Hope Moves Her Forward: Artist Joyce Grasso on her Journey, Inspirations, and Career

I have with me Joyce Graso, who is joining me from her home in Connecticut. Nice to see you today. Wonderful to see you. I'm enjoying all the lovely pieces that you have behind you with all the shades of blue. And I have a nice piece behind me with all its shades of blue. Is blue, a color that you enjoy? Um, I think it's my favorite color. I'm still exploring the many variations of blue. I didn't realize there were so many , That's a really good point. Actually. What, what is, what is the type of blue that is most recently of interest to you? I think the deep, rich blues we were, um, a couple of years ago in Sicily and, uh, I saw the Ionian sea and that, uh, is very similar to the blue of Maine, the cold, deep blue, which is very rich and dark. So I've gone from very light blues all the way down to dark. And I think that I'm, uh, coming out of that now and going back to, uh, I think what I see behind you is, uh, out of the fog, that piece, which is very ethereal and very soft. Yes. It's a lovely piece. And, and you're right. There is a softness to it and it is much lighter than the pieces that the blue and the pieces that you have behind you right now. So depending on my mood and depending on the season, I think, uh, it, it's not a, I'm not a aware that I'm doing it, but it just, I follow whatever zone I'm in and it just takes me there. But afterwards, I see that I've been affected by the light, the winter, very, uh, white light or in the summertime, uh, the late days and the long sunsets. Um, and then I exaggerate them. So that's the difference, but I don't really know that I'm doing it. So, so yeah, that makes sense. So the piece that's behind me, what would you, what season comes to mind when you're, when you're looking at this piece, What season? Well, I would say, um, it could be a number of things, but we travel to the south of France and, uh, the light it's light until about 10 o'clock at night. And you get that very hazy light. And it's very similar to the very early morning light of Maine, uh, when the sun is just coming up and you get that glistening, uh, feeling. So it's more about the feeling of my art, rather than the reality of it. You get a sense of the light and place, and depending on where you've, uh, grown up or traveled, then you, uh, emos a memory. Yes, I can. I can hear what you're saying. And I, I, I'm thinking about the travels that I've done to various places, and you're right. There is something about the way that the light shifts that changes, changes the colors and changes kind of the palette of the landscape or the seascape or the plants. So it, it does make a difference. And in Maine, that can happen moment to moments That that is very true. Earlier this week, we had quite a bit of fog and as the fog was, you know, when we first started out, it was kind of dark. It seemed like it might get overcast and just stay that way all day. But as the fog burned off, then all of a sudden it was very bright and the sun was sparkling on the water. So I think that the, uh, sometimes it can be a little deceptive in Maine That's right. And then the thunderstorm rolled in later. Exactly. Then those are very ominous clouds that, uh, are very, can be very intimidating, actually, especially if you're gonna be starting to drive down the highway, going home from work, which I think one of the days, this week happened to me. So yes. Joy, you grew up in Portland. Yes, I did. I grew up, um, right up the street from the Boulevard on back bay. So again, I saw the water every day, um, the tide coming in and going out very different than the ocean. Um, we were always at old orchard beach or Cape Elizabeth and the terrain is so different in each space. And again, the light is affected by that. Yes, that's true. And your, your parents owned, I believe it was Kay Brook shoe store on, uh, in the middle of Portland for many, many years. Yes. For 53 years, it was right across the street from the Longfellow home. And he had a small shoe store there and, uh, retired in, um, in the, I guess it was the late, late seventies now, um, forgetting exactly when it was, it all runs together, but, uh, he had a big sale in a, in a big snowstorm and we drove up to help him sell out all his shoes and then they were all gone. And in the middle of the, and my father said, should I order some more? And we're like, no, that's it, 53 years is enough. So purchase was around during that timeframe as well. Not too far away, I believe. Yes. It was a very vibrant downtown at the time. It was before purchase became isn't that what became the art school? Exactly. Yes. It's, it's interesting because many times people think of Portland as this, this kind of hip and new, um, new foodie scene and, you know, this kind of, uh, the working waterfront and there's, we've got all these wonderful things happening, but, um, it, it actually used to be kind of grittier. I remember when I was growing up people, my parents were, would not let me go down to the old port because that, that was, uh, a little bit of a challenging space back in the day. Um, Congress street had some issues for a time. Um, so it's, it's not always been the city that we know it to be now. No, it's, it was very different. Um, I had friends who worked in fish factories, uh, in the old port and it was, it was very gritty. It was a very different place. My, um, mother used to take me to the butcher, which was on middle street, across the street from the gallery. And it was cobblestone. Then My grandfather graduated from during high school, actually many decades before you graduated from during high school. And I was surprised to know that he had lived in Portland for as long as he did. Um, there