Samhain 2021 : red dots, an interview, reflections and hopefully a fresh start

Samhain Greetings!

“There is devil within each of us but it depends on us whether they are to be nourished or detained within. Burn your devil side into ashes on the holy fire of Samhain. Have a great Samhain celebration today.”

“Let us remove negative thoughts from the depth of our souls on this day of Samhain. Celebrate the evening with people you love and God shall give you a great year ahead.”

Such are the frequently perky suggestions for Samhain greetings I encountered online (link: https://www.virtualedge.org/happy-samhain-greetings/). Being an American, the Celtic tradition of Samhain feels like  an affectation, one I feel self conscious in expressing. Yet a day (evening  actually )honoring thinned veils of consciousness, liminal possibilities , new beginnings and fairy folk is pretty difficult to resist.

Translated  from Spanish,  my late mother-in-law Elisa would frequently chastise those inclined to fretting to “not paint the devil on the wall”. Being a well practiced fretter AND a painter of devils, it seemed a particularly pointed and relevant admonition.

I am behind a veil of my own at the moment, not so much straight up depression , but one concerning  purpose, direction and uncertainty. I’m 59, an ungainly number , lacking the elegant roundness of 60, and in this awkward time of life I keenly sense  not knowing what lies ahead. We purchased a home in Chicago, a lovely between-the-wars apartment on Lake Shore Drive, very handsome and its care and renovation has been my primary focus. But that domestic fussing is coming to an end and in putting down the big brushes of home redecoration I am having difficulty picking up the smaller brushes of personal expression.

My Chicago studio, the workroom is what I am calling it, is quite small, the former maid’s quarter, and that smallness has had an impact psychologically. I once painted vast ceiling murals, in hindsight astonishing physical accomplishments. The nuts and bolts of climbing 30 plus feet in the air, on rickety scaffolding, single handedly painting , with such confidence, recalls pride and admiration for a younger braver person…it also saddens me knowing that chapter is closed. I could not I fear, at this stage, climb to such heights and frankly I wouldn’t want to. Decorative painting was grueling , frequently underpaid, unappreciated work, nearly all of my work has been painted over, much of it painted pre-I phone, undocumented. Memories, many of them bittersweet.

Entry decoration, Boca Raton , Florida
Dining Room ceiling decoration, Palm Beach , Florida
Singerie decoration, garden room, Palm Beach, Florida

 

I now, contrary to Elisa’s scolding, paint devils, on canvas and panel, stitched up, carved into lino, sketched into notebooks. Devils and hobgoblins galore  as some recent workroom snaps attest.

 

Currently at work on illustrating the Maya creation myth Popol Vuh , I am happily occupied but my wonder at this point is what’s next? Paintings, of course but drawings , pencil work on paper really holds my attention, stitching as well, bringing the greatest satisfaction…and yet oddly, foolishly perhaps , I feel that to be inadequate , insufficient.

 Ponderings, naval gazing, trying to put self consciousness aside, at nearly sixty I struggle like a sixteen year old with self doubt.

Good news , some sales, my skull The Eternal Cycle,  now on an international exhibition tour, has sold, and when the traveling show ends, will have a permanent home, that is quite gratifying.

The Eternal Cycle
2021
Acrylic on life sized plastic skull
Detail “The Eternal Cycle”, 2021

Also gratifying is the fact that my oil painting Genesis has also found a collector.

Genesis in the Wilshire Blvd. workroom
Genesis
Private collection

Another bit of happy news was a satisfying conversation with an artist Richard Bledsoe at Remodern Review, who I admire a great deal and  is unafraid to ask the tough and challenging questions others more timid, less confident, fear to ask.

Link below:

 

https://remodernreview.wordpress.com/2021/10/27/artists-leonard-greco/

 

These are early morning musings and I must at this point get on with day as Dawn reaches out her less than rose tinted fingers across the  Los Angeles skyline (visible from my dining table). Nonetheless , a little more personal clarity gained upon reflection ; sending out good wishes, open horizons and lifted veils of doubt.

Belated happy Halloween, a solemn All Souls Day and a spirit filled Samhain.

St. Anthony of the Desert Revisited…once again

That darn anchorite keeps following me around, this time not so much in the desert but in a lush, abundant landscape inspired by the German Romantic painter Jakob Phillip Hackert (1737-1807). 

