Samhain Revisited

 

 

Samhain
2019
Colored pencil on toned paper
18 by 24 inches

I last posted what I had then thought to be a finished drawing, one I was pleased with in many ways but still  had a persistent nagging sense of dissatisfaction concerning its resolution. But given other studio obligations I decided to put is aside and move forward.

However, a dear friend and accomplished artist in her own right would have none of that. In a private message she let me know in no uncertain terms what specifically was lacking, the email contained a red-inked copy of the offending drawing .

Suggestive red ink

I confess I was taken aback by this unsolicited critique, but given my respect for her, for her academic training and for her own admirable work, I put aside my embarrassment and instead picked up the pencil once again. I now believe the drawing to be complete…unless I receive another private message (smiley face).

Samhain
2019
Colored pencil on toned paper
18 by 24 inches

The Convoluted Way

 

Detail of The Anchorite’s Cross

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

Back to the drawing board.

 

 

Oedipus & the Sphinx (or Self Portrait of the Artist as an Inquisitive Flea)

Detail

I’ve finished a new drawing as a tribute to my analyst Dr. Thomas, as he is Jungian I think he will appreciate the layers of symbolism.

“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

Fairyland ABC

My ongoing body of work Fairyland I am beginning to see has its roots and inspiration in the nursery. I find myself harkening back to my childhood. We hadn’t a nursery, or day care, in fact, due to my mother’s mental illnesses my childhood was spent in self care and self nurturance. I raised myself best as I could. One of the delights of my solitary childhood was stumbling upon the Victorian and Edwardian library of my maternal grandmother’s own (isolated) childhood nursery. One such delight was Walter Crane’s enchanting Absurd ABC. I spent many quiet hours poring over Crane’s vivid and complex drawings, imagining better worlds. I owe a huge debt to Crane. 

Walter Crane
“Absurd ABC”

With that alphabetic primer in mind, I turned the focus of my daily drawing practice to the ABC’s; each day producing a primer that would have suited that little boy (and the fellow I am now). Later in life I discovered other primers and have experienced inspiration in ornamental alphabets such as this medieval ( neo-medieval?) illuminated primer.

With that information in mind, my Alphabetic Primer of Fairyland:

“A” is for Aladdin
“B” is for Baal
“C” is for Commedia dell’ Arte ( & Chinoiserie)
“D” is for Death
“E” is for Egyptomania
“F” is for Faun (& Fairy & Floral)
“G” is for Greenman (& Gryphon & Ganymede)
“H” is for Herakles (& Hydra)
“I” is for Imperial Rome ( & Impermanence)
“J” is for Jester
“K” is for Kells, Book of
“L” is for Lazarus
“M” is for Minotaur
“N” is for Nereid
“O” is for Opera
“P” is for Pierrot (& Pollarded Trees)
“Q” is for Quetzalcoatl
“R” is for Rococo
“S” is for Salome
“T” is for Theatrical Temperament
“U” is for Uranus (& Uncomfortable)
“V” is for Viking
“W” is for Witchcraft
“X” is for Xibalba
“Y” is for Yankee Doodle Dandy
“&” is for Ampersand
“Z” is for Zanni

This isn’t my first alphabet, back in 2012 I went to task working on my Primer of New Spain ( see side bar for link ). However I lost steam and interest, as interesting as Mesoamerican art and culture is, it isn’t MY  story. From now on I am focusing on what is true to me, Fairyland is home.

The following is “D is for Dog” from the above mentioned Primer of New Spain.

 Dogs are always “true” to me.

“D” is for Dog
2012
from “Primer of New Spain”

Link:

https://boondocksbabylon.com/2012/11/30/d-is-for-dogs/

With that, I close this post. For the record all of the images are 8 by 10″, on toned grey paper, sanguine (mostly) pencil and white charcoal highlights. I continue my daily drawing practice, starting most studio days with at least one decent drawing. I imagine revisiting the ABC’s once again. 

