In the 1960’s Tuma discovered T.S. Elliot’s quote: “I construct something upon which to rejoice.” It became one of her personal mantras which she integrated into her artwork with the concept of freeing visual forms from confining frameworks or grids, and metamorphosizing into a free visual form conveying empowerment. Her ideas about art germinate from the premise that we are all born out of the rhythms of nature. She captures the rejuvenating energy in the composition of shells and seeds by abstracting into pictorial forms. The spiral, an embryonic shape, is common and found in most
pieces.

Since the 1960’s Tuma has focused on new materials and shaped canvases merging painting and sculpture. Abstract images in fiberglass are reinforced with mesh wire. The artist refers to this technique as “sculptured painting” communicating the theory that “organic” contours and autonomous shapes project “energy” in space, moving away from the confines of the grid.

Mym Tuma not only is a visual artist, but a published author, poet, and committed environmentalist. She has lived on the East End of Long Island for 27 years. Working in the open environment on the beaches of the East End is essential to the theme of renewal. “I watch the unity of the sky and the action of the waves eroding the dunes. You, too may long to return to living on an island where one seeks solitude in simplicity.”

For more information, call (631) 369-2233, or visit mymtuma.com. All Bids are kindly welcome. Opening Information to be announced.

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Last Saturday on June 18th, the Radiant Energy notecards went up for sale at the Olish Farmstand Fair! Contact Mym Tuma at mym.tuma@gmail.com to purchase.

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T.S. Eliot’s declaration that “I construct something upon which to rejoice” became one of her personal mantras, integrating it into her artwork by freeing visual forms from confining frameworks or grids, and metamorphosing shapes into free visual forms that convey both growth and empowerment.

Her ideas about art germinate from the premise that we are all born out of the rhythms of nature. She captures the rejuvenating energy in the composition of shells and sprouting seeds by abstracting into pictorial form. The universal spiral, an embryonic shape, is found in most pieces.

Since the 1960s, Tuma has focused on new materials and shaped canvases merging painting and sculpture. Abstract images in fiberglass are reinforced with mesh wire. The artist refers to this technique as “sculptured painting” communicating the theory that “organic” contours and autonomous shapes project “energy” in space, moving away from the confines of the grid.

Mym Tuma is a published author, poet, and an environmentalist. She has lived on the East End of Long Island for 27 years. “Working in the open environment on the beaches of the East End is essential to the theme of renewal” said the artist. “I watch the unity of the sky and the action of the waves eroding the dunes. You, too, may long to return to living on an island where one seeks solitude in simplicity.”

Mym has had several solo exhibitions in the 1980s and the 1990s, including the Georgia O’Keeffe centennial sponsored by the Edens Library Goodall Gallery of Columbia College in South Carolina, and at the Clayton and Liberatore Gallery in Bridgehampton, curated by Henry Geldzahler, the first curator of contemporary art at the Metropolitan Museum of Art. Her work is in numerous museums, including the Albuquerque Museum of Art and History, the Joseph H. Hirshhorn Foundation Museum in Washington, D.C., the Georgia O’Keeffe Estate in Abiquiu, New Mexico, as well as several private collections.

For additional information visit http://www.janetlehrfinearts.com/artists/283/mim_tuma

The exhibition runs through August 30, 2019. Janet Lehr Fine Arts is located at 68 Park Place, East Hampton, NY 11937. The gallery is open seven days a week from 11:00 am to 8:00 pm.

janetlehr@janetlehrfinearts.com. 631-324-3303 and 516-353-6450 (CEL/TXT only). The gallery is also located in New York City at 891 Park Avenue, New York, NY 10075.

Press contacts:
Janet Lehr janetlehr@janetlehrfinearts.com
631-324-3303

Mym Tuma mym.tuma@gmail.com
631-878-0287

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No one had the usual coffee cups with biscuits. Against the back wall I spotted our lamb cake, small and lonely alongside a bowl of flowers. A young girl gazed at it while I told her tall father that I had baked the cake. “I’ll tell somebody to come over,” he said looking across the talking heads, “we should photograph this.” Close by, I saw another woman holding a bag of bagels. “Did you bring food, too?” I asked. “Oh no,” she replied, ‘these are leftover from breakfast,” she added, ‘I see you brought a cake. That’s too bad, because today we won’t have coffee time –. I’m so sorry.”

“Maybe the children would like to see it,” I said, “they are welcome to take it home.” The mother of three kids overheard me say this and she walked over to the table. At the sight of the lamb cake her three children pressed in to take a closer look. Then the eldest lady with white hair admired it, too. I suggested they could cut it. “I’ll get some plates,” said their mother. She left and returned with a knife and spatula then she cut the cake, passed slices to the children and word got around. It just caught on like that; I wondered how many pieces she could get. Smiles came back to us; Barney talked to folks in the center of a circle. I explained that the mold was 100-years old; one man joked, “This cake is pretty good for 100 years old!” “Delicious,’ said the minister’s wife who forked it quickly and said, “Hmmm. I love this, thank you!”

I enjoyed watching everyone eat. If I’d had a dozen cakes in boxes, I would have sold them right there. Drawn to the white haired lady, I heard her say her name then, “I was raised in this church and my grandparents lived here all of their lives.” Her soft tranquil gray eyes looked directly into mine. Her face expressed something compelling me to listen: honesty, perhaps. “This room was the original church …” she said. I saw the amazingly calm transformation happening around us, from nothing to something. We were the “innovation” Barney later said. When the cake was gone — before our tray was washed, I tasted a crumb – “delicious.”

Within minutes the children had eaten the cake: they trusted us although we were strangers. No one asked us questions. No reservations, i.e. “Do you belong here?” That was the best. Nobody really cared about my grandmother’s story or how many lambs she baked. The pastor’s wife told me she had inherited crockery bowls, and we both agreed that “they ring like bells when tapped.” The mold fell into my hands. That’s how children inherit truth… and faith in divine love.

This Easter pound cake is baked in a 100-year old cast iron Griswold mold given to me by my maternal Czech grandmother, Eva Otradovec. This is how I bring into focus the love of a very kind lady each spring by using it, I renew learning about her simplicity and kindness towards her neighbors as she gave many cakes away — and I repeat that gesture.

The recipe

1/2 cup butter
2 1/2 cups cake flour
1 1/2 cups organic sugar
4 tsp. baking powder
3 eggs (separated)
1/2 tsp salt
1 cup of milk
1 tsp. pure vanilla

Cream the shortening, add organic sugar gradually. Cream it well. Beat the egg yolks separately, then add the dry ingredients which have been sifted together with the milk. Fold in beaten egg whites .. pour the batter into the mold and place toothpicks into the ears and nose and neck.

​​We have prepare​d​ the mold for use, ​​washing it, and wipe dry set on a hot stove. Apply a good coating of coconut oil​, ​preferred fat​ or spray​ to both inside and outside of the mold.

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