Ali Cavanaugh is a painter in pursuit of the miracle of human existence. A Catholic convert who was received in 2002, she says this of her faith: “The Blessed Mother is my constant and helps me with every step of my journey as a wife, mother and artist.” With that in mind, we should not be surprised that young people, mostly female, inhabit her work, perhaps reflecting the life she leads with her husband and four children in a small town, Ste Genevieve, outside St Louis.
Her orientation towards the visual world began early: Cavanaugh was only two when she contracted spinal meningitis and lost most of her hearing. She calls the loss “a blessing in disguise as I learned to depend on body language and reading lips to communicate”.
Cavanaugh’s reputation has grown rapidly over the last decade. In 2018 she was listed by BuzzFeed at 26 in the “The Top 100 Figurative Painters Working Right Now”. The first collection of her paintings, Ali Cavanaugh: Modern Fresco Paintings, will be released on March 15, following a showing at the Strand Book Store in New York City on the 13th.
Cavanaugh’s medium is a modern version of fresco. Prompted by her delight in the “mirror finish” after laying plaster on walls, she discovered kaolin clay, a soft, absorbent surface that lasts a long time. After some experimentation, she exhibited her first group of paintings at a NYC gallery in January 2007. They sold out immediately and her career took off after that. By 2014, Cavanaugh was being exhibited by 10 galleries in the US and abroad, and she had been commissioned by Time magazine to paint Taylor Swift.
Modern Fresco Paintings is arranged chronologically from 2007 to 2018. At the front of the book, Cavanaugh relates her life as a person and an artist. A marvellous essay by Daniel Maidman follows. He describes Cavanaugh’s paintings in terms of happiness: “The elements in her work support her depiction of pure, uncorrupted happiness: sunlight – wind – female youths – contour lines – luminous colour – translucency – symmetry – language – and focus.” I agree. The pictures start with wonder, what she calls “the unique presence of the human person”, and portray those moments when “presence” is made manifest. Cavanaugh’s happiness, frankly, took me by surprise: her depictions of playfulness, innocence and joy are moving and contain no feigned naiveté or self-conscious effort to market herself to an audience weary of a topsy-turvy world.
The first image you see, Listening without hearing (2011), across from the title page, is of a teenage girl with shimmering red hair in profile looking to the right. Her arms, bent at the elbow, have raised her hands palms-outward in front of the left side of the head as if to look away from the viewer. She wears white sock arms: socks starting from above the elbow over her hands, the stripes matching the red of her hair. She wears a modest sleeveless shirt with a slight hint of budding adulthood. She’s a classic beauty, lovely red lips, upturned nose and lashed eyes that look even further away from the viewer. The hair as it falls over her chest has a deeper, sensual, luxuriant red of the woman-to-be. The entire effect is one of innocent modesty, of a young woman comfortable in herself but wanting the freedom of being left alone.
Maidmain again is on target: “She summons happiness not from her figures but from us.” This not the happiness of teenage self-indulgence. Cavanaugh found happiness the hard way: dealing with the burden of childhood deafness and a father who abandoned her and her mother.
Unlike many who are hurt early in life, she does not turn from suffering. After moving to Ste Genevieve, Cavanaugh met Milly, a teenage girl who had “a compelling presence”, in spite of the hair loss and scarring from treatments for severe cancer. After photographing Milly, she waited a year before painting her. These are my favourite paintings in the book regardless of the backstory. This sequence maps the life of a teenage girl. As a father of a 30-year daughter, I recognise the teenager wrestling with the onset of the adult world – the shyness and insecurity, the perk and charm, the creativity and fantasy, the determination to make it through.
Not until the final chapter, “chroma”, do boys enter Cavanaugh’s visual world. This makes me wonder what lies ahead for this brilliant painter, only in her late 40s: what other lives will she explore, what ages and genders? I’m confident that whatever subjects she turns to will be revealed in a way that recognises the good that lies deeply within all of us.
Ali Cavanaugh’s paintings will be shown at the Strand Book Store in New York City on March 13 at 7.30 pm. For more information, visit alicavanaugh.com.
Deal Hudson is the Catholic Herald’s US Arts Editor
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