Category: Hun Hunahpu-the Maize God

The Old Gods

In between other paintings and relief prints (once again  I am trying my hand at that elusive medium), in between such endeavors, I’m working out a large painting.

I’ve posted on this painting before at this link, but I am now at the stage of fussing with details and working out negative shapes and placement. Funny how I rely upon the skills I honed as a decorative mural painting. What seemed so perfect on a scaled drawing is just a wee bit off when faced with the actual , rather large canvas-56 by 40 inches.

Briefly the painting deals with the old gods reclaiming their positions, toppling the false envious demiurge Yaldabaoth (Yahwah). I’ve been working out the details of each and it has been a great deal of fun.

As posted previously:

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Preparatory  sketch of Tlaloc, She of the Serpent Skirt and  the Feathered Serpent

Placement is critical and I have been poring over Poussin’s excellent examples for inspiration but in the end heeding my own intuition.

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further drawings follow:

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The Maize God

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The Hero Twins-one version

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another version for another project-I really like these fellows

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My sanctimonious Abrahamic god  the embodiment of the apostolic church, soon to be toppled ; do I have  just a wee bit of vitriol for the god of Leviticus or what?

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for no apparent reason, a Meso-Herakles.

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Placement so far, I have a few more figures to add so placement is a crucial, I feel a bit like Cecil B.DeMille.

But onward.

Until next time, be well,

Lg

Paradise Completed

When I last posted on this painting, link HERE I received many warm responses for which I am grateful. Last evening I finished the painting and I can  now, at last look at it clearly.

GRECO_GNOSIS_AND_OLD_GODS_PLEASEDGnosis…and the Old Gods Were Pleased

2014

oil on canvas

48 by 24 inches

When I last posted my progress the painting was about 70 percent complete, I’ve since made a few changes.

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Most of the changes have been made to the female character, who is not Eve ; she is in fact Zoe, daughter of Sophia, bearer of  light and wisdom (Gnosis), as Adam lacked the spiritual spark (the source of information  and inspiration for this painting was a BBC podcast  In Our Time, the topic of discussion being  the Gnostics , link HERE ).

I’m happy were her now, my inspiration was in many respects the Grey Eyed Athena and I captured what I wanted…pretty much.

Another, initial inspiration was the sculpture of “Eve in Temptation” by my favorite Giselbertus (1150); I strayed a bit but I know the spark.

19363-musee-rolin-autun-temptation-eve-gislebertus

My impetus to finish this painting was entry in a juried show at a local museum-an artist alliance exhibition. The following paintings have also been entered:

GRECO_RESURRECTION_OF_THE_FATHER

Resurrection of the Father

2013

oil on canvas

50 by 40 inches

GRECO_TEMPTATION_OF_ST_ANTHONY_OF_DESERT

Temptation of St.Anthony of the Desert

2013

oil on canvas

48 by 36 inches.

Wish me luck! I will post the results, good or bad news,

until that time,

be well, Lg

Tzimmes and the Maize God

Chanukah begins this evening and tomorrow is Thanksgiving .

As I prepare for tomorrow’s feast, our  first “official” dinner party since  moving back to LA I am feeling particularly grateful for the diverse influences that have shaped the person I am today. My first partner Douglas and his lovely family were German Jews, from them I was exposed to the joys of Jewish culture , including Chanukah.  Tzimmes ( a tasty treat loosely translated from the Yiddish  as a “big mess/deal/fuss”of stewed sweet potatoes, carrots and prunes) was always on the  Chanukah table this time of year and my own pot of  this aromatic stew bubbles away.

I am also  in the thick of preparing the centerpiece. Given that it is Thanksgiving , I am honoring our indigenous ancestors with prayer candles to the Maize God, Hun Hunuhpu. Thus far 10, and counting…

Without my relatively recent exposure to this rich culture through a marvelous professor ( who I now consider a friend), my infatuation with all things Meso may never have been. For that I am also grateful.

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Like little soldiers, my Maize God prayer candles stand at attention waiting for their place on tomorrow’s banquet table. St Stephen, first Christian martyr leads the troops.

