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Betsy Porter
Art and Iconography
MARY PLASTER - Icons and Wearable Puppets
Art and Iconography
MARY PLASTER - Icons and Wearable Puppets
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MARY PLASTER of Duluth, Minnesota is a prolific artist and a frequent visitor to the San
Francisco Bay area.
Using papier-mache, paint, and cloth, Mary also makes larger-than-life, wearable puppets for celebrations and
community events. Some of these puppets require 3 people to carry and animate them. Their faces are startlingly
lifelike! Frequently when these puppets appear in public, they are embraced and greeted as living icons.
For this work, Mary received an Individual Artist Grant from the Arrowhead Regional Arts Council.
Francisco Bay area.
Using papier-mache, paint, and cloth, Mary also makes larger-than-life, wearable puppets for celebrations and
community events. Some of these puppets require 3 people to carry and animate them. Their faces are startlingly
lifelike! Frequently when these puppets appear in public, they are embraced and greeted as living icons.
For this work, Mary received an Individual Artist Grant from the Arrowhead Regional Arts Council.
ARTIST'S STATEMENT BY MARY PLASTER
I am a multi-media artist, working across various genres of street theater and studio art for over 25 years. My
formal background is mainly painting of all kinds. For the last five years I have explored a meditative, solitary
process of “writing” religious icons in the ancient medium of egg tempera. I appreciate the divine nature of the face
and the use of pure, earthy, all-natural materials—animal, vegetable and mineral—in a spiritual practice.
I have been working simultaneously in the animated sculptural medium of giant street puppetry—my “dancing
icons.” The ancestor peacemaker series is inspired by St. Gregory of Nyssa’s Episcopal Church mural of the
Dancing Saints.
I am a multi-media artist, working across various genres of street theater and studio art for over 25 years. My
formal background is mainly painting of all kinds. For the last five years I have explored a meditative, solitary
process of “writing” religious icons in the ancient medium of egg tempera. I appreciate the divine nature of the face
and the use of pure, earthy, all-natural materials—animal, vegetable and mineral—in a spiritual practice.
I have been working simultaneously in the animated sculptural medium of giant street puppetry—my “dancing
icons.” The ancestor peacemaker series is inspired by St. Gregory of Nyssa’s Episcopal Church mural of the
Dancing Saints.
I sculpt my puppet faces and hands in free slag clay discarded by potters. These forms are cocooned with several
layers of overlapping torn paper, usually newsprint and grocery bags, which are slathered with warm, homemade
cornstarch paste. When dry, the lightweight and durable copies lift off the earthen molds like metamorphosed
butterflies. Rigged with bamboo and wood scraps, festooned with leftover house paint and costumed in donated
surplus fabric rags, the homespun carnivalesque effigies are hoisted airborne. They emote very tangibly dignified
and spiritual presences personifying ancestors, archetypes and elements, dancing with vicarious manipulations of
those who step inside to animate them in parades and festivals. These entities voice our protest of atrocious
governmental decisions or simply promote joy, peace and justice.
Humble but stunning masks and props consist of mostly, well, garbage. My own best teachers were from developing
countries where art is resurrected from the junk affluent nations throw away. I believe now that what we Americans
trash most is the power of our own creativity and ties to community.
layers of overlapping torn paper, usually newsprint and grocery bags, which are slathered with warm, homemade
cornstarch paste. When dry, the lightweight and durable copies lift off the earthen molds like metamorphosed
butterflies. Rigged with bamboo and wood scraps, festooned with leftover house paint and costumed in donated
surplus fabric rags, the homespun carnivalesque effigies are hoisted airborne. They emote very tangibly dignified
and spiritual presences personifying ancestors, archetypes and elements, dancing with vicarious manipulations of
those who step inside to animate them in parades and festivals. These entities voice our protest of atrocious
governmental decisions or simply promote joy, peace and justice.
Humble but stunning masks and props consist of mostly, well, garbage. My own best teachers were from developing
countries where art is resurrected from the junk affluent nations throw away. I believe now that what we Americans
trash most is the power of our own creativity and ties to community.
My informal papier-mâché apprenticeship in the 1980s was with several street and professional stage theater
groups across the Americas, especially In the Heart of the Beast Puppet and Mask Theatre of Minneapolis and
Teatro Libre of Leon, Guanajuato, Mexico. They, in turn, were strongly influenced by the legacy of the 1960s
phenomenon, Bread and Puppet Theater, whose director, Peter Schumann staged infamous antiwar
demonstrations in New York City using “cheap art” techniques.
The folk art nature of it is more universally accessible. The process encourages (gives heart to) a community of
participants, rather than merely entertaining lone spectators in a television culture. People show up to help
construct, perform and interact with my designs. I believe this is the essence of political art activism—both making
art/theater from natural or recycled (green) materials/found objects and inspiring each other to form opinions and
speak out. We all should use creativity and imagination for enriching our inner and outer life.
groups across the Americas, especially In the Heart of the Beast Puppet and Mask Theatre of Minneapolis and
Teatro Libre of Leon, Guanajuato, Mexico. They, in turn, were strongly influenced by the legacy of the 1960s
phenomenon, Bread and Puppet Theater, whose director, Peter Schumann staged infamous antiwar
demonstrations in New York City using “cheap art” techniques.