The Temptations of St.Anthony of the Desert in an Italian Landscape (after Jakob Phillip Hackert, 1778)
2020
Oil on canvas
24 by 36 inches

It wasn’t really my intention to once again return to Anthony and his desert travails, at least not yet (currently more immersed in fairylands, bogles, goblins and pixiefolk). But in my studio, kicking about and frankly in the way, was a practice landscape from a few years back. I’ve long admired German Romanticism, particularly the dramatic treatment of nature, most especially trees. In the hands of a master like Hackert, trees are major players, singular beings rich in personality. I had hoped to better understand how these landscapes/tree-scapes were constructed so I set about copying one of my favorites, Hackert’s Italian Landscape, 1778.

My copy of Jakob Phillip Hackert’s “Italian Landscape”, 1778

It was a gratifying experience, in no way was I able to match Hackert’s luminous original, but I did learn valuable lessons in light, perspective and composition. 

But then I had a painting that I wasn’t very interested in, wasn’t original, wouldn’t/couldn’t show, not particularly “good” and yet frankly too sentimentally attached to to just chuck. 

So I decided to make it my own by reworking it in my own way. I’ve seen artists self consciously take thrift store paintings (rather annoyingly, seems a bit stunt-ish), works they mockingly called kitsch, and adapt them to their generally ironic purposes. This sort of practice is close to being a kitsch cliche in its own right but it started the wheels turning .

I’m not an ironic artist, nor did I think my painting kitsch, although granted a rather poor copy, but I was excited to reimagine Hackert’s poetic composition, eager to populate his pretty world with my imps and daemons. In many ways old master Jakob acted (unwittingly) as my collaborator. This latest painting the happy result.

Portrait of Jakob Phillip Hackert (1737-1807) by Augusto Nicodemo, 1797

I hope he would have been pleased.

 

As my composition is visually dense in the Boschian/Bruegelian sense, details follow:

Detail
Detail
Detail
Detail of St.Anthony himself plus just a smattering of the gadfly temptations, oh, and his faithful pig.

This is the Master’s take, as you can see it is quite lovely, my copy so paltry in comparison. The wisest path was re-spinning  my inferior version in my own voice.

Jakob Phillip Hackert
Italian Landscape
1778
The Temptations of St.Anthony of the Desert in an Italian Landscape (after Jakob Phillip Hackert, 1778)
2020
Oil on canvas
24 by 36 inches

In the end I am pleased, I made room in storage, profited from past labors and have a new painting I like quite a bit. 

 

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

Samhain Greetings

Wishing all a most liminal Samhain. I love this time of year when the veil that separates is lifted for just a moment.

The notion that the spirit world is made just a bit more visible appeals to me, but isn’t that what artists and poets do every day? That unveiling seems our job.

The Jack-o’-lantern above, part of Fairyland is directly inspired by my Goblin Market which in turn is directly inspired by that most liminal poem of Christina Rossetti which bears the same name.

“Goblin Market”
2017
oil on canvas
48 by 60 by 2 inches

So wishing good tidings, happy mumming and festive guising, and remember to keep your eyes open and your spirit free.

I also recommend a reading of Rossetti’s masterpiece:

https://www.poetryfoundation.org/poems/44996/goblin-market

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”.

 

 

Goblin Market, the evolution of a painting

“Goblin Market”
2017
oil on canvas
48 by 60 by 2 inches

I finished this painting several weeks ago, but needed to step away from it a bit, literally and figuratively. It is a large painting and that is the direction I would like to take with my studio practice. This painting is in many ways the impetus for my moving studios. I’ve simply run out of room at my charming current studio.

1053 Colorado Bld., unit H, LA

But this has been a long journey, nearly two years, from bringing what had been a seemingly simple response to Christina Rossetti’s incredible poem of the same name, a simple pencil sketch, to this large canvas. 

Before heading off for Philadelphia in the summer of 2015 I made this sketch, dashed it off really. 

Initial concept sketch for “Goblin Market”

I was entering a summer program at the Pennsylvania Academy of Fine Arts and I hadn’t really any concept of how to focus my time. Materials needed to be shipped and I felt overwhelmed logistically. Plus I suffer emotionally from being separated from David and the pups.

I’ve posted before about the PAFA critique program, at times bitterly, but in hindsight I realize how unprepared for the experience I actually was. I now feel, a few years later, that I could approach the experience with more confidence and intentionality (is that a word??).

Perhaps some other summer.

City Hall, Philadelphia, PA

Without a real game plan I decided pretty much on board the plane that Goblin Market was to be my next project for the summer. Part of what I had hoped for with the critique program was to loosen up mentally and creatively, and my little sketch , which I had so enjoyed drawing, would launch me in the right direction. Or so I hoped.

 The following are some sequential images of its making.

