Catalog Entry from If These Walls Could Talk Exhibit, Neill-Cochran House 2020:

This trio of bells originated one Christmas from a window reflection of the TV. In Rome, the cardinals were lined up for Christmas Eve service and their streak of red reflected in the glass. At the same time, I could see a birdseed bell hanging in a tree outside, and it was attracting redbirds. Campanile is the Italian word for bell tower, and indeed inside the bells were ringing for mass. So, bells developed, larger than in reality, with clappers of redbird ornaments that I imagine would ding-a-ling as birds pecked at the seeds. Redbirds are a significant symbol of hope for me that began with the death of my Grandmother Brown; they are the birds I want to attract. Furthermore, the bells have personal significance, as I painted them while tending to my father, who had dementia. Daddy would sit in his chair and talk while I worked in our sunroom. Birds would zoom past us, the light was good. The painting of the sunflower seeds was tedious and repetitive, just the thing I needed to keep my hands busy and my mind free. I’d like to think that St. Francis of Assisi would be pleased with the birdseed attraction. His “preaching,” i.e., feeding of the birds, is one of the most glorious frescoes in Italy. The Pontormo Visitation is a striking image of Mary’s Magnificat—her song of praise—which contains one of the most revolutionary passages of the New Testament, one that is often left out of Christmas readings: The Lord has scattered the proud in the conceit of their heart…has put down the mighty from their thrones, and has exalted the lowly. He has filled the hungry with good things, and the rich he has sent away empty.” (Luke 1:51) To round out the trio of bells, I turned to a pun of sorts, a work by Bellini. Christ here is resurrected and offers blessing. (Artist’s note, 2016)