Lauren Ari: Art as affirmation of the artist’s existence, Part I

The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.
– Pablo Picasso, Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Lauren at the entrance of her backyard garden.

Lauren at the entrance of her backyard garden.

I met mixed-media artist Lauren Ari, 46, at the Stockton Avenue Art Stroll in El Cerrito this past May. She was selling her framed paintings at the invitation of Jen Komaromi of Jenny K, who is a friend of hers and a fellow former preschool parent. Lauren and I hit it off, and although we had just met, a passerby in the store thought we had known each other for years. The relaxed conversation and easy laughter was largely attributable to Lauren’s honesty and energy. “I’m really honest – perhaps too honest – because my work is that way,” she told me in June, when I visited her at her home in Richmond, a welcoming place that is both an informal museum and sunny garden celebrating her colorful work.

When you look closely at Lauren’s paintings and sculptures, you feel as if you’ve gone – with her permission – into the recesses of her imaginative mind, where both light and dark co-exist. You also feel the frenetic energy that created it and the energy emanating, pulsing from her, which is infectious. “There’s something that’s faster than me, personally; I think I’m behind this energy that is moving me,” she said. “I trust something bigger than myself.” Indeed, Lauren added, “A lot of what I do is very intuitive; I don’t set out necessarily to do X, Y, and Z. Circumstances happen and I follow them.”

The sculpture All Is Love in her studio.

The sculpture “All Is Love” in her studio.

Following the winding path
Creativity was encouraged and ran in the family – her aunt was in ceramics and her uncle is a basket weaver. Her mother was also a creative type and reserved an area of Lauren’s bedroom for making art. She fondly remembers her grandmother’s coffee table books and paintings on the walls of her home, and as a child, Lauren pored over her grandmother’s books on Picasso, who inspired her. “”He spoke to me,” she recalled. By age 15, she was doing performance art with Racheal Rosenthal, called “Doing by Doing,” at the Women’s Building in downtown Los Angeles, where she grew up. She transferred out of public high school to attend a local art school. Although she labeled herself a “square peg,” in this creative environment in which all her teachers were artists she began to identify herself as an artist. “They exposed you to so much,” she said. “I really felt like I was learning for the first time.”

Lauren's flower pots in her garden.

Lauren’s flower pots in her garden.

At the age of 17, Lauren attended the Rhode Island School of Design (RISD). The first year at RISD provides the foundation for all students, and although at the time she admitted that she was not ready to listen and just wanted to be left alone to create her art, Lauren said that she learned “most everything.” While she was at RISD, her parents divorced, which led her deeper into her art. “I was in my own space; art was healing for me,” she recalled. Adding to her burden was the familial pressure of how she would be able to make a living from her art, despite her family’s encouragement to pursue her passion. “I didn’t have enough strength in myself to have faith in what I was doing,” she said.

Tile painting in the garden.

Tile painting in the garden.

She dropped out of college after two years and returned home, enrolling in the local community college and then taking on a variety of odd jobs. Feeling the need to finish school, she moved to the Bay Area upon the advice of a good friend and got her BFA with High Distinction from the California College of Arts and Crafts (CCAC) (5212 Broadway, Oakland, CA 94618, 510.594.3600) and later attended the University of California at Davis, where she earned her MFA.

“Art was my voice and a way for me to ground myself into existence,” she said, reflecting on that difficult time in her life. Many years later, when she was teaching art to critically ill children at Oakland’s Children’s Hospital, one of her students, a young girl, did not want to leave her class to undergo a procedure. She kept putting her hand down on the paper, leaving imprints which reminded Lauren of prehistoric cave paintings. “It was like she was saying, ‘I’m here,'” she said. For years, much of Lauren’s work represented proof that she existed. The act of creating was her way of saying to the world: “I’m here.” Art was her vehicle for staying present. “It was a big moment for me to really see myself,” she said.

At home with her daughter Mirabai.

At home with her daughter Mirabai.