The folk art nature of it is more universally accessible. The process encourages (gives heart to) a community of
participants, rather than merely entertaining lone spectators in a television culture. People show up to help
construct, perform and interact with my designs. I believe this is the essence of political art activism—both making
art/theater from natural or recycled (green) materials/found objects and inspiring each other to form opinions and
speak out. We all should use creativity and imagination for enriching our inner and outer life.
Left: Mahatma Gandhi gets a hug!
Center: A new puppet depicts the shining sun.
Right: Mahatma Gandhi, Our Lady of Guadalupe, and John Lennon
Center: A new puppet depicts the shining sun.
Right: Mahatma Gandhi, Our Lady of Guadalupe, and John Lennon
At the 2007 Burning Man Festival -
The festival theme was "The Green Man." Mary made two Green Man puppets,
which enlivened the Playa with their dancing.
The festival theme was "The Green Man." Mary made two Green Man puppets,
which enlivened the Playa with their dancing.
Far left: Mary
teaches a new
generation of
puppet sculptors.
teaches a new
generation of
puppet sculptors.
Back to Home Page
Back to Artist Friends
Back to Gallery of Icons Main Page
Back to Artist Friends
Back to Gallery of Icons Main Page
CONTACT MARY PLASTER
Mary will display her puppets at a fund raising event at the Amazing
Grace Bakery, a performance space in Duluth, Minnesota, April 12,
2008. In early May 2008, Mary and her puppets will appear with The
Heart of the Beast Puppet and Mask Theatre at a May Day
Celebration in Minneapolis, Minnesota.
FOR PURCHASE; please add shipping and handling
Giclee print of Sophia, the Wisdom of God, 8 x 10 inches, $40.00
Cosmic bracelets by Mary Plaster
Solar System Bracelet $20.00
Story of the Cosmos $25.00
This gorgeous bracelet is jewelry that tells a story. Each bead
symbolizes a major gift of the Cosmos and Life as we know it on Earth.
15 beads total signifies 13.7 billion years of Universe history which
produced us, all which unfolded after "the great Mystery." The beautiful
8mm orbs are both human-made and natural “elements:”semi-precious
stone, metal, wood, glass, and an actual seed. Contact Mary for the
complete story.
Mary will display her puppets at a fund raising event at the Amazing
Grace Bakery, a performance space in Duluth, Minnesota, April 12,
2008. In early May 2008, Mary and her puppets will appear with The
Heart of the Beast Puppet and Mask Theatre at a May Day
Celebration in Minneapolis, Minnesota.
FOR PURCHASE; please add shipping and handling
Giclee print of Sophia, the Wisdom of God, 8 x 10 inches, $40.00
Cosmic bracelets by Mary Plaster
Solar System Bracelet $20.00
Story of the Cosmos $25.00
This gorgeous bracelet is jewelry that tells a story. Each bead
symbolizes a major gift of the Cosmos and Life as we know it on Earth.
15 beads total signifies 13.7 billion years of Universe history which
produced us, all which unfolded after "the great Mystery." The beautiful
8mm orbs are both human-made and natural “elements:”semi-precious
stone, metal, wood, glass, and an actual seed. Contact Mary for the
complete story.
Mary Plaster writes: This icon of Sophia, Divine Wisdom, was conceived of my historical research and spiritual
re-imagining, “midwifed” through an intensive workshop with artist Sr. Mary Charles McGough, O.S.B. (1925-2007)
of Subiaco Studio.
In addition to discussion of history and technique of the Byzantine tradition, typical days consisted of fellowship with
other iconography students and the Benedictine community: prayer, contemplative working silence, worship and
shared meal at the St. Scholastica Monastery.
In the interests of preservation, state-of-the-art materials and techniques were incorporated. Gouache acrylics and
gold leaf were applied painstakingly in layers onto a recessed, gessoed wooden board courtesy of Gary Erickson
(1949-2006), then blessed and sealed.
Icons are thought of as “Windows to the Sacred” and are traditionally not signed. Giclee prints are accompanied by
a signed certificate of authenticity. Cards and archival prints available. ”Sophia, Divine Wisdom” was finished and
photographed on the Feast day of the Birth of St. Mary Sept. 8, 2003.
The original has her permanent home with Andrew Harvey, poet, novelist, translator, mystical scholar and my dear
friend. The copyright belongs to me. I live on Spirit Mountain near Duluth, Minnesota with my family:
“Sophia” is a mythical dimension of the Creator that is a sacred feminine personification of Wisdom found in the
Hebrew and Christian Bibles as well as Deuterocanonical accounts. In Russian Eastern Orthodox tradition of
iconography she is allegorically represented as a bejeweled, white, winged woman on a throne in the hierarchical
“Kingdom of Heaven.” My version’s face was inspired by my own daughter, Azahar. I depict Lady Wisdom seated in
the context of the entire Cosmos, beckoning us to inclusive and sustainable decision making that gently cooperates
with global community. Ageless, androgynous, indigenous and totally unconcerned with material wealth She insists
on a new way of thinking that can potentially turn the world as we know it upside down.