 

Playing with Paperdolls (& other works on paper)

I am preparing my annual entries to a works on paper show here in LA and in so doing focusing my studio time with that more ephemeral medium. In particular, paper dolls, which have long held an interest, harkening back to my fussy sissy boyhood. Fond , forbidden moments snipping away ; this drove my father to fury and violence ,so now, in revisiting this artform, I do so with emotion and gratitude.

My studio complex is an industrial space, and in the recycling bin can be found beautiful clean , rather low grade sheets of cardboard; all for the taking. And taking I have been doing. Large scale paper dolls, and larger planned, have occupied my work table. One of the problems I and others have encountered in working with paper-dolls , is a sense of durability. Inherently ephemeral, how does one strengthen such fragile material. This low grade cardboard (yet free!) has an unsightly edge that I find distracting and unfinished. My solution, perhaps unsurprisingly, is to employ yet another sissy art ( and equally infuriating to Pater) , stitchwork. By a simple stitch of embroidery floss , I strengthen and add an exciting line of color. I confess a certain pride in this, and stitching cardboard is immensely gratifying, not unlike popping those addictive sheets of packing bubbles. I recommend trying it to relieve stress.

My latest trio of paper-dolls are completed but more are planned, this grouping, the largest figure about 36 inches tall, is called The Siren & the Machiavels.

Leonard Greco
“The Siren & the Machiavels”
2018
Acrylic paint, cardboard, embroidery floss, feathers.

detail shots:

The Siren
The Machiavels

filtered, how does one resist?

In addition to my paper-doll making , I continue my daily drawing practice. In the same spirit of the nursery, like paper-dolls, another staple of childhood, the ornamental and instructive alphabet:

A is for Aladdin
B is for Baal
C is for Commedia (& Chinoserie)
D is for Death
E is for Egyptomania ( see last post)
F is for Faun ( & Flora)
G is for Greenman (& Ganymede & Griffin)

I will continue through with this alphabet and post upon its completion. For today, as it Sunday, household, not studio duties beckon.

Wishes for a good and creative week.

studio play

 

 

 

 

The Harrowing of Hell, a recurring passion

The Harrowing of Hell
2018
Sanguine pencil, white charcoal, toned paper
24 by 18 inches

The theme of the great Harrowing of Hell, that period in time in which the Church seems to hesitate a bit, unsure of what really happened, that time after Christ sheds the mortal coil and isn’t seen for a few  days. Where he is said to have descended into the Underworld as a triumphant New Adam and liberates lost and languishing souls- that, that moment , fascinates me.

It has for quite some time, as a youth I placed ink to paper in an attempt to imagine such a  mythic moment ( the use of pomegranates as a decorative motif, seemed at the time,  a brilliant allegory and  subtle reference to Eurydice)

Youthful stab at a subject too grand…(1980-81?)

As the first(and latest) image attests, the theme still beguiles. Having only recently listened to George Saunder’s astonishing Lincoln in the Bardo (thank you Audible, now I must actually read it). I have been taken with the in-between time of death, redemption and the ambiguous souls left floundering;  the Bardo as Saunders asserts. Death isn’t always with me in a dismal way, but it is endlessly fascinating. I don’t actually want to know for sure what the path ahead holds for me, but I am darn curious.

The first introduction to the theme of the Harrowing was Albrecht Dürer’s spectacular depiction of it (Dürer is a heartthrob figure for me in so many ways).

Albrecht Dürer
Descent into Limbo

One can easily see Dürer’s influence on my work, going back to my teens. Clearly I stole from the Master in this youthful depiction of the Fallen Adam.

Unfinished drawing of Adam and fallen Bishop of Rome.

What I had failed to comprehend was what was meant by Hell. In time I came to realize not so much the eternal fires of a wrathful God, but a waiting station, the  vague Limbo of my youthful Catholicism.

The theme has been explored countless times; the following, are a few favorites.