The Impact of motherhood on the artist
Lauren experienced another revelation when she gave birth to her daughter, Mirabai, in 2006. Until she became a mother, Lauren didn’t realize how consumed she was with making art. “I didn’t question it [my art] as much. It was who I was, what I did, and I just gave myself over to that,” she said. “It gave me my purpose; it gave me a place to be and to ground.” Whatever energy she had she shifted to raising her daughter. “Having a child later in life was a very humbling experience for me,” she said. During that time, she realized – in a “shockingly painful” way – how imbued she was in her desire to be constantly creating.

“I have a lot more spaciousness now,” she said. Instead of excusing herself to work in her studio, she allows herself the luxury of having long conversations with people. She engages in activities that she has never done before, and she and her poet husband, Daniel Ari, and daughter do a lot of dance and movement together as a family. Lauren has since slowed down with her work. “I’ve just become a lot more relaxed,” she said. Before her daughter’s birth, she had already accomplished many of the things she felt she needed to do as an artist, including having several of her pieces included in the Achenbach Collection of the De Young Museum (50 Hagiwara Tea Garden Drive, San Francisco, CA 94118, 415.750.3600) and a two-person show at the Klaudia Marr Gallery, a well-known gallery in Santa Fe. “I succeeded in the outside world and those were all great things, but now I’m trying to figure out how to get back to my practice,” she said. “I’m trying to figure out what’s next.”

Lauren's sculptures in her studio.

Lauren’s sculptures in her studio.

Editor’s note: Lauren teaches art classes at her home studio on Thursdays, 7pm to 9pm, called Art Camp for Adults. Each session comprises four classes. Lauren suggests ideas and the group decides on the direction. The next session begins in September 2013. Lauren is also open to teach art classes one on one with artists who are experiencing creative blocks or those who want some coaching and need assistance in putting their portfolio together in order to apply to art high school or college. She also hosts art events out of her home twice a year. To see more of Lauren’s work and to contact her, go to her website www.laurenari.com.

One of the many murals in Lauren's backyard. You might recognize her murals at Annie's Annuals in Richmond, CA.

One of the many murals in Lauren’s backyard. Her murals grace the walls of Annie’s Annuals Nursery in Richmond, CA.

Plant a tree, have a child, write a book

(Every man should) plant a tree, have a child, and write a book. These all live on after us, insuring a measure of immortality.
– attributed to the Talmud and Jose Martí, Cuban revolutionary and poet

Vintage Underground's owner Carlos showing off his creations.

Vintage Underground’s owner Carlos showing off his creations.

On my last day of vacation in Chicago a few weeks ago, while on my vintage hunt, I met Carlos, the owner of Vintage Underground (1507 N Milwaukee Avenue, 773.384.7880), a shop that carries clothing, accessories, and jewelry dating from the mid-century. He was receptive to me taking pictures of his store for my blog, and when I finished making my way around the huge basement-level shop, he asked me what my blog was about. I told him it was my way of celebrating entering my 50s by living creatively, fully, and meaningfully. When I mentioned having finished my first novel back in 2006, only to be crushed by receiving 60 rejections from literary agents, Carlos scoffed.

Our ginkgo tree, which we planted in our backyard after we got married nearly 15 years ago.

Our ginkgo tree, one of my favorite kind of trees, which we planted in our backyard after David and I got married nearly 15 years ago.

“Sixty?” he repeated. “That’s nothing!” He proceeded to tell me that he would have stopped at 100, if that. “‘Plant a tree, write a book,'” he said. “Ever hear of that?” When I shook my head, he advised me to look up the Buddhist saying on the Internet. [When I came home, I indeed looked it up and found that there is disagreement about its provenance, but most references seem to give the nod to either the Talmud or Cuban revolutionary and poet Jose Martí. The order of the commandments is also varied. Carlos, as you can see, left out the part about having a child and the reason for doing these things.] For Carlos, the purpose of planting a tree and writing a book was not just about immortality but also expressing yourself, taking delight in these activities, and simply being.

Me and my kids, my heart and soul, downtown, along the Chicago River.

My kids – my heart and soul – and me downtown, along the Chicago River.

