Kassandra Kelly Grids December 2010
seven months after Bonnie's death, I began cataloguing Bonnie's art work.
Her friends and family were in the middle of an ambitious project which
included the creation of the Bonnie Bronson Fund and a retrospective exhibition
of Bonnie's art. It was my job to examine her remaining studio work and
make some recommendations to the curator about which pieces were in good
enough condition to be shown.
Bonnie's death at age fifty was a shattering event to her family, especially
after my brother Jason's death eleven years earlier. With my children,
Carter and Lucy, newly arrived in the family, it seemed as if we had left
the hard business of death and dying behind, at least until it was timely
We weren't ready for her to fall to her death on Mt. Adams, and, as it
became very clear seven months later, there was a lot about her I did
not know. Bonnie made her art within and around and despite the demands
of family life. For all that her time must have been very limited-I never
arrived home from school to an empty house, and for years we sat down
to dinner at six o'clock-she pioneered the use of industrial porcelain
enamel as an art medium, and later became technically proficient at the
application of automobile lacquers.
After Jason's death in 1978, Bonnie created the first of her monumental
wall reliefs. Jas was shown at the Portland Art Museum in 1979, and fortunately
two of these 12' long wall sculptures sold. In 1980, she created Kassandra,
a cardboard construction that was twenty-four feet long. A few years later,
she did another series of acid-etched steel wall reliefs called Leland
which were exhibited at the Blackfish Gallery. Later, she painted these
sculptures for a show at the Fountain Gallery.
Further series followed, many referencing her travels to Nepal and Central
America. Her interest in rock and mountain climbing provided much of the
momentum and fierce dedication she brought to the last years of her life.
The two final series, Serpent Feathers and Chac, were in some ways an
integration of her travels and her absolute control over materials and
When I ventured out to her studio in 1991, I expected to find all Bonnie's
remaining unsold art. There was a full record in slides of everything
she'd made, including Jas, Kassandra and Leland. Kassandra, I knew, was
gone. She'd burned the cardboard panels after the show closed. Storing
something as fragile yet bulky as a twenty-four foot cardboard sculpture
was nearly impossible. When I asked whether it bothered her to burn something
she spent weeks constructing, she said the piece was never meant to last.
It was temporary.
At first it didn't alarm me that I couldn't find the Leland series in
the storage area. My father's studio, a refitted dairy barn, was full
of art I hadn't explored. But when Lee went looking for the Leland pieces,
he couldn't find them either. The art hadn't sold, I knew that. They hadn't
been cut down to make other sculptures. And they were too big for anyone
to move around without help. So where were these four or five significant
A family friend named Ron Theod was working as a studio assistant at that
time. Though he mostly worked for Lee, I asked him if he remembered these
sculptures of Bonnie's. And he did-he remembered very clearly helping
her load them into the back of the truck and later unload them at the
Oregon City landfill. He thought it maybe happened a few months before
Twenty years later, I still wonder how she felt that day as she drove
away with the Leland pieces in the back of the truck. She couldn't know
how profoundly this loss would be felt by others, when the world finally
caught up to what she saw when she first created them. I hope she decided
that they, like Kassandra, were only temporary.
When I look at her work now, like the Grid series, I feel her loss
very deeply, the subtle intensity of the color, the clean and patient
sweep of the pencil across the page. And I miss the art, like Leland and
Kassandra, that she chose not to keep. But I am amazed and humbled by