Day 1, @ PAFA
Day 2 PAFA
Day 3, PAFA

 

I pause here because this is where strife began between me and the program director , she insisting that this was a finished work, and I insisting it wasn’t. I envisioned a more polished painting and she wished to “free” me from what she perceived were constraints . Again, in hindsight, I feel I could now express my intentions with more clarity, but at the time I felt crushed and confused.

I persevered but warily.

This image is where I left it at PAFA, unable to finish , I rolled it up, threw it on the plane and allowed it to languish in my studio. I tried avoiding it frankly. Then, in 2017 I decided I needed to face the painting once again.

I’ve tweaked it a bit since this next image, but I now believe it to be finished…for now.

 

“Goblin Market”
2017
oil on canvas
48 by 60 by 2 inches

I have a solo show coming up in July, its a small show ( Goblin Market will most likely make its debut), a gallery within a showroom I enjoy showing in. I am excited. It is my first solo show and in many ways it is a clarifying experience.

I’m grappling with what I want to say as an artist and as a person . What is my contribution in this dialogue of life. The window we are given is open ever so briefly, and as I feel  I have only just recently entered into myself, I desire to do so fully.

My show will be called “Fairyland”. It is a concept I wish to explore in depth; I will be putting together more extensive proposals for other solo shows, so this show in July is the model.

The following is a revised statement for “Fairyland”:

“At this stage of my life, off center of a century, I am grappling with ways in which to express my “being-ness”. Unable to avoid the “who am I “ question any longer, I find myself ,as a visual artists reaching beyond my usual studio practice of oil painting into diverse disciplines including figures in the round.The figures are essentially dolls, and are fashioned by fully embracing the pre-conceived sissy element of this art. It is in this extension of my practice that I am exploring, at this late stage, my identity as a queer and terrified man; the specter of the pansy boy I was, being given new voice in my latest ongoing project “Fairyland”. It is in this new series of projects , where paint, needle and thread give expression and validation to a long suppressed self loathing.

The very name “Fairyland”, a word once delivered with bloody blows transcends beyond with a message of empathy, compassion. pride, and I hope , humor. Reclaiming the fairy has been empowering. The art I attempt to create is intended to express the spirit of furtive repression breaking free.”

This is a  FB link to the show:

https://www.facebook.com/events/1913134738968077/?acontext=%7B%22ref%22%3A%222%22%2C%22ref_dashboard_filter%22%3A%22upcoming%22%2C%22action_history%22%3A%22[%7B%5C%22surface%5C%22%3A%5C%22dashboard%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22main_list%5C%22%2C%5C%22extra_data%5C%22%3A[]%7D]%22%7D

 

Validation

After a dreary period of seemingly endless rejection letters from galleries and exhibitors, it is validating to have had the last few submissions accepted. Yesterday I received word that the Brand Library , for their annual Works on Paper exhibition (this is their 43rd year ) had accepted my Temptation of Saint Anthony in the Desert. It was particularly thrilling to read:

“Juror Kent Twitchell reviewed 890 submitted works, of which 70 were selected for the exhibition”.

Kent Twitchell is an icon here (and elsewhere)  known for his  photo-realistic monumental murals; I admire him a great deal, hence the validation. Funny things is he paints such spectacularly colossal, hyper realistic works and chose my teeny bit of fantasy. Catholic tastes I guess .

Temptation of St.Anthony of the Desert, 2015, acrylic on Yupo paper, 11 by 14"
Temptation of St.Anthony of the Desert, 2015, acrylic on Yupo paper, 11 by 14″

I have the happy task of framing this little painting, a pleasant break from the mad dash of setting up a new home, packing up an old, securing a new studio (about to sign the lease), and perhaps buying a car(YIKES), THEN fly out to Philadelphia for the six week critique course. I’m spinning about in space.

I think for the program at PAFA I am going to translate this drawing The Goblin Market into a much larger painting, size to be determined- essentially as big as I can ship back.

IMG_6322_2

The Goblin Market

When I arrive in Philadelphia, after a red eye flight, I am pretty much just jumping the deep end at PAFA  on Monday the 6th. I will post regularly from my phone.

To be continued…LG

 

Goblin Market

I’ve been reading a fair amount of poetry later, mostly for class, but also revisiting  some old favorites; one being Christina Rossetti’s  pre-Raphaelite jewel, Goblin Market (Link Here).

This little graphite drawing was inspired by her wonderfully dark poem.

IMG_5739_2Goblin Market

2014

graphite on paper

8.5 by 11 inches

“Morning and evening
Maids heard the goblins cry:
Come buy our orchard fruits,
Come buy, come buy”