He showed me a turn-of-the-century handbag that sported two compartments. He had attached watch parts and gears to one side of the handbag. On the inside, he had inserted various things – a lipstick case and a toy gun – in the elastic straps. He also showed me a necklace and cuff he had made especially for a party he was attending. The watch hanging from a thick chain sprouted wings, while watch parts embellished the wide polished sterling silver cuff. All three pieces evoke a Steampunk aesthetic.

When Carlos told me making jewelry was his form of therapy, I laughed. But he was serious. Why pay someone money to listen to you talk about what’s troubling you and then you leave and that’s that? Here in his shop, he can create something beautiful and feel good about it. The act of creation is joyful, soulful, and meaningful. Other people also appreciate and purchase his creations, and he takes pride knowing they are wearing what he has designed. What he creates lives on. Carlos was on to something. And I fully agree with his philosophy on creation.

Leather and lace for summer.

Enjoy life! With cut-out leather and lace for summer (handbag from The Fickle Bag, Berkeley, CA).

Dress comfortably in the summertime, and dress with confidence.

Dress comfortably in the summertime, but more importantly, dress with confidence.

When I came home and found the full reference to the quote, at various times during that day and following days I pondered how it applied to me. Taken literally, I have done all three – we have planted fruitless cherry, ginkgo, and peach trees in our backyard and twin Aristocrat pear trees in our front yard; I have two children; and I’ve written my first novel, though it still needs one more round before I am ready to say that it’s done. But I realize having done all three is not the end of the journey. Our deciduous trees need their leaves to be raked and composted every fall. Their branches need to be pruned. They need watering. Our children, especially as they head into adolescence, will need just as much guidance, albeit with an invisible hand and eye, as when they were toddlers. And writing a book is a life-long process – one in which you get better as you get older and draw from your life experiences and wisdom. And then the next book is an extension, a growth of the first one, a growth of you. I am a better writer with each piece I write, whether fiction or nonfiction; I am a better writer than certainly seven years ago and even two years ago.

Reliving the nostalgic 70s with bell-bottom lace pants and floppy hat.

Be creative in all you do: Reviving the nostalgic 70s with bell-bottom lace pants and floppy hat.

For me, the original saying could not have come at a better time, when I’m going to be spending the next month and a half doing one last revision on my first novel and then figuring out how to set it free out in the world. There can be variations on the theme – plant vegetables or flowers, help birth babies or baby animals, adopt or mentor a child, write and record a song or design a building or paint a painting or choreograph a dance. Plant a tree, have a baby, write a book – such poetic, yet fierce words. Find your variation on a theme. Rejoice in the act. Become “immortal.” Simply be. Fully alive.

Novel almost done.

Novel almost done!

School’s out for summer

A child educated only at school is an uneducated child.
– George Santayana, Spanish philosopher, essayist, poet, and novelist

Ready for summer in a knotted and rolled-up denim shirt over a bright yellow bandeau and skirt.

Ready for summer in a knotted and rolled-up denim shirt over a bright yellow bandeau and skirt. Neutral platforms elongate my short legs. A roomy handbag can carry statement sunglasses and tubes of sunscreen.

My two kids’ last day of school is this Friday at noon. Every year, for the past seven years, I’ve picked them up and we’ve gone to various parks for a picnic with other families to celebrate the end of the school year. The kids play in the park, and the parents – usually the moms – marvel at how quickly the year has gone by. Eight years later, I am amazed at how one year my son and his friends were these little boys running around on the playground and now they – or least my son – are dabbing rubbing alcohol on the pimples that have sprouted on their faces in the mornings. Now they dash out the front door to walk to school part way by themselves and then at a designated spot meet up with their friends before reaching their destination of middle school. Whereas I once vowed never to let them walk to or from school by themselves, my son, who is finishing up seventh grade, routinely walked from middle school to his old elementary school to pick up his sister after school this past year. And I greet them – no longer anxiously, as I did in the beginning of the school year – when they come home.

People have told me that the years from middle school through high school accelerate. I believe it, but I have witnessed those years flying by since at least fourth grade, if not third. Raising kids is exhausting. It ages you, and miraculously it keeps you young, which is an interesting phenomenon if you are an older parent. One day you wish they (along with their slovenliness) were ready to leave home, and then the next day you hug them hard – and they surprise you by hugging you back – and wish they would stay their age forever (as long as you stayed your current age forever, too).

