Sadako Lewis, 61, was born in fukuoka, japan, with the blood of her artist father pumping through her veins. Her father furnished her with private lessons in high school, and she was "exhausted" from them. When her father died of cancer, she read his diary and found that he regretted not being able to do more with art.
Sadako Lewis, 61, was born in fukuoka, japan, with the blood of her artist father pumping through her veins. Her father furnished her with private lessons in high school, and she was "exhausted" from them. When her father died of cancer, she read his diary and found that he regretted not being able to do more with art.
Sadako Lewis, 61, was born in fukuoka, japan, with the blood of her artist father pumping through her veins. Her father furnished her with private lessons in high school, and she was "exhausted" from them. When her father died of cancer, she read his diary and found that he regretted not being able to do more with art.
RISING LIKE A PHOENIX After losing everything in Katrina, Coast artist Sadako Lewis burns with creativity again
H TEXT AND PHOTOGRAPHY BY CHARLOTTE BLOM
Herbie Hancock blasts out when Sadako Lewis
answers the phone. When Lewis paints in her studio, which is covered by magazine clippings and photos, she likes her music loud enough to block everything else out. Lewis, 61, was born in Fukuoka, Japan with the blood of her artist father pumping through her veins. The youngest of four children, she was her father’s sidekick. He took her to art shows or “sketching trips” and she even knew the taste of sake at a very young age. Her father saw to it Lewis got as much exposure Mississippi, “struggling to survive.” She wasn’t able to do anything else but work, which she was doing as a waitress. Until she became a citizen and decided to go to night school, that is. For this she received a Pell Grant and ended up earning two associate’s degrees, one in business administration, (technically called applied science). But she disliked this degree so much it propelled her to get her second degree in art. During that time, through a local Buddhist organ- ization, she meet her second husband, David Lewis, with whom she had her third child, a son. When her father died of cancer, Lewis read his to art as possible. He furnished her with private les- diary and found that he regretted not being able to sons in high school, and she says she was “exhaust- have done more with art. ed” from them. After spending 2-3 hours at them “I need to do this for him, carry it on,” she said. she’d come home ready to But it wasn’t until about five years after her drop, drained. father’s death that her creative fire was ignited. “My sisters thought When Lewis’s daughter gave her a watercolor book maybe he saw something for her birthday, Lewis had an epiphany, remember- in me even though I ing the vow she made to her father’s spirit and mem- showed no interest,” Lewis ory, and she switched her major in school at the jun- said. “I never thought I ior college. was enjoying it.” To her surprise, Lewis then experienced a typical Her concern was more artist’s dream: she received a letter from William about family. Lewis’ first Carey University asking for her portfolio, and was husband was a GI in Japan subsequently offered a scholarship. Faced with the but when he was stationed threat of failing a test if she didn’t study, Lewis took at Keesler Air Force Base text books along on her honeymoon. She graduated in Biloxi, they moved to in 2001 with high honors and an academic award for the states with their two excellence, and set out into life with her BFA in daughters. painting and ceramics. But then fate took its In 2005, when Hurricane Katrina hit, the Lewises course, and the couple got took refuge with family in Oklahoma, taking only divorced, rendering Lewis their cat, some clothes, the computer, and a sketch a single mother in pad and some art supplies. Their home in Long Beach was completely destroyed. Only a concrete slab stood in its wake; all their belongings, including most of Lewis’s paint- ings and what she calls a “dream studio,” which had only been completed that year, were obliterated. Lewis was ready to leave Mississippi for good. “We were staying in a beautiful town, and the Mississippi coast was so dirty and nasty, the destruction just over- whelmed the place,” she said. However, her husband went back to work within a couple of weeks, living in a FEMA trailer alone until they decided what to do. Because of their positions as area leaders in the Buddhist SGI organization, Lewis decided to return and start over with her husband, who asked her to return to “rise again and be part of that history.” Lewis wanted to be there to see that. The Lewises bought another house - furnished - in Long Beach, and began picking up the pieces of their lives. In spite of the hardships, or perhaps as a result, Lewis’ art flourished. She wanted to paint more than ever; she experienced another deepening of her resolve. Like so many artists devastated by the loss of their work after Katrina, Lewis knew there was only one option: to rise like a phoenix. “All I need is my two hands to create. I am growing and evolving every day,” she said. “I can make new ones.” When she still didn’t have enough supplies, she used fab- ric abandoned in the house by the former owners. Slowly she regained her studio supplies, made new books of inspiration filled with images of artists such as Larry Rivers, Egon Scheele, Willem De Kooning and John Miriam. Accordingly, Lewis would describe her style as expressionistic. But her method is as meticulous as she was with her studies. If she’s not working from sketches of live models, she usually makes them from photos or even Vogue’s layouts, and then jumps to canvas. Lewis just signed a contract with Negrotto’s Gallery in Biloxi, making them her exclusive representative from “bridge to bridge,” or basically the Mississippi coast. Romy Simpson, Negrotto’s owner for six years, first saw Sadako’s work at “Pinktober” where (mostly) women’s work was donated for a breast cancer charity. Right now, she has seven small paintings hanging for February’s Black History show and three large paintings unrelated to that subject. “We fell in love with her work,” Simpson said. “It was rich, had a lot of movement. She uses oils and not a lot of artists do that these days, especially with the thickness. She uses non- traditional colors, her prices are really affordable. She’s just fresh and different.” Of her late father, Lewis said she’s making up for his lost time, since he could only deeply delve into his art after retirement. “It was bubbling up inside him for many years,” she said. “I can feel it through him. I think he’s really happy.”
The C. S. Lewis Collection: Essays and Speeches: The Six Titles Include: The Weight of Glory; God in the Dock; Christian Reflections; On Stories; Present Concerns; and The World's Last Night