Ekphrasis, the artistic practice of a poet or artist inspired by one piece of art that another, generally a poem, is created in its honor. This is an ancient tradition, Homer in both his Illiad and The Odyssey frequently gushes about lovely delicately wrought brooches and elaborate too-pretty-for-war battle shields. The Poetry Foundation describes ekphrasis as :
“an ekphrastic poem is a vivid description of a scene or, more commonly, a work of art.” More generally, an ekphrastic poem is a poem inspired or stimulated by a work of art.”
Generally understood as a literary practice I myself however have almost exclusively been inspired to produce tributes to poetry and literature through the visual arts. I frankly cannot think of a single piece of work NOT inspired by literature . My installation piece Embodied:St. Anthony & the Desert of Tears is directly inspired by Flaubert’s magnificent hallucinatory noodle-buster The Temptation of Saint Anthony (which in turn was inspired by a marionette performance of the same theme). My work is either illustration (which I would disagree with ) or ekphrastic tribute. As ekphrasis is a beautiful somewhat haughty and daunting word, I will go with the latter.
All that said I have been honored recently to have TWO works of art made in tribute to my own art! That is an extraordinary experience. The first is a work of poetry by the artist Edwin Vasquez who had a personal inspiration from my Temptations of St. Anthony of the Desert (below). This poet and artist sent me both the poem and a very poignant note explaining the meaningfulness of my work to his own personal experience. Like so many artists I work in isolation and frankly never give consideration to potential viewers or their reaction to the work. To have such a touching tribute be sent my way, well that is incredibly validating and much appreciated. The following is Edwin’s poem and a link.
The Temptation of St. Anthony of the Desert
by Edwin Vasquez
Restless river zig-zagging like a poisonous desert snake
mirroring a non-existent, pale blueish color
from the grey hue of the restless sky.
On the right, in the forefront, St. Anthony stands in a catatonic state
behind a hollow tree trunk that resembles an empty cave where demons play,
his hand with painted nails holds the trunk — perhaps for dear life.
His forehead partially reflects the shadow from the twisted, carved cross,
accenting his sad and somber, melancholic face;
he resembles an animal in distress,
the saffron tunic replaced with a
tight costume – toxic green – accentuating his features,
yet he is not man nor woman,
he is animal, haunted by his own desires and demons.
The joke is on them:
the Bishop and King, the centaur and satyr, the jokers and demons;
they, in disgust, look away from him, who they want to scare —
he, who lost himself in the desert of his soul.
If that wasn’t exciting enough, another artist Jason Jenn has crafted a performance piece around my installation Embodied:St. Anthony & the Desert of Tears. I haven’t seen the work yet and have consciously distanced myself from any input , eager instead to see what this talented friend comes up with. The image associated with the performance of Temptations in Fairyland delights the heck out of me.
A link to the performance is on this Facebook events page:
I don’t know what to expect, and like everyone else I will have to wait and see on March 16th, but I am unabashedly excited.
This solo show experience has been a great source of personal gratification. I am on a sort of forced break from the studio, first I am in the process of moving the studio to another location, but more importantly (and more pleasurably) meeting friends at MOAH/Cedar to walk them through the galleries. I haven’t socialized this much in years, a bit daunting for an introverted hermit but what a delight. Today I met two really darling friends, both very talented artists, Malka Nedivi and Simone Gad, this photo being a treasured memento (my pups travel pretty much everywhere I go at this point).
Again, what an honor!