Sun-kissed accessories: Anthropologie ring, Lava 9 earrings (Berkeley, CA), and April Cornell necklace.

Sun-kissed accessories: Anthropologie ring, Lava 9 earrings (Berkeley, CA), and April Cornell necklace.

I have a few friends whose daughters are finishing up their senior year in high school. Both babysat our kids and we’ve known them for a number of years. I actually get verklempt when I think of them moving on because I know I’ll be that parent soon enough. And I know that moment will come before I can ever be prepared for such a time. When my son or daughter tell me that this day or that event went by too quickly, I let them know that they haven’t seen anything yet in terms of life whooshing by. So I tell them not to ever tell me that they’re bored, because if they do, it’s a shame and it’s their fault because they control what they do with their time, regardless of whether I am dragging them to a place or event they’d rather not be. Life is too short to be bored.

On that note, it’s summer, and that’s the time to really get an education, so that when our kids go off to college, they have learned more than what goes on in the classroom. I remember someone telling me about Ansel Adams’ father letting him explore the Panama-Pacific International Exhibition in San Francisco for the duration of the event in 1915 (which was open to the public from February to December, mind you). Now that’s an education. Hopefully, this summer will be the beginning of really taking advantage of education outside of the classroom. I don’t have too many summers left to do this with my kids before they move away and take hold of their own education and adventures. I’m getting verklempt again.

A summer outfit isn't complete without a neutral handbag with brass paillettes and soaring (but comfortable) platform sandals.

A summer outfit isn’t complete without a neutral handbag with brass paillettes and soaring (but very comfortable) platform sandals.

Tana Hakanson: The Artist’s journey home (Part II)

Nobody can go back and start a new beginning, but anyone can start today and make a new ending.
– Maria Robinson, American writer

Tana working on a painting of a figure in her home studio.

Tana working on a painting of a figure in her home studio.

Abstract painting: The Balancing act
Abstract painting is much more difficult than many people may imagine, according to artist Tana Hakanson. Balance, composition, color, and contrast are as equally important in non-representational art as they are in representational art. “I’m learning to let go of thinking about what I’m doing too much and let the painting process evolve naturally, while at the same time evaluating the piece along the way for all of the elements that make a painting work,” she said. “It’s a balancing act between letting it happen and making it happen.” Artists can plan out the process when working on a representational piece of art, such as a painting of a still life, because they have a preconceived notion of the end product. In abstract painting, however, the work evolves as you go along, according to Tana.

Sketch of a dancer.

Tana’s sketch of a dancer.

“Each painting seems to takes on a life of its own, so trying to get the materials to do the same thing that they did the day before is futile,” she said. Her best paintings have “seemed to come easily and happen by themselves.” The director of her graduate program’s art department painted while watching television to distract him from the act of painting so his art would just “come out.” While Tana appreciates his theory, she prefers to be more engaged in the moment. “I wouldn’t want to miss anything!” she said. Being in the moment happens away from the canvas, as well. Sometimes she’ll wake up in the middle of the night or be walking outdoors and “get colors in my head.” When those moments come to her, she says, with a big smile, “I get inspired. And that’s the magic of it.”

Art and nature
Not surprisingly, Tana is inspired by nature and glazed pottery, specifically textures that occur through natural processes such as geologic formations and colors in rocks, which make the end product unpredictable and unique. Last year she experimented with paint flowing vertically. This year she is playing with organic shapes, as well as letting paint flow around the canvas, with her only manipulation being the choice of colors and size of the canvas, then working with what comes out of it. With each painting changing as it dries, Tana says she never knows what the outcome will be. “I would like to think that my paintings are like nature at work and I’m participating in the play of nature,” she said.

Tana's painting from her series of wood paintings.

Tana’s painting from her series of wood paintings.

