marthe minford-meas

fine art

Last Update:  11.20.2018

© 2018

In a cycle of jazz oil and acrylic paintings, I sketch to live jazz musicians, capture the essence of the music later in the studio. A watercolor series is driven by classical music.  Rough 300# D’Arches cold-press paper gives texture to bleed colors.  Sculpting color throughout a shadowy world reflects my fascination with temporal issues.”

A Literature, Science and Arts graduate of The University of Michigan with a Masters in English from Winthrop University, Marthe Minford-Meas has instructed both art and poetry publicly and privately.  She taught Poetry Writing at Xavier University in Cincinnati and English at UHCL and U. St. Thomas.  Marthe has lived and worked in Texas, Michigan, Ohio, South Carolina and North Carolina. Her art reflects this diversity.  Recently she has painted or drawn on location in Colorado, Italy and Greece. She has given poetry/art presentations internationally.

 

Her watercolors, acrylics, inks and oils are collected nationally and internationally.  In Charlotte, NC the artist served as director of Villa Art, a cooperative gallery.  Her publications include five Watercolors in issue #14 2005 of “The Dirty Goat” from Host Publications found  in contemporary art museums; The History of Matagorda County, Vol. I and II; and the cover of The Saga of Caney Creek.  During June 2004 she gave a poetry reading and presented paintings on Rhodes, Greece at the University of the Aegean.  In June 2006 she presented poetry and art at the University of Victoria, British Columbia, Canada.

 

Exhibitions include: a current Open Studio Dec. 8 and 9 2018 See exhibits, Rice Village in Houston 2012, “The Circular Exhibition” at the Hun Gallery, New York, NY and Ho Gallery, Seoul, Korea during July 2007; “Texas Artists 2007” at the Beeville Art Museum, Beeville, TX during August 2007; “Art in Focus” a solo exhibition at the Corpus Christi  International Airport sponsored by the city during June and July 2007; “Writing in Ink” a solo exhibition at the Galería Galván in Corpus Christi, TX during May 2007; “Take Five” a solo exhibition in the Kucera Gallery of the Art Center of Corpus Christi in March 2007; a juried show through November 2007 of the South Texas Art League (STAL) at the Art Museum of South Texas, Corpus Christi, TX.

 

“Although I don’t paint a painting to illustrate a poem or write a poem to explain a painting, the themes I work with in each medium resonate with each other.”  The artist’s poetry has been published in The Paris Review, Western Humanities Review, Southwestern American Literature, et. al.  Two poetry manuscripts have been finalists in international competitions.

 

 

 

 

 

 

 

bio

Per requests, a published poem will be shown quarterly on the website.

 

The first is “Stopping By.”

 

                  Stopping By

                    

 

A folded man, gazing volumes out the door

Into a        Stopping By

                    

 

A folded man, gazing volumes out the door

Into a softly light.

We wish he'd kept the oaken door shut.

Casually he forgot his tentative place.

How like the old, to open old wounds,

To remind us of our repressed frailty.

His scheduled voice was wryly objective.

No easy resolutions sported;

Yet, his private rantings were oddly gauche

With so many ready opinions.

Let's go now.  Dislodge the spotlight.

We would not know too much.

Let the genuine old man be.

 

 

“Stopping By,” RE: Arts & Letters, Vol XX, Number 1, Summer, 1994.

Third place, Competition. 

Anthology, POETRY:  AN AMERICAN HERITAGE, 1994.

 

,

Is now blinded by a sudden light.

We wish he'd kept the oaken door shut.

Casually he forgot his tentative place.

How like the old, to open old wounds,

To remind us of our repressed frailty.

His scheduled voice was wryly objective.

No easy resolutions sported;

Yet, his private rantings were oddly gauche

With so many ready opinions.

Let's go now.  Dislodge the spotlight.

We would not know too much.

Let the genuine old man be.

 

 

“Stopping By,” RE: Arts & Letters, Vol XX, Number 1, Summer, 1994.

Third place, 1986 Byliners TX Writers’ Competition. 

Anthology, POETRY:  AN AMERICAN HERITAGE, 1994.

 

light.

We wish he'd kept the oaken door shut.

Casually he forgot his tentative place.

How like the old, to open old wounds,

To remind us of our repressed frailty.

His scheduled voice was wryly objective.

No easy resolutions sported;

Yet, his private rantings were oddly gauche

With so many ready opinions.

Let's go now.  Dislodge the spotlight.

We would not know too much.

Let the genuine old man be.

 

 

“Stopping By,” RE: Arts & Letters, Vol XX, Number 1, Summer, 1994.

Third place, 1986 Byliners TX Writers’ Competition. 

Anthology, POETRY:  AN AMERICAN HERITAGE, 1994.

 

                  Stopping By

                    

                 Stopping By

 

                  

A folded man, gazing volumes out the door

Into a softly missiled snowy evening,

Is now blinded by a sudden light.

We wish he'd kept the oaken door shut.

Casually he forgot his tentative place.

How like the old, to open old wounds,

To remind us of our repressed frailty.

His scheduled voice was wryly objective.

No easy resolutions sported;

Yet his private rantings were oddly gauche

With so many ready opinions. were oddly gauche so many

Let's go now.  Dislodge the spotlight.

We would not know too much.

Let the genuine old man be.

 

 

“Stopping By,” RE: Arts & Letters, Vol XX, Number 1, Summer, 1994.

Third place, 1986 Byliners TX Writers’ Competition. 

Anthology, POETRY:  AN AMERICAN HERITAGE, 1994. We would not

 Letters, Vol XX, Number 1, Summer, 1994.

Third place, 1986 Byliners TX Writers’ Competition. 

Anthology, POETRY:  AN AMERICAN HERITAGE, 1994.