The diablo  vase was from a ceramic class I had taken a few semester’s back. I may very well be the WORST ceramicist ever, but surprise, surprise, I like decorating vessels.  This, I decorated post firing with oil colors, won’t last forever, but at least until I croak!

IMG_3889I’m thinking of marketing these candles, not just Maize God but a variety of Meso deities , plus other saints, Christian and otherwise, sacred and secular. What seems a fair price? Not looking for extravagant profit but  a reasonable price-thus far the candles themselves are a little under two bucks. Feedback very  welcome.

Well happy Chanukah, happy Thanksgiving,

be well, be safe,

until next time,

Lg

Back To Class, First Proofs

The Fall semester began this week and one of my courses is Printmaking III- I cannot believe how quickly time has flown. I am still very much the novice, but I do feel I have a better grip on this elusive medium. This first week of this semester I have focused upon two plates : one a relief print on lino ; the second an intaglio drypoint on copper.

I am determined this semester to achieve a better grasp of intaglio , I find it so challenging. The following are early proofs, the lino being the more successful of the two.

IMG_4098 Redemption of the Father

Artist’s Proof # I

relief print,lino on paper

plate 10″ by 12″

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 St Anthony of the Desert

Artist’s proof # II,

drypoint, copper plate, 6″by 8″

As I said the intaglio needs a lot of work. Given that I am determined to work solely in drypoint for this print, the “burrs” are causing me some trouble. I will this weekend rub them out, adding more marks as needed. This is when I wish I had a home press, I am burning with a desire to resolve this problem NOW!

But I must practice patience,  taking deep Ujjayi  breath. Printmaking is not an immediate art, at least with out a home press.

The inspiration for the relief print, which is close to complete, is the following watercolor ( a VERY immediate medium ). 

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Redemption of the Father

In Nomine Patris: Reclaiming the Old Gods

This triptych is part of my ongoing exploration of the clash between two  cultures, that of the Mesoamerican indigenous people and the conquering Spaniard Roman Catholics.  Time and again I am struck by the similarities between the two seemingly incompatible peoples. Their religious traditions revolving around sin, the fall of Man, redemption through blood sacrifice and resurrection bringing forth new life.

I wanted to explore these similarities, and differences through archetypal devices namely triptych construction, ecclesiastic, architectonic form, prayer cards and votive candles.  Working with traditions brought to (forced upon) native cultures I wanted to examine the notion of the old gods claiming the forms for themselves.  As if the priests of Tenochtitlan had not been slaughtered by the Spaniards but had in fact survived and adapted  Western  cultural norms for their own use. The following print In Nomine Patris might have been such a result of that cultural synthesis.

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On  the left,  one of the Hero Twins, Hunahpu; on the right his brother Xbalanque;  in the center their father, the sacrificed Maize God, Hun Hunahpu.

Through his sacrifice, his redemption by the Hero Twins and his resurrection, maize is brought to Man.

 In Nomine Patris

18 by 27 inches

relief print on paper

My printmaking class is winding down, I’ve made a  drawerful of plates, many prints; even a few I  like.   I had hoped to close the semester with a more elaborate version of this triptych. Ultimately this print will be colored using the pochoir technique and enhanced by applied additions. But for now, as the semester ends, it will be chastely  black and white. 

Th following print, The Gates of Xibalba can stand on its own, but it is also designed to interact with the triptych as actual sacristy gates.

IMG_3878The Gates of Xibalba

relief print on paper

According to tradition the lords of the Underworld are devious, randy and stupid; I tried to capture that spirit.

The following is an artist’s proof of the assemblage of the triptych and the gates. I will need to figure logistics, shall it be flat, shall it be cut out like a toy theatre, it should certainly be colored. All must wait until I have access to a press next semester.

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The alignment of the sacristy doors to the sacrificed  Maize God was serendipitous; or the plan of the old gods.

In addition to the triptych I planned prayer cards, familiar to Roman Catholics world wide. My first is of the Maize God, Hun Hunahpu, sadly I misspelled his tongue-twisting name. As he is the god of maize, life and fecundity, once again an erect ear of corn seemed naughtily appropriate.