Tana is fascinated by quantum physics, fractals, and how nature creates “incredible, beautiful things.” She’s also interested in chaos theory and how nature is predictable in its unpredictability. “Perhaps since we are nature ourselves, we are drawn to nature’s aesthetic, which, though it has patterns, also always has something different thrown in which creates vibrancy,” she said. The works of artists who inspire her share similar themes. San Francisco artist Saundra MacPherson, whose work of layers upon layers of texture is informed by geology, invited Tana to her studio six years ago when Tana saw her work online and wrote her a letter of appreciation. She credits MacPherson with encouraging her to keep going and keep experimenting with her art. Local artist Stephen Bruce, who works with acid on metal, which creates forms via natural processes, is another source of inspiration.

Tana captures the fluidity of dancers in her sketches.

Tana captures the fluidity of dancers in her sketches.

Doing what you love: Tana as inspiration
A philosophical person at heart, Tana has experienced “a lot of existential angst” in her 46 years. Finding daily tasks “often dull and boring,” and “modern life to be sometimes disjointed and vapid,” she has always been on a quest to get deeper into the “essence of things,” which is why she was drawn to art early on and why it was inevitable that she returned to painting. “I’m not sure what it all means, but I have learned that life is short,” she said. “If you’re cutting yourself off from the things that you love and that have meaning to you, you’re not helping the world. So do what you love – even if it’s carving out a bit of time for it initially. Make it work somehow, no matter where you are in your life.”

Tana Hakanson will show her new work at this year’s East Bay Open Studio, sponsored by Pro Arts the first two weekends in June (1-2 and 8-9), from 11am to 6pm, at her home at 1633 Mariposa Street, Richmond, CA 94804. You can also see her work at Tana Hakanson Studio. Support the arts! Let Tana know that you read about her work here.

Editor’s note: Part I of Tana Hakanson: The Artist’s Journey Home was published here on Friday, May 24.

Tana Hakanson: The Artist’s journey home (Part I)

The object isn’t to make art, it’s to be in that wonderful state which makes art inevitable.  – Robert Henri, American painter and teacher

Preface
I’ve known Tana Hakanson going on eight years this autumn, when our first-born sons entered kindergarten. Thus began years of volunteering at our children’s elementary school and seemingly endless, idyllic afternoons on the playground, our homes and other friends’ homes, and at various child-centered venues for playdates – while we worked outside of the home full-time. As we got to know one another, we developed a special kinship centered in the arts: Tana is an artist, a painter, and I am a fiction writer. Our bond was deepened by our love of paint and words, respectively, and the shared frustration of not having the time or energy to explore our craft and nourish our souls. Through the years, we commiserated with one another, offered encouraging words, and congratulated the incremental victories of finishing a painting and completing a revision of the novel.

Two-thousand thirteen promises to be an important year for the both of us, as we dive deep and make headway into living our creative lives: My novel, after a 16-year journey, will finally be completed later this year, and Tana, who launched her art studio website earlier this year, is preparing for her second open studio.

Tana Hakanson works on a painting at her home studio in the Richmond Annex.

Tana Hakanson works on a painting at her home studio in the Richmond Annex.

The Artist emerges
This time, last year Tana Hakanson reluctantly signed up to participate in Pro Arts’ East Bay Open Studio last June, at the urging of her husband Mauricio Monsalve. She had returned to painting a year and a half ago, when Mauricio suggested that she reduce her hours as a systems specialist for an adventure travel company to four days a week. But at the time, she felt she didn’t have enough work to present, even though her free Fridays allowed her the block of time she needed to paint. Mauricio knew she was ready, but just needed a push. By the end of the open studio, she had sold 21 paintings and was overwhelmed by the enthusiastic response to her work. As Tana sets up for her second open studio next month, she is better prepared with more work to show and more inspired. More importantly, she has grown so much as an artist.

Tana as a child and budding artist.

Tana as a child and budding artist.

Artistic beginnings, hiatus, and return
As a child, Tana loved to draw. When she went to college, however, she studied music under scholarship. She switched majors and graduated with a degree in English and a minor in music, although she managed to take a lot of drawing and painting classes. When she went on an overseas study program in Indonesia, she fell in love with the local art and was inspired by the colors and how art is part of everyday life in Bali. She studied traditional Balinese art and stayed on after the program ended, painting and selling her work to individual art patrons and in a local art gallery in Bali.