were, there were always enclaves of people, Irish, Italian, all kinds of different people from different places that, that used to exist in My grandfather was born in Portland in 1988, up on Munjoy hill, which is very unusual. Well, then they moved back to Boston and eventually, uh, he had, my grandfather had a shoe store as well in Wooster mass. So, uh, it was very different back then. And if I'm not mistaken back a few years, that was where people who had Italian, um, backgrounds lived was up on Monjoy hill. Uh, well, yes. And, uh, well, I guess that was an area or in the, uh, late 18 hundreds, there was a synagogue up there as well. And there's, um, a, uh, a Jewish historical museum in, on the edge of Monjoy hill. And I think it's on Congress street as well. That was, I think one of the original synagogues don't quote me on that, but yes, there were, um, many different onclaves at that time. Yes. No restaurants, No, not, no, no restaurants. Well, except maybe there were smaller ones. We just, uh, not the ones that we think of today, Correct? Yes. And, and I know where exactly where the synagogue is because it's actually located, I believe where Lavinsky used to be, which is where, uh, near, where I've trained as a family medicine resident. Um, so you and I have these kind of parallel and intersecting experiences of Portland over the decades. It feels like between us and our families. Yes. So how did you come to live in Connecticut? Um, I went to school in, in Connecticut and eventually, um, I applied for art teacher jobs all the way from Cape Elizabeth all the way down to Stanford, Connecticut. And, uh, the only two jobs that came through one came through at, in Cape Elizabeth and the other one at the time, because there weren't a lot of art teachers back then, uh, came through in Stanford and the one in Stanford paid $3,000 more. And, um, so that's how I ended up in Stanford. I took the higher paying job. And you were a teacher for many years? Yes. Uh, 35 plus years. And I taught in an art magnet school, um, with a lot of scenery and it was quite an experience, very different than a regular school because the kids had the opportunity to choose, uh, whatever, uh, art, what, whether they wanted to take art, music, dance, uh, phys a problem solving or critical thinking skills. And they rotated through, uh, every six weeks. So we had the opportunity to, to do a lot of shows and scenery, uh, which is very unusual for elementary school. So that was very exciting. And, uh, eventually I pulled myself away from that so that I could pursue some other things, but I was very fortunate, uh, that I, I started teaching when I was 21 years old way back then you could get an undergraduate undergraduate degree in art education. And then I had a master's in reading and then a sixth year in correlating art with children's literature, uh, which has influenced my art quite a bit. All of those children's books and the kids of course. Tell me about that. Um, well, the kids were amazing and since it was an art magnet school and children chose to come to the art room, uh, they were there because they wanted to be there and it was a very exciting place to be. And I learned so much from the kids. I learned about color, light spontaneity and their joy of learning. So I've taken that with me, I think in my artwork, especially since my work is a bit imaginary, it's a compilation of my photography and my art and my art background, uh, with the students and my education was with, uh, Joseph and hard edge. And so this kind of an imaginary whimsical quality to my work, I think I can see some of the, the, the whimsical, um, elements in this piece that is also behind me, which we will show to those who are watching on video. And in some of the work that, um, you did during COVID actually took a, a slightly different turn. Yes, I had these sketches in my head and I think that I was, um, collecting them in my head over time since we were alone, it was just my husband, John and may. And we spent a lot of time on the deck and in the house. And I think I was collecting vessels and then thinking in my head about food and wine and, and we, uh, couldn't have our children here, our family here. And, um, we're used to having very big holidays and eating all day long and, uh, a lot of festivities on every holiday and our opportunity was a, it was gone. So this collection in my head of vessels and wine and food and, um, flowers and fruit, um, and then just one day I went to do a landscape and then I just said, I'm gonna do a still life. And it just all poured out of me all at once. And then one led to another one and another one. And, um, I think I'm influenced by, uh, Matis and Picasso and a bit of hard edge on those and the whimsy of the kids from my students. And, um, I think it's come together pretty well, uh, because they make me feel like we have company Well, this piece that is in the studio with me today is just, is, is a lovely little piece. And it does, it feels very, it feels very social and homey and it, it, it does kind of make you feel like you're sitting in a sunlight kitchen with your, your best friend in a cup of tea, just enjoying the ambience. That's exactly what I was conveying and feeling that I missed. And I was thinking about, uh, that I would like to be surrounded by, by that by paintings in my kitchen, in my dining room, uh, that are fun to help us through this time. And even, um, when you do have company to have that, uh, a part of us, and I think there's a thread, uh, with my other work, because that has the same feeling. I think of optimism and hope and the future being brighter. I sounds like a cliche, but I really feel that my art helps me through these these times. I would agree with that. And also, I think what people may