Category: Pennsylvania Academy of Fine Arts

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

 

Seizing Sanctimonium, a Primer

My latest painting, a large one (40 by 56″) , large at least for my studio, is at last finished!

Hurrah!

It has not been an easy birth, unbelievably having been started February of 2014.

Link below:

https://boondocksbabylon.com/2014/02/16/the-old-gods/

Between other paintings, my time in Philadelphia at the Pennsylvania Academy of Fine Arts and my own uncertainty , the painting often languished . And when I thought it near complete, and to my satisfaction, my last critique group, left me once again in the grip of  uncertainty. After nearly four weeks of being unable to paint (hence a stream of drawings) I at last regained my faith in this painting, finished it up,  and now consider it one of my best.

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Seizing Sanctimonium 

2016

oil on canvas

40 by 56″

The painting is undeniably complicated, visually and in its narrative; I think that is why my critique might have had some issue with it. But my interest in paintings often includes complicated compositions; I might be hubristic but my intention with this painting was to emulate in my modest way the elaborate tableaux paintings of Poussin. I studied them carefully, which is pleasurable work as he is one of my idols. I captured what I love about his paintings: the ability to stare at this painting and discover ever unfolding details. Bosch of course, another idol, also gives us that generous gift. But I think for many viewers, particularly those with the 6-second attention span, this painting will not please. I perhaps, to satisfy contemporary tastes should have left the painting in its initial planning stages; something several folks, had hoped for. I might have saved myself headaches and angst, but I would have been very unhappy. This painting ,in its finished state,makes me happy.

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(Initial stage of the painting, I do like it, I like the ghostly images; but I am not that sort of painter. I love a lapidary finish.)

The story behind this painting is complex and personal. It began after discovering the Gnostics, with the concept of the Demiurge,  a false god posing as a true god. Misleading the faithful down a path of sanctimonious righteousness . My demiurge, the bronze figure in the center is a sarcastic depiction of Christ the Church. If I were to change anything it would be this element . It is more cynical than I now feel , with our new pope, the blessed Francis, my relationship with the Church has become warmer, more loving . I know longer harbor the estranged hurt and anger I felt when I began this painting. But instead of erasing him, I felt it good to keep a record of my discontent.

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 The Demiurge, center flanked by details of the earth goddess Coatlicue, one of the Hero Twins, Hunahpu and the Axis Mundi.

Going counterclockwise , from upper left around, I will attempt to offer clues to the figures:

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My initial conceit for this painting was to utilize “bad” gods, unfortunate figures, maligned archetypes, to do battle with the smug and sanctimonious , be it the Church herself, the pompous evangelist down the street, ISIS, or that homophobic second grade teacher who shamed you for playing with the girls. That said, the upper left figures are depiction of the denizens of Xiblaba, the underworld of the Popol vuh. Next, descending in a very theatrically baroque manner is the savior Quetzalcoatl . Below, stands the accursed Judas ( noose still dangling) and the blessed Magdalene, clad only in her long hair, as per the archetype. Next to her, stands the familiar companion of the Other, the Scapegoat.

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The Scapegoat .

In the next quarter,  the Mesoamerican rain god Tlaloc sheds tears for humankind, he is attended by a companion vaguely reminiscent of the figures found in Teotihuacan, possessing triangular heads. Further back, the Mother of the Gods, the Aztec earth mother, She of the Serpent Skirt,Coatlicue, she hurries her son, the Great War god Huitzililopochtli into toppling their nemesis, the Demiurge, embodied by the Church that silenced them.

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Next to them is a gaggle of squawking birds, sure of themselves, confident in their noise, essentially those who I politically and religiously disagree. Next to them, well I guess that is me.

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In the third quarter, I placed a Boschian figure of no particular meaning, just an odd blue figure with a piscine phallic nose. Next , again, just vague figures, a Fire-god aflame with passion;  a herm to signify the supremacy of the fertile earth; another Quetzalcoatl, or perhaps a passive Ares, I don’t know. Basically he was hot and looked Poussin-ist. Central to this quarter are the Hero Twins from the Popol vuh, archetypes so dear to my heart. Although they are brothers, I have in a personal way , embraced them as emblems of same sex affection. They are fiercely loyal to one another, acting as one; Hunahpu (on the left) going so far as to sacrifice himself, hence the blood and unearthly pallor. His brother Xbalanque helps to resurrect his fallen brother. I have returned to the Twins time and again, in paintings, puppets and prints. I predict they will be with me until I pass into the Underworld myself. A quick click in the side panel,on the tab “Hero Twins” will lead you to other examples.

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 Floating above on a very smart cloud is my favorite figure of this painting, the dashing floral-tatted Herakles. Herakles is every sissy boy’s hero, and I just could not resist including him. He surely would fight the fight of the just.

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Herakles, plus a preliminary rendering.

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Rounding out the painting in the last quarter I have various moon gods, non specific, just pre Christian. Next to them stands an Earth Father figure. A softer kinder answer to the excesses of patriarchy. He is horned in his affiliation with old truths, old gods, old ways. He also reflects my evolving reintroduction to the Church, with the pope reminding me of Christ’s magnificent message. This figure is a tribute to that compassionate god. He may also be an incarnation of the great Maize-god, sacrificed father of the Hero Twins and of humankind , Hun-Hunahpu. It is through his death, we are born. Sound familiar ?

