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.
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.
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:
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.
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.
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.
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:
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.
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)
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).
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.
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.
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.
I have been hard at work on my contributions for the group show “Bad Girls & Outcasts” at Cactus Gallery . Earlier last year my friend, the talented Ulla Anobile had conceived of the theme and had invited me (and the marvelous Mavis Leahy) to participate. Initially it was to be the three of us, but given the interest in the theme ( perhaps in large part due to our current political climate ) , Bad Girls are all the rage and many fine artists are now participating. It should be a very exciting show, Cactus Gallery always gathers together diverse artists and I have no doubt this will be an exceptional group of makers.
For my part I’ve focused on a few of my favorite archetypes: the brazen femme fatale; the sinner/saint; the vengeful goddess and of course, witches. I worked in a variety of techniques: fiber art, painting, drawing, and relief printing. The following images are the results of my love affair with all girls bad, wonderful and misunderstood.
Happily, as I finished up yesterday, I did one final drawing of The Magdalene, as a study for personal reasons, not for the show. After posting my studio progress on Instagram I was pleasantly surprised to find that a collector for the drawing. I’m not yet ready to part with the drawing but I’m telling you, Bad Girls are all the rage!
As I attempt to develop some sense of presence of myself as an artist, I find myself turning to social media. Be it Instagram, Facebook, Twitter or this studio journal, I am becoming increasingly aware of what is and what is not appropriate to post. As much of my work depicts nudity, posting full-frontals has the potential of censorship.
My latest paper doll-jumping jack Self Portrait of the Artist as a Flea is unabashedly nude. The nudity was a big “fuck you” to the bigots and the nasty folks who hate us , particularly important after the Orlando massacre. Queers have been treated like vermin for so very long, by fashioning myself as a flea I embrace what they find so vile.
That sort of righteous anger is all well and good but will it work on my Instagram feed?
Hence the fig leaf.
Now for the sans fig leaf.
Self Portrait of the Artist as a Flea
pencil and watercolor on paper, brads and string
22″ high by 16″ wide
He is a funny character, when he jumps he twitches awkwardly, I like him a lot, just not sure which I prefer, the figged figgy or the unfigged (we call fleas “figgys” in our house).
A problem with nudity is of course not new and I had my encounter with censorship a few years back when the city of Encinitas CA refused to hang my painting Gnosis and the Old Gods Were Pleased unless the female character was made more discreet – for some reason the male junk seemed a-ok.
Gnosis and the Old Gods Were Pleased
An artist I admire quite a bit , Milo Reice ( link to his site: http://miloreice.com/MiloReice/intro.html) who I discover happens to be a neighbor, has explored censorship and the fig leaf archetype in his own work. In his words concerning the following image :
“A detail of a recent work of mine where I was lampooning censorship- underneath everything is thoroughly painted – the appliqués held on with magnets”
A brilliant solution to a vexing problem by a magnificent artist. Check out his website above!
Of course there are times when foliate discretion adds to the allure as in Canova’s hunky Mars, who in this 1822 sculpture Venus and Mars. One rarely encounters such provocative undergarments outside of a go-go boy club.
Venus and Mars
But so it, perhaps an ostentatious fig leaf is in order. If so, I am in fine company. My boyhood hero introduced a ridiculously over sized fig leaf to the ephebe valet in his Enter Herodias ( from a Salome folio, first published in 1894) after there was criticism to the boy’s boy-bits. Not sure which image is more profane ; not to mention the grotesque fetus-like attendant with his enormous boner.
Both are delightfully perverse, horny candle sticks and dear Oscar as master of ceremonies. Source:http://collections.vam.ac.uk/item/O1110742/enter-herodias-a-portfolio-of-print-beardsley-aubrey-vincent/
I want to close with a beautiful prayer to the queer and the unwanted. In the aftermath of the Orlando shooting the internet was awash with support and queer empowerment . This prayer by Mark Aguhar, who apparently killed him/herself ( I believe the author was transgender) wrote this beautiful Litany to my Heavenly Brown Body. I need to research Aguhar more thoroughly but felt it a fitting close to this post.
Getting around to photographing my self portrait doll, plus Jumping Tlaloc who has been hanging idly upon my studio wall. Poor fellow is itching for some action.
Self Portrait of the Artist as a Paper Doll
watercolor,acrylic and graphite on paper, brads, strings
approximately 40 by 25″
acrylic on cardboard, brads and string
approximately 42 by 30″