting, expectancy, and gestation before the birth of Jesus at Christmas. Continue reading “Painting Guadalupe and Mary by Angela Yarber”

Painting Salome By Angela Yarber

Each month I focus my article on one of my Holy Women Icons with a folk feminist twist. Virginia Woolf , the Shulamite, Mary Daly, Baby Suggs, Pachamama and Gaia, and Frida Kahlo have reputations that match their lived realities relatively closely, so my paintings have attempted to reflect these realities. The subject of this month’s article, however, has been misrepresented and misunderstood throughout the ages. Her “name” is Salome and we read of her dancing story in the Gospels of Matthew and Mark.

If you carefully read Mark 6:17-29 or Matthew 14:3-11, you’re probably wondering why this article features an icon of someone named Salome. There was no mention of anyone named Salome in the text. Rather, in the Markan text both the dancing daughter and her mother are named Herodias. In Matthew’s text, the daughter is nameless. It wasn’t until later when Josephus, a Jewish historian, named her Salome and stated that she was responsible for the beheading of the John the Baptist.
Continue reading “Painting Salome By Angela Yarber”

Painting Frida Kahlo By Angela Yarber

As we begin the month of October and ghosts and skulls fill our homes, I am reminded of the holy days that await us. Poignant to my own background, Dia de los Muertos beckons us to remember who has gone before us. Dia de los Muertos is a Mexican holiday that is officially celebrated on October 31 and November 1 in a manner similar to the pagan Samhain holiday and the Catholic holidays of All Saints Day and All Souls Day. It is a time for Mexican families to remember their lost loved ones, to celebrate their lives, and to pray on their behalf.

It is fitting that we remember the many Holy Women Icons with a folk feminist twist that have gone before us: Virginia Woolf , the Shulamite, , Mary Daly, Baby Suggs, Pachamama and Gaia. These icons join with many others on display as my solo show at Woven Soul Gallery in Winston-Salem, NC. As we prepare for Dia de los Muertos, the holy woman icon dearest to my heart is none other than the Mexican feminist and revolutionary artist, Frida Kahlo. Continue reading “Painting Frida Kahlo By Angela Yarber”

Painting Virginia Woolf by Angela Yarber

As I painted her icon, I knew that “the room of one’s own” must engulf more space on the canvas than she did, her heart beating in the room and outside of it, and her arms outstretched as though she is inviting other women into the room.

I first encountered her in the lyrics of a song. The Indigo Girls shaped my adolescence, molding me into a young feminist as I sang in harmony with other teenage girls:

They published your diary

And that’s how I got to know you

The key to the room of your own

And a mind without end
And here’s a young girl

On a kind of a telephone line through time

And the voice at the other end

Comes like a long lost friend
So I know I’m alright

Life will come and life will go

Still I feel it’s alright

‘Cause I just got a letter to my soul

Emily Saliers and Amy Ray (the Indigo Girls) were singing about Virginia Woolf, naming the song after her. As I belted out the lyrics with my soon-to-become-feminist friends, I had yet to learn who Virginia Woolf was and how her life and work had shaped my own. All I knew as I harmonized those many years ago was that this woman must be special if the Indigo Girls dedicated a song to her. I felt a longing to know her, to learn more about her, for her to call me on that telephone line through time and tell me I’m alright. Accordingly, Virginia Woolf is our Holy Woman Icon for September. Continue reading “Painting Virginia Woolf by Angela Yarber”

Painting Pachamama and Gaia by Angela Yarber

Pachamama prevails. Her body is one with the Andes and she births the caverns, canyons, and rivers that sustain the earth.