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Blesses Hun Hunuhpu (sic)

relief print on paper

Going from prayer card to votive candle seemed a natural evolution. Here in southern California votive candles emblazoned with Roman Catholic saints are ubiquitous , found not only in bodegas but in mainstream grocery stores, even Target. I thought it was time for the Maize God to have his  own moment to shine. More gods/goddesses to come.

IMG_3889I haven’t much business sense but I imagine this would sell.

Speaking of which I sold (fingers crossed)my first piece of work, a print, since “retiring”  from decorative painting.  I would still make work whether it sold or not, but having a buyer is confirmation indeed, I’m pleased and grateful.

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The votive candle in place amidst his Catholic friends.

With that good news I close, take care and be well,

LG

Perversion Therapy, a new relief print

I mentioned earlier that I attended a two day conference last weekend in LA, devoted to Mesoamerican art and culture. Many prominent scholars were at hand, some personal heroes, I was enthralled.

One of the topics that many of the scholars returned to time and again was the issue of culture clash. Dr. Manuel Aguilar-Moreno, Professor of Art History, California State University, Los Angeles, summed up this clash as Culture A crashing into Culture B creating Culture C, a distinct and legitimate aesthetic.

This is a very appealing notion as the colonial period has for some time been dismissed as inferior to the indigenous  creative efforts and I assume to its Spanish roots. I have never felt this prejudice personally, Indian Christian art (Dr. Aguilar-Moreo’s phrase) always seemed terribly vital to me and brought  me great pleasure.

This quick little relief print, dashed off this afternoon is an attempt to capture that clash, the Christian God bringing the Maize God to his knees. It is the first state, done awkwardly with my trusted wooden spoon, I will clean it up a bit and make a proper series of prints when I return to class on Tuesday. But in the spirit of keeping up momentum I decided to post it.

IMG_3846Perversion Therapy

relief print on paper

That’s it for tonight, until next time, take care,

LG

Strange Fruit,II

Just a short post, this is the revised print that I posted on Easter, link, this time with the second color.  I’m hooked, if reduction relief did not  work for me, individual color plates do. A certain obsessive compulsive inclination is satisfied by working each plate meticulously so that the image aligns. This is by no means a perfect print, the alignment is most noticeably askew when looking at the Princess’ upward reaching hand. But now I have a better grasp on the process and feel confident enough to work with more color, quite a relief -lame printmaking pun intended.

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Strange Fruit, II

relief print on paper

I am attending a Mesoamerican conference this week in LA, I’m very excited, two days of Meso fun. Starting off with a workshop deciphering  Mayan glyphs, I haven’t great expectations, but if I can recognize just a few glyphs I will be pleased.  The spouse has arranged a vacation in Mexico City for the Day of the Day festival ; I’m eager to check out the museums and the ruins, planning a trip to Teotihuacan as well.

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Until next time, take care,

LG

Strange Fruit: a Mayan Alternative to the Passion

I am in my second semester of printmaking and frankly it has been disheartening. The exhilaration of the first few prints, successful or not, has been eclipsed by technical problems, some seemingly insurmountable . I recently finished a labor intensive, time sucking reduction relief print, a technique in which one linoleum plate is used, and each color is ultimately scraped away for the next. Engineering the color seqquence was daunting enough, but I think I was able to resolve that issue; but  by my final press, down to final color, a sepia, the finished result was disastrous .

I was taken aback by my visceral disappointment to the final image, I frankly had to walk away. I still have not have had the will to face the sad pile of wasted paper, ink, time, effort and optimism; spring break ends Sunday, perhaps I will face my demons on Tuesday.

In the mean time I am determined to avoid that sad route, eliminating reduction reliefs with individual plates for each color. This was my initial instinct but the assignment demanded the one plate approach.

