Perception 

I just finished up with an all day, rather grueling artist workshop , the topic at hand being business practices.

Ugh.

 Much I was familiar with, at least superficially, but when role playing was introduced, ( again, ugh) new revelations were revealed .

I’m insufferably shy , I feel ill from exposing myself and of course , who do they call upon first . I was mortified , but I suppose fighting one’s demons is half the task . It’s almost impossible for me to discuss my own work , always trying to deflect scrutiny of the work and by extension , myself .

I still feel mortified . But I tried to persevere through the discomfort.

Part of the workshop was, once divided into small groups, we were to view and describe one another’s work to our group mates . Me being me made positive , probably lame , certainly vague comments  ; truthful but never wanting to hurt feelings . In hindsight I see that as unhelpful.

The observations made concerning my own work were revelations- at least to me .

My  work was described as :

Macabre 

Disturbing 

Religious associations 

Strangely biblically tinged 

Weird

Depicting decay 

Realistically rendered 

Strong 

Chaotic 

More familiarily , it was described as :

Surrealistic 

Colorful 

Brueghel-esque 

Devils 

Narrative 

Fantasy 

On one hand I’m concerned that my work can be perceived as disturbing but on the other I AM trying to create emotionally evocative work . In the end , I left feeling fascinated by perception , the very concept of perception, how I perceive my work not always translating , or if it does , in a darker stranger way than I had planned . This is something , that in so many ways,  cannot be controlled without deliberately designing an image to evoke a specific response .

But that’s perhaps best left to marketing .

It is all so personal ,the work  I make ; it might seem idiosyncratic, perplexing , off putting to some ( many?) . I have only just begun to acknowledge that fact in my bubble of splendid isolation.

I’m not going to make any significant changes after these revelations, in fact I feel committed , dare I say  confident in the direction I’ve set for myself. Whereas previous critique left me in a puddle , I found this experience a helpful , and strangely ,an affirmation . 

One of the facilitators tried to coax me into being more natural while  role playing . The truth being I WAS  being the natural me, the terrified , the insecure me , the one who makes stuff that may seem inscrutable ( even disturbing ) at times . My job now is to continue exploring my beingness, staying focused upon my truth and when possible try to explain it more efffectively . 

And keep business cards at hand.

Now I’m going for a run.

Fairyland

Detail from “My Insignificance is Magnificent”, 2016, watercolor on paper

At this stage of my life, off center of a century, I am grappling with ways in which to express my “being-ness”.  Unable to avoid the “who am I” question any longer, I find myself, as a visual artists reaching beyond my usual studio practice of oil painting into diverse disciplines including figures in the round.  The figures are essentially dolls, and are fashioned by fully embracing the pre-conceived sissy element of this art.

It is in this extension of my practice that I am exploring, at this late stage, my identity as a queer and terrified man; the specter of the pansy boy I was, being given new voice in my latest ongoing project “Fairyland”. It is in this new series of projects , where paint, needle and thread give expression and validation to a long suppressed self loathing.
The very name “Fairyland”, a word once delivered with bloody blows, transcends beyond with a message of empathy, compassion. pride, and I hope, humor. Reclaiming the fairy has been empowering. The art I attempt to create is intended to express the spirit of furtive repression breaking free.

Detail from “The Doomed Amphinomos”, 2012, colored pencil on paper

 

 

The Wodewose

I finished my latest figure last evening, what I had heretofore been calling simply a rag-doll, I am now calling a stuffed painting.

 He is called The Wodewose.

Greenmen (andGreenwomen), The Green Knight, Wildmen and the archaic form, the Wodewose, fascinate me. They are at once pure of heart and spirit yet unbridled, carnal, the embodiment of our bestial selves. No wonder they appear so frequently in medieval marginalia; amidst sacred texts, randy hairy beastie-folk cavort and beguile.

I’ve turned to the theme multiple times. After reading Simon Armitage’s excellent  translation of “Sir Gawain and the Green Knight” I was hooked on the theme, a wondrously fascinating archetype; ripe for seemingly endless re-interpretation.

The Green Knight
watercolor and pencil on paper

 

This latest work is in the round and I was able to more fully develop his fleshy-ness ( and hairy-ness thanks to some found faux fur).

The Wodewose
2017
Mixed media: recycled rag, acrylic paint, twigs, thread and poly-fill
Approx. 40 by 22 by 6 inches

I was inspired to employ the Wodewose-Wildman archetype because of the recent celebration of Beltane on May 1st. Rebirth, renewal, the “pagan” appreciation of unbridled spring. My figure has two ways of presenting himself in order to more fully keep in the step with the seasons.

The first being flacid Winter Dormant:

And the second, lively Spring Renewal:

“The Wodewose” will be part of my contribution to “Satan’s Ball”, a group show at Art Share LA that promises to be an:

“unapologetic embrace of the dangers, demons, burdens and temptations that beckon to the more sinful angels of our nature”.

 I would replace “natural” for “sinful”.

a link to ArtShare:

http://artsharela.org

I’m going to close with a few random images of Wildfolk that never fail to delight me. As I leave for Pittsburgh tomorrow and rain is supposed to be in order, I’m looking forward to a wild rush of greenery (and perhaps a few fauns).

Click, Shoot, Exit

I’ve spent the weekend manning  a wall at a local art walk . A first for me . I generally do not attend art fairs , usually attending museum and gallery exhibitions. 

The decision is a pragmatic one , with so many openings , it is really just a matter of time management. So I’m unfamiliar with art fair culture , its norms and practices .

 As the art walk winds down I’ve come to the conclusion that many art fair attendees come for the booze , folks enjoy drinking beer whilst perusing the open studios . Perhaps the only thing they enjoy more than warm brew is snapping at images of artwork and hastily retreating to the next experience.

This isn’t an unfamiliar sight , particularly at museums; I’m afraid to say I’ve done it myself . But when it is your own work , you ache to inquire their motives for snapping away , seemingly in a random superficial way . It seems a peculiar form of ownership , ownership of experiencing a work without commitment.

 I understand that , like I said I snap away with great abandon . Often accruing too many images with little to no  engagement , frequently it’s an impoverished experience.

That said , my “Adam” has been quite the hit . An ideal selfie prop for giggling young women and buff young fellows . It’s odd for me to see my work as a naughty joke , but “Adam” was created in a playful spirit , for him to be recieved that way , seems appropriate. Plus , he doesn’t seem to mind . 

Now I need to take it all down .

Good night , I’m pooped .