not know about you is that you're making a very conscious decision to have this sense of hope, not only about C, but also about your own, your own life and your own health. You you've, you've had some significant health challenges over the years I have, and I've overcome them. Um, I had an autoimmune disease since I was 34 years old and, uh, nobody knew, but my husband and kids, um, and it, it was, uh, 20, at least 25 years of, uh, dealing with it until one day. Um, it became life threatening and, um, I had to do something about it and that was that I had to have in removed. And the reason I'm sharing this is I feel like I'm educating others to understand that, uh, especially about not everybody has all their parts, uh, and are dealing with other health issues. Uh, the majority of us, I would say have something and I was fortunate enough to, uh, have an organ that could be replaced. It's a daily, uh, I wouldn't say it's a struggle. It's not a struggle, but it takes a lot of planning throughout the day. And I am not a planner. I'm more spontaneous. So I think that's the most difficult part is that I, um, my mornings are difficult and I have to plan my days. So, um, I feel very fortunate that, um, that it could be taken care of. So, um, again, that comes out in my art and, uh, when I'm doing my art, I'm in a zone and I don't think about anything else. I forget to eat lunch. I I'm sure a lot of creative people are the same way. And I get in a zone. And my, uh, I have an idea of what I'm going to do because I am also a photographer and take a lot of pictures and I have patterns of the waves and, uh, pictures of vessels or whatever I'm working on. And the painting takes over and it takes me on a journey. And until I get to the end, I never know where it's going to take me. And I think authors are the same way when they're writing a book or a story that the characters take over. It's the same thing. And I'm not thinking about anything else, but I am in another place. And I'm very, uh, relaxed. And that's, uh, for a couple of weeks during the beginning of COVID, I was paralyzed. I couldn't do anything. And then I said, I'm, I'm gonna start to paint. And sure enough, that was the answer it took right over. And I painted in the house, um, with my husband, he was a school principal, John in the back room and he was on zoom and I was a couple of feet away in this little 10 by 10 foot space, and I was painting and he was being a principal. So that, that was actually, uh, quite an experience. Yeah, I hadn't actually thought about the fact that, I mean, I know the teachers had to make pretty dramatic changes with actual classroom work, but I would assume that people who were doing administrative work and leadership work in the schools that was its own very different set of challenges. Oh yes. Uh, he would, he, he wants to had six or seven or eight zoom meetings with each grade level. So, um, I would have to be very quiet. Um, but sometimes he'd say put that painting over there so that some of the teachers can see the painting, put the easel over there. So, uh, just for a little levity, um, we would do that sometimes, but it, it worked out very well. It was a bit tight and, uh, I was kind of limited. I didn't do anything any larger than, uh, 36 by 48 in that space. Eventually I got back to my studio, but there's now a, uh, brewery downstairs. So it's a bit noisy. And that's why we're not there today. Sometimes I work at this, in this little space. So it sounds like you've gone from one extreme to the other Right Now you have all kinds of social going on right near your studio. Yes, exactly. Those people are very anxious to get out. Well, I think that makes a lot of sense. I mean, I, I, I think we are all very, even, even those of us who are introverts and I've often mentioned that I am one, I, I think it's still important to have the human connection. And I, I do know that that's one of the things that had happened during COVID is that inability to be connected to other people and, and that has impacted many people and still continues to impact people. I agree. It's very different. I wanna go back to something that you said that I find also very relatable and that is that we don't always know what other people are dealing with. And in particular, we don't always know who's walking around perhaps without a body part, which, you know, in, in my case, when I was diagnosed with breast cancer, I decided to, um, take out the natural breasts and replace them with falsies. Let's just call them. And I don't think most people know that unless they know my backstory and it, it hasn't become, I don't have to plan things to the same extent that you do, but it just strikes me that there are probably more of us wandering around who have had to make accommodations based on things that have happened to us in our lives. Then maybe other people realize, I think that we need to share that a bit more because I think it educates others. And for the reason being is that maybe we would be kinder to one another when we are in the supermarket, for example, and somebody turns around and, and says, you know, why aren't you hurrying up? Or somebody says something rude anywhere today. Um, everybody's dealing with something. And, and I think that, that it would, um, cause us to be more educated and kinder to others. And that's why I don't, it, it's not a part of, I don't let it rule me, but I don't hide it because of that. I feel that, that we need to tell people something about ourselves, so that, uh, there's a connection to one another. Like, it that's a connection I didn't know about you and that you may not go around speaking about it, but it gives me a part of who you are. It's a, it's just a small piece. Yes. I, I think that's very true. And, and