After graduation, Tana tried her hand at commercial art, attempting to combine her love of art with earning a living. She did illustrations of books on dogs and cats. “It was really fun, but I realized it wasn’t exactly what I was trying to get out of art,” she recalled. For Tana, art is “personal and spiritual.” She applied to graduate school, hoping to explore that aspect of art. Most of the programs out there, according to Tana, were more conceptual, socially driven, and intellectual, and not focused on the spiritual or philosophical experience of art. The arts and consciousness program at John F. Kennedy University in Berkeley stressed the process of art over art itself and the transformative aspects of art making. Many graduates of the program become art therapists; but Hakanson said, “I didn’t know what I wanted to do with it [the degree], but I knew it was what I wanted to study.”

Getting her masters jump-started her to develop her art further. When she gave birth to her son Marcelo in 2000 and then her son Mateo in 2003, however, Hakanson focused on motherhood, which she describes as a “deep and ongoing experience.” Although she continued sketching – taking her sketchbooks on family road trips – she stopped painting altogether. Working at Wilderness Travel (1102 9th Street, Berkeley, 94710, 800.368.2794) and taking care of her sons after school didn’t leave any time, especially big blocks of time, for painting.

Tana and her family on a recent trip.

Tana and her family on a recent trip.

She carved out a little time to take up dance, specifically flamenco, which was a different medium for releasing her creativity. “I love the body and I love movement,” she said. “Movement is a way to connect to nature and that energy of life, and it’s transformative in the same way art is.” When her Fridays were freed up, she contemplated dropping flamenco to focus completely on painting. But the movement aspect of dance and dance’s ability to fuel her art and give her energy were important enough to keep both going. “For me, a big aspect of my work is movement,” she said.

Tana's sketch of a dancer.

Tana’s sketch of a dancer.

Abstract painting: Freedom to experiment
Tana is devoting the next two years to developing her painting, and then marketing her work. For now, with Fridays as her only day for painting, she has just enough pieces for next month’s open studio. Tana feels that she’s learned so much in the last year in terms of working with the materials. “The more I paint, the more I understand how to use the material for what I want to do,” she said. One of her many goals this year is to work with disparity in the tones to create more contrast, which creates depth. “I tend to avoid contrast, because this kind of boldness doesn’t come naturally to me – in painting or in real life,” she explained. “But just like in any aspect of life, you have to face it and keep trying if you want to grow. I have a vision of where I want my art to be, but it’s not something I can really pinpoint.”

An abstract painting from Tana's series of water paintings.

An abstract painting from Tana’s series of water paintings.

Experimenting with “liquidy” paint gives her the sense of movement that she is seeking, in both the process itself and the work. “As the paint settles, you can see the energy and flow of movement,” she said. “For me, it’s about freedom to try new things, seeing where it takes me, the unexpected, and surprises along the way,” she said. “The process is the thing for me – then something interesting comes out of it that eventually becomes a painting. Sometimes it just happens naturally – like magic. Sometimes it involves some working and struggling along the way. Mostly it’s some of both, and that interplay makes it compelling.”

Tana Hakanson will show her new work at this year’s East Bay Open Studio, sponsored by Pro Arts the first two weekends in June (1-2 and 8-9), from 11am to 6pm, at her home at 1633 Mariposa Street, Richmond, CA 94804. You can also see her work at Tana Hakanson Studio. Support the arts! Let Tana know that you read about her work here.

Editor’s Note: Part II of Tana Hakanson: The Artist’s Journey Home will be posted on Monday, May 27.

The artist's studio.

A painting dries at the artist’s studio.

Jolie’s ‘medical choice’ takeaway: Be an informed, empowered patient

Life comes with many challenges. The ones that should not scare us are the ones we can take on and take control of.
– Angelina Jolie, American actress, film director, and screenwriter

I'm no Angelina Jolie, but I'll pretend I'm on the red carpet.

I’m no Angelina Jolie, but I’ll pretend I’m on the red carpet.

