Glòria Rognoni Planas, from Sant Cugat del Vallès near Barcelona, attended March’s Commission on the Status of Women (CSW) as part of our NGO delegation. At a CSW side event an artist spoke about helping women deal with suffering through art. Glòria, a former actress and current Director of the social theater group Femarec, shares her perceptions of this event “which confirms how Art is capable of not only making the artist grow but also the beholder”.
Glòria writes, “Anne Kantor Kellett was raised by parents who survived the Holocaust. She says that her mother always transmitted to her the pain she had suffered. She showed us an impressive photo where you can see the deep, indefinite, sad, lost look of her mother. Moved by the genocide in Rwanda, Anne decided to go there to help the survivors. When she got into contact with them, it was like finding her own family. ‘When you have no family, other survivors become your family.’ She finds that same lost look of her mother’s in the face of a man. She shows us the picture: impressive, it is exactly the same look… She tells us that the suffering produced by holocausts, wherever they take place, is the same for all human beings who suffer them.
She evokes all her emotions in art. She takes photographs, paints abstract pictures, and also sculpts.
Her wooden sculptures, quite impressive, also reflect that same suffering, but each sculpture liberates a little of the suffering. She shows us pictures in which the necks are long and tortuous and hold up heads in pain.
Anne makes us note the evolution: the last photo of this series shows half of a woman’s body, also with a very long neck, below which you can see the lungs and the ribs, but the woman is looking up, and next to the lungs spring two wings of hope. That, she states, is how she feels now and how she wishes to transmit her evolution. At the end she shows yet another picture of one of her abstract paintings, a very large canvas with strong strokes of brown and black on the left side. At the right there is a large red stain. In front of the painting is her thirteen-year old son, with a luminous gaze. Anne says that the gaze of her son is also through art and is how she looks at life now.” www.kantorkellett.com
(Article translated from Spanish by Guillermo Ayesa Igoa)