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Moon-gods, for you can never have too many!

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The Christo-hun-Hunahpu figure.

If I had any residual uncertainty concerning this painting, it was silenced by this painting being accepted into an upcoming show ( along with my jumping jack figures from a recent post). I’m thrilled the well regarded juror Peter Mays included this painting.

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The positive aspect of being unable to emotionally (post-critique) to paint for a few weeks was drawing. I’ve been drawing like mad, I’m sure I am  boring social media with my progress, but I feel I am gaining confidence and ready to begin a series of small panel. I think of them as Illuminations, intimate, needing to be contemplated. I am discovering, at heart,that  I am a religious painter. Unorthodox , unclear and ambiguous in my own faith, but I am compelled to make “icons”, depictions of universal archetypes. One of the new paintings will be of Jonah, this preliminary sketch, shows my intention.

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That’s it for now, I will post this little painting, only 8 by 10″ when I am finished. Until them, be well.

Orpheus’ Lament

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This morning I put the finishing touches on my Orpheus “tapestry”, a large, unbound canvas that I started during my summer stint at PAFA. It is my largest studio painting yet, when I was a decorative painter my work could easily exceed thirty feet or so ( and many stories off the ground) but my studio work thus far has been restricted by the parameters of my work space. PAFA offered me four empty walls, seemingly endless possibilities . 

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Orpheus’ Lament

2015

acrylic on unbound canvas

59 by 93″

Due to the size of the painting (and my own ineptness) I cannot seem to adequately capture the entire image without some sheen and loss of detail, so I will post detail shots:

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(my homage to Redon and Fred Stonehouse)

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Merman, I like this fellow, he is rather sexy.

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This fellow, actually his eye, was the only element of this painting that was considered redeemable by the faculty critique at PAFA. Apparently I am still nursing wounds. Since leaving the program I have had quite a bit of existential angst , have I any right (or abilty) to declare myself an artist. My consolation has been to just work as honestly as I can, and see what happens.

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I listen to far too many podcasts while I work; for those who have enjoyed the podcast Welcome to NightVale , they might recognize the winged character watching over Orpheus.

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I like this fellow-frankly I like them all; hence the somewhat dizzying composition. They become family, I can no sooner eliminate them then I would flesh and blood friends.

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My only formal training is that from a Russian iconographer , that is abundantly clear by this character, who has become sort of a personal avatar.

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These two are inspired by Greenmen , the universal bond of man and the natural world . That bond is the basic inspiration for the painting, a favorite theme, one that has been explored many times over, Orpheus’ playing upon the lyre and so moving the natural world, that all manner of flora and fauna gather at his feet. Trees uproot themselves and mountains roll towards him, all weeping at the bitter sweetness of his song. This Roman mosaic captures that moment beautifully .

Roman mosaic depicting Orpheus Phrygian surrounded by the beasts charmed by the music of his lyre

 This large painting was first a simple watercolor of faun, but it provided unexpected inspiration when I found myself in Philadelphia without my usual “crutches”, namely my large resource library. A library that is often a boon and sometimes a curse.

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While in Philadelphia I would often visit the Philadelphia Museum of Art, passing by the monumental 17th c. tapestries designed by Rubens. The scale and the color palette provided much inspiration. I particularly admired how the waves were translated in the weaving.

IMG_6852All in all I am satisfied with this painting, I’m rarely (ever?) completely satisfied but when I feel I have gone as far as I can with a painting then I consider it finished…for the time being. I will go back to oils, but I was happy that I persevered with acrylics for this painting. With the weather here in LA now not so wretchedly hot I was better able to manipulate the medium. When I left Philadelphia I could barely look at this painting (or the others I had started), but now I feel I absorbed what I could from the experience and feel I expressed myself as authentically as possible . The final image is of the painting before I shipped it to LA.

aug 12th 2015

August 12th 2015

For those in the States I close with an amazingly appropriate Thanksgiving image. I feel as if I could have painted it. It is courtesy of the great artist Judith Schaechter and her ever-amusing Facebook feed. It is particularly appropriate to end with her in mind because she offered me such support and insight while at PAFA. A great inspiration and an incredible artist.

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In Pursuit of the Shadows…

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In my desire to improve my paintings I am trying to make more effective use of shadow. I am hoping to  create convincing space while preserving that sense of otherness. I am still digesting the feedback from PAFA (not to mention my friend, the artist Judithe Hernandez) , namely the uniformity of light and lack of obvious shadow in much of my work. I have defended this in the past as some tribute to early Renaissance paintings, and there is truth to that, but it is also true that  I really just do not understand shadows that much.

To remedy that I have constructed a cardboard mock-up of the painting I am working on.

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Obviously I would need quite a large cardboard box ( and many more mannequins ) to get a truly accurate sense of space and light, but editing the image into in monochrome has clarified things quite a bit. I have also translated the image of the painting into black and white (thank you Judithe!) and that should be enormously helpful as a roadmap; already I see area I would like to heighten and diminish.

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I will fiddle around  some more but feel I have a better inkling of where to go. Kind of.

Just another twist in this journey of self discovery, it is often very humbling how little I know…

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.

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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