The third and last drawing staying in Hungary for now. More to come (including animation) after my return to Chicago.
Annie Heckman, The bones crumble later, and so the skeleton remains altogether, the way it was, 2010, graphite, gouache, watercolor pencil, and oil pastel on paper, 9 x 9 inches
The second drawing in a set of three, staying to be exhibited in Hungary:
Annie Heckman, When it is 100 years old it will be exactly like a piece of wood, 2010, graphite, gouache, watercolor pencil, and oil pastel on paper, 9 x 9 inches
The first of three drawings that I’m leaving in Hungary, to be exhibited in 2010:
Annie Heckman, It has a key to everywhere, so it can open the doors, 2010, graphite, gouache, watercolor pencil, and oil pastel on paper 9 x 9 inches
The title is a quotation from Maria Nagy’s study on children’s theories about death.
In preparing for my residency I pulled together several books, choosing some more consciously than others. Packing the suitcase forced me to narrow my selection, and the most important titles stood out from the rest and made their way to Budapest with me.
Death: Current Perspectives
Nagy’s study appears in a section titled “Children and Death.” Her approach to treating children as the creators of theories about death has continued to interest me over several readings, and I keep returning to the words of the children she interviewed in 1948 Budapest. An example of words from an eight-year-old child:
“When death goes away it leaves footprints behind. When the footprints disappeared it came back and cut down more people. And when they wanted to catch it, it disappeared.”
Nagy’s study first appeared in the Volume 73 of the Journal of Genetic Psychology, 1948.
