Jean Smith has created paintings described in two of her novels.
No Coal 11 by Jean Smith (16 x 16″ acrylic on canvas, 2013)
No Coal 4 by Jean Smith (24 x 24″ acrylic on canvas, 2013)
The Black Dot Museum of Political Art
Martin Lewis alters his traditional landscapes to attract the attention
of a young political activist opposed to a coal mine on Vancouver Island.
Set in current day Vancouver, a museum curator collaborates with a political painter and a psychologist to demonstrate how abstract expressionism can cure narcissism, a personality disorder widely regarded as untreatable.
Political art curator Nadine MacHilltop is very accommodating to artist Martin Lewis after he barges through the museum’s front door with a painting to submit. When Martin candidly reveals that he’s a narcissist, Nadine wants to keep her distance, but the two are inextricably tethered to the upcoming art exhibition.
Martin’s abstract paintings – interpretations of the nine symptoms of narcissism – leave his psychologist, Dwight Sherburne, thoroughly confused, but Nadine has the uncanny ability to understand the paintings. Dwight and Nadine collaborate on a presentation at the exhibition opening, leaving the audience wondering who the real narcissists are – the self-centered curator, the outlandish painter, the unethical psychologist or themselves.
Obliterating History – a guitar-making mystery,
domination & submission in a small town garage
Protagonist Frank MacLean’s mother paints winter scenes at night.
Pre-occupied with maintaining her figure – and her sanity – at Curves gym, former Cats cast member Carol MacLean doesn’t know that her husband Frank is even interested in bondage, let alone that he’s exploring domination and submission with Wall Street stockbroker, Veronica Dorval.
When Carol finds out about her husband’s affair, she demands to be shown how domination and submission works. Frank agrees for the wrong reason. He wants Carol to see him in a position of power. The scene goes sideways and Carol opts for distance. Delving into the mystery surrounding music equipment in the attic of her family home, Carol begins sorting through a box of old reel-to-reel tapes. The local music buff thinks Carol has discovered an important, pre-Hendrix link in rock history, until evidence proves that it’s only Carol’s mother playing guitar, goofing around with her little friends. Deliberating on the disconnect in her marriage, Carol plugs in the old electric guitar. The squealing feedback matches the intensity of her raw emotions, becoming a conduit for a gut-wrenching vocal performance she didn’t know she had in her.