I don’t hero-worship actors or celebrities. I admire people, regardless of who they are and what they do for a living, who work to make the world a better place to live, whether it is through activism for social justice, environmental protection, or other cause. I do admire famous people who use their visibility and money to those ends because oftentimes their celebrity status highlights causes, issues, and injustices that otherwise would go unnoticed. Ever since Angelina Jolie became involved in human rights issues, first as a United Nations High Commissioner for Refugees Goodwill Ambassador in 2001 and later through her establishment of charitable organizations and her screenwriting and directing, I have been an admirer.

She gave me another reason to admire her. I applaud Jolie’s decision to write an op-ed piece in the New York Times about her decision to have a preventive double mastectomy. As many have commented already, her decision to discuss it openly and write about it so thoughtfully is notable because she is a glamorous actress in an industry that worships youth and beauty and eschews flaws.

There were detractors, as expected. Yes, she could afford the $3,000 BRCA genetic test and have the best medical care in the world for breast reconstruction, whereas many economically disadvantaged women do not have the means. Some in the medical community worry that her revelation will influence women with a history of breast cancer and create a spike in what is already a trend toward mastectomies that aren’t medically necessary for many early-stage breast cancers.

Rain cloud necklace by M.E. Moore (Gorgeous & Green, Berkeley), cuff by Alkemie of Los Angeles, cicada ring by End of Century in NYC, and earrings from Abacus in Portland, Maine.

Rain cloud necklace by M.E. Moore (Gorgeous & Green, Berkeley), cuff by Alkemie of Los Angeles, cicada ring by End of Century in NYC, and earrings from Abacus in Portland, Maine.

But here’s the thing: Jolie made her decision after exploring her options, talking with medical experts and undergoing genetic counseling. She is the empowered, educated patient whom healthcare reform advocates want in a healthcare system that we are trying to transform. This is a topic that I write about a lot in my work. Educated, empowered patients are an important component of healthcare transformation equation. As we shift, slowly but surely, from a fee-for-volume to a fee-for-value reimbursement model (meaning, hospitals and physicians get reimbursed not for how many patients they see, but how many patients they can keep healthy or get to a healthy status), healthcare providers need patients to take more responsibility for their own healthcare. (For that matter, healthcare insurers want that, too, but we all should take responsibility for our own healthcare.) Patients need to see all their options and understand the benefits and risks of every option. I applaud Jolie for emphasizing her careful deliberation. That’s the objectivity that is required. But there’s no denying the personal aspect of cancer. For Jolie, it’s her mother’s lost battle to breast cancer and wanting to be there for her children.

I am in an age group in which the number of women being diagnosed with breast cancer and other cancers rises. I have good friends who have survived it. I have met acquaintances who have survived it. When I first met David back in 1995, his mother underwent a double mastectomy shortly thereafter when she was diagnosed in her early fifties. Her mother and sister had died of breast cancer years earlier, and her niece died years later. In a commentary about Jolie, the chief of the breast service at Sloan-Kettering was quoted as saying that she has tried unsuccessfully to talk women out of having a mastectomy when it was not necessary. It is difficult to dismiss the personal, even in the face of evidence-based medicine. For example, I still have a yearly mammogram despite the differing screening guidelines and especially the U.S. Preventive Services Task Force mammogram guidelines which recommend women begin screening at age 50 and repeat the test every two years. On one level, women will be guided by their personal situation and history. So long as they are educated, they will make thoughtful choices, with ‘choice’ being the operative word for empowerment.

Whether you worry about what harm may come out of Jolie’s revelation, the overarching good is that we continue to have discussions about breast cancer and act on those discussions – how we can prevent it, raise awareness for it, raise money to defeat it, and especially support our family and friends who have to battle it. For all the grandmothers, mothers, sisters, and daughters out there, we owe it to ourselves and our loved ones to be brave and to be on the side of light and life.

Post script: Read about another amazing woman who survived breast cancer, Peggy Liou, whom I wrote about at the Dress at 50 here.

Vintage purse from the Fairhaven Antique Mall in Fairhaven, Wash., and Sam Edelman patent pumps complete the outfit.

Vintage purse from the Fairhaven Antique Mall in Fairhaven, Wash., and Sam Edelman patent pumps complete the outfit.