The ubiquitous follower of good old Bosch.
A lovely example from 1504.
14th century
Petites Heures de Jean de Berry
A gorgeous depiction of the Harrowung of Hell, only vaguely attributed as “Renaissance”. Lovely nonetheless.

My own inspiration was more random, less planned; in my last studio move, an accidental composition made itself available to me. I suspect I will returning to theme again. Perhaps next time Christ will be more triumphant, more muscular in spirit, less hesitant. Although, truth be told, hesitancy seems a reasonable stance. 

The Harrowing of Hell
2018
Sanguine pencil, white charcoal, toned paper
24 by 18 inches

 

Ornament is NOT a Crime

 

Adolf Loos first decried the use of ornament in 1908 in that loveliest (and ornamented) of cities, Vienna. His groundbreaking essay Ornament and Crime (I’ve also seen it entitled “Ornament is Crime”) is astonishing in its prophetic belief that ornament “dates” objects, creating a desire for new and seemingly more fashionable objects, dress , even homes. I actually adore Loos, he was a genius, his buildings are starkly luxurious, his aesthetic judgement without question. 

Yet I’ve always taken issue with the wholesale rejection of ornament in the 20th century (sadly that seems the only Loosian dictate to have secured root).  Be it fine art or the applied arts, there is a general suspicion  if not loathing  of the decorative.

So with that understanding, nearly three decades ago, I had the hare brained notion to start my “career”  as an ornamentalist . It was physically demanding work, frequently unappreciated and until I moved to LA, not well compensated. It wasn’t until the recent recession that I decided to hang up that cap and pursue a long suppressed desire to be a REAL artist.

In my current incarnation  as a studio painter I had thought I had moved away from that phase of my life; shunning baroque acanthus , intricate strap work and  pretty blackamoors for something seemingly more substantive .

Apparently not.

It is ironic that as an example of ornament’s criminality , Loos cited the “degeneracy” of Papuan full body tattooing, for the full body “tattooing” of my studio mannequin Massimo is what compelled me to dust off my folios of decorative designs.

I found myself rustily trying to remember how to create patterns and ornamental compositions, in the end it came back as easily as remembering to ride a bike. I find myself now interested in exploring ornament, how to synthesize it into work, attempting to transcend superficial attractiveness. I’m excited by the possibilities as ornament making is a skill I possess, it pours out of me. How do I use this ability in an interesting and compelling way? My studio work has always contained an element of the decorative so I’ll be curious to see how it progresses with committed intention.

“Massimo” and preparatory sketch (“Herakles”)

The following are images taken from my vast collection of preparatory drawings.

Design, residence, Beverly Hills
Entry Hall, Palm Beach Florida
Ceiling medallion design, Greystone Mansion, Beverly Hills
Design, wall panel, Greystone, Beverly Hills
“Bohemian Lounge”, Greystone , Beverly Hills ASID showcase

 

Ornamental panel design, chinoiserie.

Wall paneling, Boca Raton

Wall panel, Naples Florida

 

This was my first big break, a huge job, close to two years to complete. I was so naive, underbid myself, underestimating the scope of the project. This massive overmantel ornament a mere sliver of the actual project. 

Design proposal , Main Line, Philadelphia

Back to the here and now, I did finish the ornament for Massimo, and as Loos predicted it IS indeed degenerate!

“Massimo”,detail
2017
oil on mannequin

Loos, in  condemning “primitive” ornament, particularly full body application, could not have imagined a world in which a comely young man ( image discovered on internet search) would adorn himself so prettily and to great applause. 

I haven’t the information for attribution; will do so upon discovery.

In my enthusiasm I’ve started a new piece, The Apotheosis of Herakles. It will be one of my faux tapestries, which in of itself allows me to play with fiber, sewing, domestic “feminine” craft, which along with ornament , has been traditionally eschewed- yet I’m drawn to both. The following is the beginning of the work.

Work in progress, “The Apotheosis of Herakles”.

Now back to it.