Janet Milhomme is an award-winning photographer whose work has been published in places near and far. Although she doesn’t reside locally, last year her pictures were shown in Manhattan Beach and this year she’s been seen at The Loft in San Pedro, Cannery Row in Redondo Beach, and currently at the Palos Verdes Art Center. For the latter’s “L’aura borealis: 100 Ways to Look at the Muse,” Milhomme not only took pictures, she also devised a triptych, created a video, and produced a handmade book that enhances the viewer’s experience of the film. She is kind, thoughtful, inquisitive, and her energy is simply impressive.
How she got here
You live quite a distance from the South Bay, and yet you’ve been in at least three well-received art shows in this area during the past year. I’m almost hesitant to ask you how many other galleries and venues you’ve shown in during 2012.
“This has been a very busy year for me,” Milhomme replies. “In all I’ve participated in 12 gallery exhibits and two on-line exhibitions – the ‘Photo Review 2012 International Competition’ and the ‘Women in Photography International 2012 Competition,’ in which I received an Honorable Mention.”
You began as a writer before immersing yourself in photography. What kind of writing were you publishing, what are you working on now, and where do you want to go with it?
“I’ve always had a passion for writing and have worked in many fields, such as journalism, marketing, public relations and educational publishing. I worked as a stringer for United Press International, special correspondent for the Christian Science Monitor, West African correspondent for London-based South magazine, assistant editor and feature writer for Escape magazine, textbook author for Pearson Publishing and others.
“I also did a lot of technical writing. One does have to pay the rent after all. But freelance writing brought so much joy and excitement to my life. Early on I realized that I could sell my stories more easily if I had the photos to illustrate them, so I picked up a Canon and taught myself what I needed to know to take a picture. After a while, I began to see photography not only as an adjunct to my work but an important part of it as well. And I loved it – you know, telling the story in images as well as words. Soon photography became an integral part of my work and my creative life.
“As to what I’m doing with my writing now, well, that’s a question I’ve been asking myself lately! I’ve just completed a historical novel for which I’m currently seeking representation. I wrote a one-act play last year for which I have a potential venue. And of course I wrote the script for the ‘Rabbit Hole’ video [see below]. Like so many writers, I have story ideas oozing out of my file drawers.”
You were the only female artist in “F/8 and Be There,” the five-person photography show that Jerry Hicks curated for Cannery Row in Redondo Beach. How did that come about? What did you exhibit?
“Being the only female among a group of men was like being a kid again,” Milhomme says. “I was the only girl among four siblings and learned never to turn down a dare. I have a permanent scar on my leg to prove it. But, back to “F/8,” I enjoyed participating in that group exhibit immensely. I believe that Jerry had seen my work at The Loft in San Pedro, in which he was a participating artist. That show was curated by the outstanding photographer Paul Blieden.
“Jerry liked my work and wanted a woman in his show, so he kindly extended an invitation. Because “F/8 and Be There” was all about capturing a moment – you know, right place, right time, click! – Jerry asked me to show my documentary photography from my African sojourns. I love that work and it’s quite meaningful to me in many ways. I loved being there and capturing people in their daily lives – the beauty of it. I call that series “Subsaharan Graces” because the people were so gracious and kind. I want to do a book of those photos so I can write stories to go with them. I want to start with ‘I went to Africa in search of a story and found myself.’”
You seem to have quite a passion for the arts, in almost every field. So what drives you?
“Well, I love art and music and writing; it’s in my blood. My brother Ron is an accomplished musician, my brother Denis is a well-known Western artist, and apparently there’s a sculptor and a writer somewhere among my ancestors. Not to mention that my husband is an actor and musician, and many of our friends are in the arts. So I’m surrounded by inspiration. Of course, being an artist is both a blessing and a curse. Wanting, trying to succeed in the arts can make you wildly happy and exquisitely miserable. Which seems to be taking us to a very important topic – the installation for the Muse exhibit.”
Concept into film
For “L’aura borealis: 100 Ways to Look at the Muse” you contributed a close-up portrait and also a triptych, and then – going a step farther – a seven-and-a-half minute film titled “Down the Rabbit Hole: Inspiration, Passion, Obsession.” Could you summarize the story and also explain how the idea for the film came about and what you wanted to explore with the script?
