In my new studio I find myself increasingly drawn to pencil work. I hurt my hand with the rather manic sewing for Fairyland, so that is on hold until it heals. I am painting however, pain free , and when committed to the task, quite happy at it . But the pencil is what is calling me presently and most immediately and most pain free. These two drawings are my latest .
The Wanderer’s Tale
2019
Sanguine and colored pencil, white charcoal on toned paper
18 by 24 inches
Harvest Moon
2019
Sanguine and colored pencil, white charcoal on toned paper
18 by 24 inches
It is I think the immediacy of drawing , that and the ability to really noodle down with detailed fine line work that so appeals to me. Line is everything to me, and I think it is this instinctive preference that separates me from painters in general – for even with a brush in hand I feel as if I am drawing .
Tomorrow I head back to the easel, I have been working on preparatory drawings the last few days and now feel ready to put brush to canvas. But for now , calling it a night .
In my ongoing examination of sacred work, an extension of my own feet-in the-ground-butt-in-the-pew spiritual experimentations , during the past Holy Week I spent my studio time with the Way of the Cross. I have resisted attending Catholic Mass for decades, I’ve attended Episcopal services off and on for years, and while I have felt welcome, I personally felt ill at ease, a nagging longing that something was missing-no matter how High the service. So I did experiment, I attended Good Friday services at a pretty little church in Eagle Rock, and it was sweet to see the devout earnestly visiting each Station, uttering by rote their own passionate pleas. But the service itself, a public forum , where congregants, in the manner of our Protesting brothers and sisters were proclaiming their own gospels. It was too much for me to bear, and shamefacedly, halfway through, I slithered out of my pew and back to my studio. I haven’t given up yet, but in many ways my studio is my temple. The following drawing is my own fervent desire to Walk the Way of the Cross; on my own path.
The Way of the Cross 2019 Sanguine and white charcoal highlights on toned paper 18 by 24 inches
In this synoptic composition, from left to right, I have depicted our Lord as the Ecce Homo, the terrible mocking rabble, Pontius Pilate, the Holy Fool Lazarus, the Fishermen’s boat, the Blessed Mother as the Dolorosa, the Baptist, the Crucified Lamb and Veronica with her Veil.
Relating to this theme is a recently recieved image of The Anchorite’s Cross , part of my Embodied: St. Anthony & the Desert of Tears installation.
The Anchorite’s Cross 2019 Mixed media: acrylic painted canvas, recycled fiber, beads, bells, embroidery floss, poly-fil, vintage furniture and metal work, vintage fabric. Cross 60 by 32 by 10 inches approximately; total installation variable upon site.
The Stations of the Cross are rarely out of sight, for decades this Victorian Station, Station V, with Simon willingly or begrudgingly helping the staggering Lord, has hung over every drawing desk since meeting David 26 years ago. This is how it looks today.
Wilshire Blvd. studio 2019
In addition to Christian themes, I have tackled classical themes such as my well explored affair with Herakles, like Christ, I find him irresistible.
The Labors of Herakles 2019 Sanguine with white charcoal highlights, on toned paper Diptych, total 24 by 36 inches
Orpheus another tragic hero that inspires me.
Orpheus’ Descent 2018 Sanguine and colored pencil on toned paper 18 by 24 inches
And of descending into the Underworld, Christ’s own Harrowing of Hell.
The Harrowing of Hell 2018 Sanguine, white chalk highlights on toned paper 24 by 18 inches
I’m actually supposed to be drawing instead of posting so I must complete this post but the view from my new studio is distracting me delightfully.
My new studio with a view (10th floor), Wilshire Bld., LA
Boondocks Babylon 