I do think that you're right, that even when people have say an autoimmune disease, I mean, that's kind of an invisible thing to the rest of us, but for you, it was very present and it was very, probably at times quite difficult to deal with. So it's interesting that it was just you and your husband, you knew about it, other people didn't, but you dealt with it on a very regular basis. I don't know how I, when I look back at it, I don't know how I taught every day, uh, with it. But I think again, we all deal with, with something. I think, I don't think anybody's life is perfect and we all deal with, with it in different ways. And my way was my art. And I understand you are a runner and that's your way of, uh, getting peace and calm. So I, I'm hoping that we all have that ability to do that and re let it out somehow. And, uh, lately I've been meditating, uh, I've been using this program Headspace. Yes. And I just learned that he, I saw a podcast about the guy who started it. He was a monk and he left and he started this Headspace and I, I just couldn't get over where he came from. And I do love that app and try to use it every day. And I don't even need him anymore, but I like his voice . So, um, we try and do that every day as well. Yes. I also like his voice. He has a, a lovely calming British accent, and I think it, it makes it, it makes it kind of almost something that you look forward to. Yes. How did you get into meditation? What was it that prompted you to take that, um, practice into your life? Well, again, like you said, we've had some challenges, um, and we're dealing with another challenge right now. And, uh, I needed some more tools. I didn't have enough tools and, uh, it was wintertime and it just, uh, wasn't enough to, uh, I like to walk by the water and you can't do that as much in the winter. And so I said, what else can I do? And I I'd heard about this head space and I was hooked the minute we tried it. So we don't miss a day. So that's been terrific. Now I have a few other tools along with, uh, reading and walking and painting. Tell me what you like to read. Um, well, right now I'm, uh, I'm into, um, Daniel Silva. It's, uh, his, uh, murder mysteries. Yes. Because they have an art background and he was an art in the story. He's an art restorer. So I enjoy, uh, him and, and the bit of truth in his stories as well. Uh, sometimes I think they're more fact than fiction, but hopefully not. Um, so yeah, I do enjoy them and it's a great escape. So that's what I've been reading right now, but I found a lot of books about, uh, these art nonfiction books right now as well. Well, I also like you, I enjoy reading and I also enjoy the kind of escape books because I, I keep a variety of books on my nightstand and also in my office and also in my meditation space. And it's always nice to think, oh, well, I'm in this kind of a mood today, so I'm gonna reach for this book, but today I just want an escape piece. I'm gonna listen to this book. And, and I think that that's actually, I think it's, it goes along with what you were describing, that, you know, you, you go into the book as if you are going on a journey and sometimes when you can't go on a physical journey, the ability to go on that emotional intellectual journey by reading can be very, um, nourishing Very well. Put, I agree. I find that all of the things that, um, these extra activities are all positive, upbeat, and, uh, very nurturing. It's also important. One of the things that you mentioned is this idea of having tools. And I know that, um, one of the things, when I talk to patients, I talk about, um, just even relaxation breathing, you know, if they, if, if meditation seems like it's, it's a little bit out of their comfort, we, we do some relaxation breathing and I, I kind of approach it the same way as I would saying, you know, go out for a walk every day, because I think if you have these tools and you engage in something like meditation, relaxation, breathing on a regular basis, then your body's already used to doing that. So when you feel stressed, you just it's like picking the book up off the shelf, you pick the tool up and your body already knows how to do it. And it just gives you the chance to just kind of sink into something. And, um, and then depending upon situation you're in, you just, you choose the tool that you need. So I think what you're describing is very wise. I like taking an active role in my way, wellbeing. That makes me feel like I'm participating and not letting, uh, any negativity take over Well. And that, I think that is important. It's, I mean, this idea of self authorship and I mean, all of us have challenges that exist in our lives, but it's how you approach the challenges, how you frame them, how you work with them. And it sounds like when, if somebody has a piece, uh, by Joyce Graso, maybe they have a piece of how you have worked through some of your challenges. Perhaps. I just want them to, uh, look at the piece on the wall and have it make them feel good if they can't get down to look at the view of the horizon. And they're just gonna look up and see this piece of artwork that has that light and positivity, and maybe an imaginary, bold color or light, uh, to take you on this journey. That that's a wonderful, I guess Joyce Graso mission is to, to provide people with things that will kind of inspire them to feel more well in their current lives. Well, I think that's the thread of the, and the thread of the abstract people don't think they're similar, but they really are. So how is it that you have managed to keep, um, the frame around your life that is positive and that is affirming, and that is, um, more of a self authorship, um, approach, despite all the things that you have dealt with. Is this something that when