After writing this contemporary icon, I discovered that "Dark, Divine, Earth Mother" is common to other spiritual
traditions that pre-date Christianity and continues to resurface in the worldwide “Black Madonna” phenomenon. I
have personally witnessed her in Mexico, France, South America and India. This work also continues to gather
personal meaning for me as a result of the tsunami and hurricane Katrina disasters.
re-imagining, “midwifed” through an intensive workshop with artist Sr. Mary Charles McGough, O.S.B. (1925-2007)
of Subiaco Studio.
In addition to discussion of history and technique of the Byzantine tradition, typical days consisted of fellowship with
other iconography students and the Benedictine community: prayer, contemplative working silence, worship and
shared meal at the St. Scholastica Monastery.
In the interests of preservation, state-of-the-art materials and techniques were incorporated. Gouache acrylics and
gold leaf were applied painstakingly in layers onto a recessed, gessoed wooden board courtesy of Gary Erickson
(1949-2006), then blessed and sealed.
Icons are thought of as “Windows to the Sacred” and are traditionally not signed. Giclee prints are accompanied by
a signed certificate of authenticity. Cards and archival prints available. ”Sophia, Divine Wisdom” was finished and
photographed on the Feast day of the Birth of St. Mary Sept. 8, 2003.
The original has her permanent home with Andrew Harvey, poet, novelist, translator, mystical scholar and my dear
friend. The copyright belongs to me. I live on Spirit Mountain near Duluth, Minnesota with my family:
“Sophia” is a mythical dimension of the Creator that is a sacred feminine personification of Wisdom found in the
Hebrew and Christian Bibles as well as Deuterocanonical accounts. In Russian Eastern Orthodox tradition of
iconography she is allegorically represented as a bejeweled, white, winged woman on a throne in the hierarchical
“Kingdom of Heaven.” My version’s face was inspired by my own daughter, Azahar. I depict Lady Wisdom seated in
the context of the entire Cosmos, beckoning us to inclusive and sustainable decision making that gently cooperates
with global community. Ageless, androgynous, indigenous and totally unconcerned with material wealth She insists
on a new way of thinking that can potentially turn the world as we know it upside down.
After writing this contemporary icon, I discovered that "Dark, Divine, Earth Mother" is common to other spiritual
traditions that pre-date Christianity and continues to resurface in the worldwide “Black Madonna” phenomenon. I
have personally witnessed her in Mexico, France, South America and India. This work also continues to gather
personal meaning for me as a result of the tsunami and hurricane Katrina disasters.
| ICONS BY MARY PLASTER OF DULUTH, MN Read more about Mary Plaster at www.originallyblessed.org (Contributors) and see more of her art at http://artbeats.org/MaryPlaster.htm |
Mary Plaster with
Green Man
photograph by
Matthew R. Perrine
of the Duluth
Budgeteer
Green Man
photograph by
Matthew R. Perrine
of the Duluth
Budgeteer
Theotokos of Tenderness
egg tempera and gold leaf on sculpted
board, 9.5 x 12.5 inches, 2002
egg tempera and gold leaf on sculpted
board, 9.5 x 12.5 inches, 2002
The Image Not Made by Hands
egg tempera and gold leaf on sculpted
board, 9.5 x 12.5 inches, 2008
egg tempera and gold leaf on sculpted
board, 9.5 x 12.5 inches, 2008
Christ Emmanuel
egg tempera and gold leaf on sculpted
board, 11 x 14 inches, 2007
egg tempera and gold leaf on sculpted
board, 11 x 14 inches, 2007
Archangel Michael
egg tempera and gold leaf
on sculpted board
egg tempera and gold leaf
on sculpted board
Archangel Gabriel
egg tempera and gold leaf
on sculpted board
egg tempera and gold leaf
on sculpted board
Saint John the Baptist
egg tempera and gold leaf on
sculpted board, 2004
egg tempera and gold leaf on
sculpted board, 2004
Sophia, Divine Wisdom
Gouache and gold leaf on sculpted board
13 x 18 inches, 2003
Copyright Mary Plaster 2003
Available as a giclee print 8 x 10 inches
Gouache and gold leaf on sculpted board
13 x 18 inches, 2003
Copyright Mary Plaster 2003
Available as a giclee print 8 x 10 inches
Christ Pantocrator
(Sustainer of All)
Gouache and gold leaf
on sculpted board
(Sustainer of All)
Gouache and gold leaf
on sculpted board
Theotokos of the Sweet Kiss
9 x 12 inches, 2002
Mary Plaster's first icon; a prototype from
Sister Mary Charles, O.S.B. (1925-2007)
9 x 12 inches, 2002
Mary Plaster's first icon; a prototype from
Sister Mary Charles, O.S.B. (1925-2007)