Maud, Everett, Flowers, and that space in between


Flowers for Maud, rug hooking, Laura Kenney


Maud, Everett and that space in between, oil on canvas, Steven Rhude

Artist notebook: Maud & Everett - I can perceive only this for now: that they represent the Woman of the East with the Man of the East. Anti-modernists without knowledge of the term. Vulnerable to the tangled skein of a life choice distortion by those with a penchant for institutionalizing them and Maud's image. Unknown to Maud and Everett, were the terms of an artistic movement that became Nova Scotia's new identity; a simple folk way of life that would become the antidote for a sputtering cultural economy perched in tourism's shop window for all to partake. However, for Maud, the reality was one of making pictures; her only true way out - serial painting, like pop radio plays the top ten hits over and over. Maud made the paintings and Everett pocketed the cash. Modernism passed by their door and a white space between them developed as Maud's popularity grew.

 For Everett, a poor house miser, one wonders if he ever brought Maud flowers? Tucked away in mason jars and a lock box, Everett buried his insecurities in the ground in the form of cash from Maud's painting industry. Everett may have wondered how long this would keep the wolf from his eastern door. However, God caught up with Everett, in the form of an afternoon visit from an evangelical minister named Stephen Wade on new years eve, 1978. God compelled Stephen Wade to go back after passing the tiny house, and save poor Everett. Everett acquiesced, and Stephen Wade left knowing Everett thanked God for saving him. [1]
 
Later that day though, death came looking for Everett in the form of a aggressive youth. Murdered during a struggle after an evening break in by a young man looking for Everett's cash,  this put an end to the life of the peddler of Marshalltown. 
[1] http://sweainc.com/the-maud-and-everett-lewis-story.html


 Steven Rhude, Wolfville, NS

       

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