Wishing all a most liminal Samhain. I love this time of year when the veil that separates is lifted for just a moment.
The notion that the spirit world is made just a bit more visible appeals to me, but isn’t that what artists and poets do every day? That unveiling seems our job.
The Jack-o’-lantern above, part of Fairyland is directly inspired by my Goblin Market which in turn is directly inspired by that most liminal poem of Christina Rossetti which bears the same name.
“Goblin Market” 2017 oil on canvas 48 by 60 by 2 inches
So wishing good tidings, happy mumming and festive guising, and remember to keep your eyes open and your spirit free.
I also recommend a reading of Rossetti’s masterpiece:
Studio vignette with censored safer sex poster from 1988.
Recently I tried to join an online Facebook reading group, although I recognized their conservative leanings, their thoughtful discussions around the Great Books encouraged me to follow them. I was, perhaps naively, taken aback when I received an automated reply that my Facebook page did not meet Community Standards. The post that drew their ire was the one above, posted pre-scribbled fig leaf-although I am pretty confident, that even with self censorship I would still not meet their standards.
Although taken aback, I really can understand their position from a conservative Christian perspective. I have , rather boldly, sometimes with a puerile inclination to provoke, lavishly depicted genitalia , specifically boy parts, in my work.
Only the other day I was in discussion with a friend concerning my upcoming show In Fairyland and the question was raised as to how I wanted to alert the public to my “x-rated” work (the argument being to shelter children). That statement I must say was more startling for it came not from a religious conservative . I was taken aback once again.
Startling because although my work might technically warrant an x-rating for its nudity it isn’t pornographic. These instances of how my work is perceived (misperceived?) has left me pondering, what do I think about depicting the human form in its un-neutered form? For me, aside from some boyish visual pranks, the nude male form is inherently vulnerable and exposed.
My nightmare state as this self portrait attests.
“Oedipus & the Sphinx or Self Portrait of the Artist as an Inquisitive Flea” 2018 Sanuine pencil, white charcoal highlights on toned paper 24 by 18 inches
I’ve tried, too bluntly perhaps, to explore this vulnerable existential state. Perhaps unsuccessfully.
I have of late finding myself questioning as to whether or not to include a peen or not, is it necessary to make my point or to gratify my aesthetic vision? Sometimes it is, often it isn’t. I don’t find this to be restrictive self-censorship but rather a more discerning , aware approach to making.
But I must say rather disappointing as I’ve fancy myself to have mastered textile willies.
The following is a gallery sure to offend Community Standards, please rate it an “X”.
Studio vignette with censored safer sex poster from 1988.
New drawing just completed, I believe this may be it . I’ve depicted the first seven Labors but to be frank , aside from our hero’s wrestling match with the fearsome Cerberus, I’m not particularly interested in drawing them . I’ll wait and see if inspiration strikes . But for now the first Seven:
1- the Nemean Lion , slay the poor thing
2-Lernean Hydra, slay that poor thing
3-Ceryneian Hind, capture that poor thing
4- Erymanthian Boar, capture that poor thing
5- Augean Stables, clean that filthy place
6-Stymphalian Birds, kill those man-eating things
7- Cretan Bull, capture that randy thing
Leonard Greco
The Labors of Herakles
2018
Sanguine pencil with chalk highlights on toned paper
18 by 24 inches
When and if I return to the balance of his Labors I will continue with the continuous narrative composition as a diptych.
Boondocks Babylon 