“While searching for a location in which to shoot the Muse for the first exhibit,” Milhomme replies, “I happened upon a little tunnel at a botanical garden. I called it the ‘rabbit hole’ and thought it a wonderful place to create a series of portraits that would tell a story. The resulting triptych was titled “Trilogy.” I didn’t know what the story was at the time, just that the muse was perhaps being chased and had dashed into the tunnel to escape her pursuer.
“For the second Muse exhibit (the first was on view in Manhattan Beach in June, 2011) I wanted to expand on what I’d already done. Though I’d never created one before, I thought a video was a grand idea. The concept for the video came rather quickly, as who would be pursuing the Muse but the artist? The “rabbit hole” is a metaphor for the artist’s creative process.
“In the video,” she continues, “the artist’s pursuit of the Muse begins as pleasant inspiration. With a burst of light he enters a dark room. Seeking inspiration, he picks up a lantern and approaches the Muse – represented by the portrait. He is struck with an idea, rushes to his desk and begins typing. From this point on, the story switches back and forth from the writer in that room to the story he’s creating. After a while, the writer becomes more passionate. Passion becomes obsession. At this point, the pursuit has dangerous and even destructive overtones. Going down the rabbit hole isn’t an easy experience. As the artist immerses himself in his work, creating fantasy, he himself begins to confuse reality and illusion. In the end the question is posed: Who is in control, the artist or the Muse?
“There are many symbols in the story and references to Alice in Wonderland, such as the tea table with its rabbit and hat. As in Wonderland, the rabbit represents an elusive goal or frustrated desire, and the Hatter represents passion turned to madness. There is also a Queen of Hearts in the video, which the Muse releases from a cage. In summary, ‘Down the Rabbit Hole – Inspiration, Passion, Obsession’ explores the concept of the Muse and her role in creativity. As in much of art, the Muse is both inspiration and subject. What inspires the artist becomes the subject of his art.”
What did you learn from the completed project?
“I learned how to tell a story on film. And for the first time I really thought about the concept behind the Muse show. I tried to tie my work to you and your creation, your own pursuit of the Muse, real and otherwise.”
It’s an impressive work and one of the highlights of “L’aura borealis.” However, this writer – who curated the exhibition and appears in the film – feels that the character he portrays is too restless, too agitated. What Muse wouldn’t be wary of such a shadowy figure who seems to be stalking rather than trying to honor her with his poetic gifts?
The actor is bringing his real-life experiences and emotions to a creative concept,” Milhomme replies. “As the actor should know, the writer is in control of the story. The writer in the film represents all artists; and who doesn’t know about ears being cut off and mad rages over canvases, manuscripts or musical scores?”
Could you say a few words about the book – an actual object that visitors in the gallery can leaf through before, after, or while watching the film – and how it’s integral to your overall vision?
“I wanted to create a multi-media installation for this show. I love mixed media and was coming up with all sorts of ideas for collages, hanging sculptures, etc. But then I thought about the fact that the artist in the film is a writer, so a book collage just seemed appropriate. And I like the fact that people can look through it and see the story unfold from front to back.”
The bits of scissored handwriting that appear in Milhomme’s book collage were taken from one of this writer’s lengthy manuscripts, thus making this, in some ways, a collaborative effort. The manuscript also has a cameo in the film – and parts of it were in fact inspired by Laura.
What’s on the horizon for you, and what are you hoping to accomplish or move closer to in the year ahead?
“I want very much to make more videos, mixed media works and multi-media installations like this one.” Milhomme says. “I also hope to somehow incorporate my writing into my visuals. Looking behind me at this past year, I’m very happy with the strides I’ve made and what I’ve accomplished. Looking toward the new year, I feel both trepidation and enthusiasm, as one hopes to progress, but there are never guarantees.”
Janet Milhomme’s photographs of the Muse (Laura Orr) and her video, Down the Rabbit Hole: Inspiration, Passion, Obsession, are on view through Dec. 30 in L’aura borealis: 100 Ways to Look at the Muse at the Palos Verdes Art Center, located in the Promenade on the Peninsula, 550 Deep Valley Drive, Suite 261, Rolling Hills Estates. Gallery hours, Monday through Saturday from 10 a.m. to 5 p.m., and Sunday from 1 to 4 p.m. Call (310) 541-2479 or go to pvartcenter.org.