The following, the first printing thus far, is the line work. The second plate, most likely red, is still being carved out. I post this unfinished print as it is appropriate to Good Friday, a day of sacrifice and reflection, frankly my favorite holiday of the christian calendar . This image which is one I have explored several times is that moment in which the Maize God,  the savior character from the Popol huh,is discovered by the princess of the Underworld Xquic. This fateful encounter results in a miraculous virgin birth, the severed head of the Miaze god spits into the open hand of the virgin princess (subtle Freudian imagery). Clearly I am fascinated by this twist of our familiar Christian sacrifice & rebirth theme . 

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Strange Fruit

relief print, ink on paper

Some sketches prior to cutting:

IMG_3831Wishing all a happy Easter if so inclined, certainly happy spring Sunday.

Take care,

LG

Final Painting of 2012, Resurrection of the Father

I have for several months been working on a rather large painting in between my printmaking assignments. I am afraid it has been treated a bit like the ugly step-child.

As I am now on winter break I was eager to give the painting the attention I thought it deserved. My intention was to create a simpler, more direct narrative. Working on a larger painting was far less challenging than my previous paintings; having spent 2o some years painting murals I am far more comfortable with big. Small paintings leave me feeling cramped, perhaps that may explain the somewhat less successful earlier paintings. I do know that I hope to continue with at least 40 by 50 inch format in the future.

I have called the painting The Resurrection of the Father, please pardon the terrible quality of the image.

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The Resurrection of the Father

oil on canvas

40 by 50 inches

The painting was inspired by my continuing fascination with the Popol Vuh narrative; in this instance when the Hero Twins, Hunahpu and Xbalanque retrieve the remains of their sacrificed father Hun Hunahpu. Working with my well worn maquettes I created a simpler composition than I have in the past.

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I did not fashion my Maize God as I have before, instead I took my inspiration from an early fertility figure found in the Columbia River region of western Oregon. I stumbled upon this treasure when David and I visited Portland Art Museum last summer, we were both enchanted by the priapic fellow. As we are planning to move to Portland in 2014 or so, he seemed a suitable totem for our mutual aspirations.

1999_58Stone Figure

Columbia River region

ca.1000-1500 A.D.

Basalt, 55 1/2 x 17 x 6 1/2 in.

source

I am now in the throes of another painting , readying for an interview with an art school in Portland and of course the upcoming Spring semester. I am also trying to enjoy the final hours of 2012. Wishing all of my blogging chums a very happy 2013! 

Until next year,

be well,

LG

“H” is for Hun Hunahpu, the Maize God

In my imaginings, Hun Hunahpu is the Zeus of the Mesoamerican Olympus. There doesn’t really seem to be one supreme deity, various cultures favored one god over another; but it is undeniable that Hun Hunahpu is a major player of the Popol Vuh.

Without Hun Huahpu , man would languish without nourishment; for it is with his sacrifice and redemption that he brought forth maize, teosinte to native people. Teosinte translates as teo, godly or sacred and cintli which translates as maize= godly corn.

It is this godly corn from which man is fashioned to serve the gods. Ancient teosinte was apparently tri-colored: golden, red and blue. Native people saw the similarities in their own lovely golden bodies, rippled with blue veins and able to release radiant red blood when cut.

This imagery is very rich to me, which is perhaps why I have fetishized Hun Hunahpu, a pagan Savior for New Spain.

“H” is for Hun Hunahpu
watercolor on paper
18 by 11 inches

Clive was (is?) working on a particularly fetching Gawain, I was enchanted by the fair knight’s porcelain skin; this motivated my own pale radiant god. I tried to capture the tri-color palette within the limitations of the Primer palette. I failed to keep it monochrome with only one color. The siren call of  my paint box gets me every time. I did want to capture the veining that  Mesoamericans read as blue, and the golden quality of my god is apparent .

What is also apparent  is the homoerotic nature of the painting. I may make another more chaste version, I may not. I know I wanted the Maize God to look physically and sexually striking  , he is after all a fertility god! The “subtly” placed corn cob may be a bit excessive, but I couldn’t resist the visual pun.

I appreciate the indulgence.

I am finishing up a painting in oil, another bit of male pulchritude, I will present him next week, the gods willing.

Until that time,

take care,

LG