I have been voted in as a new board member for the William Morris Society in the United States, and my responsibilities will truly start up in about February. I'm humbled and surprised that I would be invited to join the board, especially since I don't consider myself any type of expert in William Morris at all. But I am a fan of his work, so if that is the only true marker for membership (or board participation), then I'm glad to belong. The people I have met have been very warm and welcoming, and I hope this is a place where I can learn and make contributions to a community.
As an incoming board member, I was asked to write a bio for the upcoming newsletter. This is what I wrote:
While I’m certain that I will never achieve as much as William Morris completed during his lifetime, I feel a kinship with him in that we both abhor “a disease called idleness” that is mentioned in
News from Nowhere. I am a person who likes to be busy. Much of my time is spent teaching art history courses at Seattle University or engaged elsewhere in the community. In the pre-pandemic days, I sang in the chorale of the Seattle Symphony and I volunteered as the Permanent Collection Training Chair for docents at the Seattle Art Museum. I look forward to being able to fully participate in those activities again. Lately, in these quieter moments at home, I find meaningful work in writing projects, helping my daughter decorate her dollhouse, stitching up rips in doll clothes, and teaching my son how to play the piano. On the sunnier days in Seattle, I spend time gardening in my flower bed and studying the birds that fly into my yard. The more I learn about William Morris, I feel like he would appreciate and understand the ways that I choose to spend my time.
Due to my mother’s niche interest in interior design, I grew up in a house in which every room was decorated with wallpaper that evoked popular styles of the 18th and 19th centuries. When I was in college, my mother introduced me to the Pre-Raphaelites, specifically William Holman Hunt. My curiosity was piqued, and I spent some time studying the Pre-Raphaelites, their broader circle, and Victorian art as part of my undergraduate studies in art history. I have continued to do so since that point, as a way to feel connected with my mom after she passed away. But, like William Morris, I have focused my attention and energy on several areas of art and world history. My graduate work in art history focused on colonialism and representations of art that involved political statements against African slavery and racism.
In recent years, my interest in the paintings of Kehinde Wiley have connected my interests in politics, race, and Victorian art. As a contemporary painter, Wiley creates monumental portraits of Black figures who are juxtaposed against decorative backgrounds that often are inspired by the Morrisian designs. These paintings are intended to raise awareness of the inequality and inequity that Black people have experienced; Wiley chooses portraiture as a starting point since historically Black people have not been celebrated as primary figures in Western portraits. I am drawn to Wiley’s paintings because he adopts European compositions and expensive Arts & Crafts wallpaper designs for his paintings, which are relatable to me given my own background and studies. My hope is that these relatable elements also help me, as a White woman, to better understand Wiley’s statements about what the Black experience is like.
It is through my writings on Kehinde Wiley that I became familiar with the William Morris Society in the United States back in 2018. And since becoming associated with this group, I feel like this is a place where I am meant to be! I’m currently interested in exploring William Morris’s artistic production and political ideologies, as well as those of May Morris, within the 19th-century framework of class, race, and the suffrage movement.