Fairyland Continues

 My current body of work that I have placed under the encompassing umbrella of Fairyland is an ongoing project, transforming itself almost daily. Ultimately it will be a large and complicated installation project involving diverse disciplines: painting, fiber art, printmaking and possibly  some performance. A classic example of gesamtkunstwerk.  

Ultimately given full expression at my 2019 solo show at MOAH-Cedar in Lancaster CA.  I  also have a month long residency with Shoebox Projects in December where I will further examine this magical place I call the land of fairies.

 But in the meantime  I am submitting Fairyland for possible solo shows. The following is my latest submission, and let me tell you applying for residencies or submitting for solo shows is on par with the Harrowing of Hell. Shaken and now nervous, I know I’ve done my best. Rejections have become a part of my reality, but in my heart I know this could be a pretty nifty show.

The following is what I presented.

Wish me luck.

Fairyland

Grappling with ways in which to express “being-ness”, I find myself reaching beyond my usual studio practice of painting into diverse disciplines including fiber-art figures . The figures are fashioned by fully embracing the pre-conceived “sissy” element of this art. Thus exploring my identity as a queer and terrified man, the series validates a long suppressed self loathing.
“Fairyland” an ongoing project, bears a title once a slur, now declaring a message of empathy, pride, and hopefully, humor. Embracing the fairy has been empowering ; the art created expressing a spirit of furtive repression breaking free.

Detail from “Reflection of a Harsh Super Ego”.

 

The following is a “walk through” description of what I propose:

 

“One enters Fairyland through a swagged theatrical portal, embellished and festooned with luxurious passementerie, the ornaments fashioned from trashed rags, the “rich” cloth of stitched and patched recycled fabric, all evoking a glorious if tarnished sham splendor .

This initial dramatic entrance into the Wurdemann Room is not mere camp , it is a sincere appreciation for aesthetic visual redundancy, one that is deeply personal and I believe a trait familiar to the queer aesthetic, the need to elaborate, to further explain.

To offer alternative truths.

It is in the elaborations that I explore familiar cultural narratives through a queer prism, doing so in multiple mediums: stitched and painted fiber art , relief prints, book making, drawings, easel and wallpaintings .

Once entered, the visitor encounters a hushed dark room , it’s walls swaddled in lush fabric , faint chants heard muffled behind the plush. At the far end of the gallery an elaborate neo-baroque mirror hangs, confronting the pilgrim with a chilling memento mori. The mirror titled Reflection of a Harsh Super Ego is of mixed media and fiber arts and is flanked by near life sized fiber-art figures such as Daphne and Icarus which act as sentinels of life, death and transformation.

Reflection of a Harsh Super Ego
Daphne
Icarus

To ones right and left, floor to ceiling (faux) tapestries entitled Orpheus’ Lament and Eurydice’s Response (of painted and stitched un-stretched canvas), depict alternative tellings of the Orphic drama.

Preliminary sketch for “Eurydice’s Response”, faux tapestry.

As the Wurdemann gallery is set as a private salon/wunderkammer with approximately 12-15 pieces, various paintings such as the large scale oil paintings Goblin Market and Hadesville will be interspersed amongst the “tapestries”.

Goblin Market
Hadesville

In the center of the chamber, on an elaborately draped library table, one finds hand blocked , hand stitched books, opened for viewing. Further stitched and painted figurative ornaments also bedeck the table’s surface .

Sensory overload is the desired affect in this gesamtkunstwerk that I call Fairyland- this particular Fairy’s private retreat made public.”

“Fairyland”
Ave 50 Gallery, Los Angeles
July, 2017
Detail “Reflection of a Harsh Super Ego”.

 

 

Daphne, the Apotheosis of.

I’ve just finished my latest “stuffed painting”, the term I use to describe my painted-mixed-media sculptural figures. This latest figure, my largest thus far (56 inches tall) employs a heavy use of embroidery and crude needlework. Like Herakles under Omphala’s gaze I turn to “women’s work”, however unlike the disgruntled enslaved hero, I relish the task.

The new work explores gender not only in its materiality but in “gender-fucking” the main character; my Daphne is no slim maiden but a hirsute fellow ripe in manhood yet broken and unable to save himself from a horrid fate.

Detail of “Daphne”

My figure of Daphne was inspired (very loosely) by Bernini’s ravishing depiction of the attempted rape of the maiden Daphne by the libidinous Phoebus-Apollo. The way Bernini depicted her delicate fingers morphing terribly into branches has always struck me with horror (and admiration). For although the chaste Daphne pleads with her father,the  river god Peneus to save her from the looming rape, his solution always seemed as cruel as her debasement. Patriarchy in action, the solution to male excess being born heavily by the victim.

At least Bernini’s vision of the terrible scene was breathtakingly beautiful.

Gian Lorenzo Bernini
“Apollo and Daphne”
1622-1625

I do not fool myself into thinking my own version in any way resembles the Baroque masterpiece, but I do hope I captured some of the pathos.

Leonard Greco
“Daphne”
2017
Mixed media: acrylic painted recycled rag, thread, twigs, embroidery floss, poly-fill.
56 by 33 by 9 inches

My desire for the work was to capture the pathos of his/her situation , the brutal transformation of supple gorgeous flesh into brittle bark. What horror Daphne experienced as the soul became encased and ultimately erased. Transformation into an olive tree is hardly a reward for virtue.

I also wanted to explore how gender factored into the beauty of Bernini’s depiction of a violent crime. Why are there so many ravishingly beautiful depictions of violence against women, art I know and love : the raping of Sabine women, of Europa, of lusty satyrs having their way with unconscious Maenads, and of course Daphne. Why is this acceptable and yet the depiction of male rape is not glorified by art; clearly not desired by the male gaze at large,  aside from the homo-philic images of Ganymede.

And even with the images of Ganymede’s “abduction” , they frequently depict a slightly effeminate ephebe. Rembrandt goes so far to depict the rape by depicting Ganymede as a rather horrid infant pissing in fear. Its a nasty bit of work from an artist I have failed to appreciate. The painting seems to embody heteronormative bias against same sex affection.

The rape of Ganymede
*oil on canvas
*177 x 129 cm
*signed c.: Rembrandt. ft / 1635

But aside from the politics of the piece and my developing intentions, I wanted to create a work that pulled the heart (in a neo-Baroque sort of way).  When I look into my Daphne’s face, I am moved to pity. I hope that is the general effect to the viewer at large.

The images below are progression shots, Daphne being the first piece made in my new studio, started close to my birthday , July 24th.

Concept drawing for “Daphne”.
All of my work starts in pencil.
The “painting” part of my “Stuffed Paintings”.
The new space.

A study in contrasts.