This month, the indigenous people of the Andes celebrate a high holy season in Incan mythology, honoring their beloved Pachamama. Pachamama is venerated as the earth goddess and during August, her followers give her payment (pago) with their central ritual of Challa. So, I’d like for my monthly article about Holy Women Icons to celebrate this earthy goddess of Peru, along with a similar manifestation of mother earth, Gaia. Thus far, the biblical dancer, the Shulamite, feminist scholar, Mary Daly, and literary figure, Baby Suggs, have been the icons with a folk feminist twist that I have discussed on Feminism and Religion. Now, I’d like us to join with our Andean sisters in toasting the holy women icons of mythology: Pachamama and Gaia. Continue reading “Painting Pachamama and Gaia by Angela Yarber”

Painting Baby Suggs by Angela Yarber

Each month I am writing an article that discusses one of my Holy Women Icons, which are an array of icons painted with a folk feminist twist. These Holy Women Icons are comprised of biblical women, such as the Shulamite, feminist scholars, such as Mary Daly, artists, dancers, and women from mythology and literature. This month, I’d like to focus on a holy woman whose preaching embodied eschatological imagination and whose dance liberated broken bodies. This holy woman cannot be found within the confines of scripture or met in the flesh. Rather, her preaching and dancing are found within the pages of Toni Morrison’s novel, Beloved. If ever there was a holy woman who preached on behalf of all those broken and bound it was Morrison’s stunning character, Baby Suggs, holy.

Eschatological imagination is a communal foretaste of resurrection that does not suppress the social conflicts and injustices of racism, poverty, slavery, and privilege. Through the preaching and dancing of Baby Suggs, enslaved bodies are redeemed and transformed into resurrected bodies. A slave herself, Baby Suggs leads all the black men, women, and children to a clearing each week for worship. After inviting men to dance, children to laugh, and women to cry, she offers up one of the most beautiful sermons on behalf of her enslaved community. Morrison describes the efficacy of Baby Suggs’ message, saying:

She did not tell them to clean up their lives or to go and sin no more. She did not tell them they were blessed of the earth, its inheriting meek or its glory-bound pure. She told them the only grace they could have was the grace they could imagine. That if they could not see it, they would not have it. Continue reading “Painting Baby Suggs by Angela Yarber”

Painting Mary Daly By Angela Yarber

You don’t have to be perfect to be a saint. The saints who comprise my Holy Women Icons are far from perfect, but each one has made a difference in the lives of countless women. By giving iconography a folk feminist twist—by painting these women and calling them holy—it is my hope that their lives can embolden us to stand for justice, equality, and peace in the ways they did. Last month, the Shulamite was our focus as her undulating lines and sensuous curves reminded us to love our bodies regardless.

Given the recent censoring of Sister Margaret Farley’s book, Just Love, by the Vatican due to its “radical feminist themes,” I thought it would be most fitting this month to feature a holy woman who irked the Vatican. Since I haven’t yet had the opportunity to create an icon for Margaret Farley, I’d like to dedicate this month’s article to another radical feminist who subverted traditional Catholic doctrine: Mary Daly.

Mary Daly (1928-2010) described herself as a “radical lesbian feminist.” Continue reading “Painting Mary Daly By Angela Yarber”

Painting the Shulamite By Angela Yarber

Calling the Shulamite holy is my way of affirming female sexuality, the beautiful variety of the body’s shapes and sizes, and including the LGBT community in the canon of saints.

Several years ago, after experiencing the innate maleness and straightness of most traditional icons, I decided to give iconography a folk and feminist twist. Biblical women, mythological figures, poets, artists, dancers, scholars, literary figures, and personal loved-ones graced my canvases and with a brush-stroke they were canonized. Miriam, Sappho, Gaia, Jephthah’s daughter, Virginia Woolf, Tiamat, Mary, Baby Suggs, Isadora Duncan, Fatima, the Shulamite, Dorothy Day, Mother Teresa, Mary Daly, Sophia, Sojourner Truth, and many of my friends and colleagues became “Holy Women Icons.” It is these icons—these holy women—that will be the focus of my monthly articles in Feminism and Religion.

This month, the Shulamite is the center of our attention. She is a dancer made famous by the erotic love poetry dedicated to her sensuous curves in Song of Songs:

Return, return, the Shulamite.

Return, return, and let us gaze on you.

How will you gaze on Shulamite in the dance of the two camps?

How beautiful are your sandaled feet, O prince’s daughter.

The curves of your (quivering) thighs like jewels crafted by artist hands.

Your vulva a rounded bowl; may it never lack wine.

Your belly a mound of wheat hedged by lotuses.

Your breasts like two fawns…

(Song of Songs 7:1-4 translation mine) Continue reading “Painting the Shulamite By Angela Yarber”