you were growing up, this is the approach that your parents took? Is it something that you've learned over time? How is it that you've, um, incorporated this into your life? Well, I think as a female, um, I've been determined to stand up on my own two feet. And as I've gone through all of these challenges through life, I had a, um, a sibling six years older. So I was kind of like an only child. And at the time, uh, we didn't have any family in Maine. They were in Massachusetts. So I think, uh, I was determined to not let anybody get me down. I was determined that no, no matter what came my way, I was gonna plow through it, get through it and see the positivity of it. And I think maybe you can see that right now, the determination as, as women, um, that we were on our own, especially back then, you were supposed to be a teacher. I, I did have an interest in medicine actually. Um, but I was told I could be a, a teacher or a secretary or a nurse. And, and so I chose teacher because that's what my father said. He wasn't gonna put me through a school unless I became an art teacher. I, if I wanted to be an artist, forget it. And he was actually right because, um, I started when I was 21 and I got to retire at 54 and, and start another career. Um, so, um, back then, women weren't given the opportunities. And so I felt that I'm gonna do it no matter what nobody's gonna get me down. So I think that's my it's, it's more of a determination. And the way that I got there was through, uh, these paintings and, and optimism of that, everything was gonna be okay. Uh, even if it was just this, a silver lining, a small light. So I think that's, uh, the female aspect of it. And, uh, I won't go into, uh, how women were, were treated, uh, as teachers back then. Um, it was very different, um, quite a, a history until Anita hill came along and, and, uh, put it into, uh, the light of, of every being a buddy being aware of how women were, were treated just with remarks that were made to women. Um, I won't go on and on about, about that, but I think you get the, what I'm trying to say about, uh, standing on your own two feet. Yes. I think that what you're describing is something that is not actually that far in the past, that I've like you, I have experienced personally. And I think I had the benefit in my family of, I was just the next generation in, from my mother. Also, she thought about going into medicine and decided that when my father was going to be a doctor, that she would do what most women were doing, which was become a teacher and her mother was a nurse. And even, even doing those things was actually, you know, working outside the home, even at that point, working outside the home was considered somewhat unusual if you were a female. So it's very interesting to talk to young women now, including my daughters and they, the perspective that they have is just very different. And you know, those of us who are just a little bit, um, have walked the earth a few more years, let's just say, Right, exactly. I actually had to fight for, uh, becoming a, a, a teacher even, uh, because my mother was of a Ukrainian Russian descent, and they escaped from Russia. Although my, my, on my father's side, they were already here, like I said, on my grandfather being born in Portland, but my mother, uh, escaped with her family and it took them five years in Europe to get into the United States. So I'm first generation on my mother's side. Um, so I was treated again, again, as, as a, as a female, I wasn't treated that you, uh, go out into the world and work. So again, I've fought for myself, And this is another great example of, um, something that we don't always know about people, you know, there's the health issues that we may not know about people, but then there's also the background. You know, some there, everybody has their own, um, story, perhaps I assume of some sort of being treated as not enough for whatever reason, whether it's related to where your family came from or the gender that you have been assigned at birth. So it's, it's interesting to kind of just take that into consideration as well. I think that, uh, that's what I like about the richness of this country is that there's so many different cultures. And again, it goes back to the food. so many different kinds of food to eat. And I think that's one of the connections that, uh, connects us with people, with people that aren't like us, is that we like, uh, certain kinds of food that we're exposed to. And, and that's another thread that brings us together. And, um, what you say learning about, uh, I learned about Kevin the other day, uh, when we spoke yesterday, where he comes from in Northern Maine, which is culturally very different from me coming from Portland, which is a much larger city, but we did find something in common art. And, um, and I learned a lot about you today. So I think that you're right. Uh, if we stop and learn something about people, then it will be a, like I said, a, uh, kinder place because we know that we all have something in common. That's very well said, Joyce, I appreciate the, I appreciate the sentiment that you're sharing. And I absolutely agree. Well, Joyce, I also very much appreciate your moving out of what you've described as your comfort zone to be willing to have this conversation with me today. Um, it's been quite wonderful to get to know you better, and I hope that others will take the time to go to the Portland art gallery website to see your work there, or even better see it in person. And maybe when you're back up in, in Maine, again, will get a chance to, uh, we'll get a chance to connect. I'd like that very much. Thank you so much. It's been a Pleasure. Well, thank you. It's been a pleasure for me as well. Joyce SSO. Thank you, Joyce.