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
“I should never have made my success in life if I had been shy of taking pains, or if I had not bestowed upon the least thing I have ever undertaken exactly the same attention and care that I have bestowed upon the greatest.”
Charles Dickens
Detail of an unfinished work now nearing completion…hopefully.
I recently finished listening to an audio recording of Dickens’ The Old Curiosity Shop. Dickens is a favored studio companion, his intricate, well woven tales can keep me engaged for days on end. He was a master storyteller and when Curiosity Shop came to its conclusion, I marveled at the care and dedication to detail he lavished upon even the most seemingly insignificant innkeeper, scoundrel or parlormaid. It is a great treat to become so well acquainted with all of his characters, the experience is so rich and gratifying.
Such attention to seemingly insignificant details is my delight at the easel as well. I am aware that a broader brush or a simpler stroke might just as effectively convey a desired message, but it wouldn’t be fully my own, or frankly of any interest to me. I take great pleasure in works that are convoluted, those possessing complicated compositions with seemingly infinite opportunity to discover detail upon detail. I recall the northern Gothic painters, where the doorknob of some distant castle sparkles as brightly and as prettily as some fair maiden’s jeweled bodice; where every tree is embroidered with countless , meticulously rendered leaves. Many find such works frankly too rich in detail, too time consuming to comprehend, not at all suited to our contemporary world’s blunt (brutal?) aesthetic and ever-increasingly limited attention span.
I however stay the course, trying as best as I can to stay personally true, and as Dickens stated, taking the pains necessary to develop the work fully to my satisfaction. The following images are of works in progress, one a rather large oil painting, hopefully nearing completion, the second a work on paper. Both seem to be expanding in scope as each studio comes to a close. But I am increasingly confident that they will let me know when they are finished…fingers crossed, soon.
Detail of WIPDetail of WIP, colored pencil, white charcoal, on toned paper.Detail of WIP, one panel left…hopefully.Working out details for an upcoming “Stuffed Painting”.Detail of WIP; oil on canvas.
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
New drawing just completed, I believe this may be it . I’ve depicted the first seven Labors but to be frank , aside from our hero’s wrestling match with the fearsome Cerberus, I’m not particularly interested in drawing them . I’ll wait and see if inspiration strikes . But for now the first Seven:
1- the Nemean Lion , slay the poor thing
2-Lernean Hydra, slay that poor thing
3-Ceryneian Hind, capture that poor thing
4- Erymanthian Boar, capture that poor thing
5- Augean Stables, clean that filthy place
6-Stymphalian Birds, kill those man-eating things
7- Cretan Bull, capture that randy thing
Leonard Greco
The Labors of Herakles
2018
Sanguine pencil with chalk highlights on toned paper
18 by 24 inches
When and if I return to the balance of his Labors I will continue with the continuous narrative composition as a diptych.
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
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.
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.
Those were the words I heard every Easter, fervently claiming them myself. Now, I am less certain of what I believe. It feels more complicated, more fraught ;one day the Old Gods have all the answers, the next Jesus Christ. I take the truth from where I can.
That said I feel more attuned to what has been called by the Irish as the “thin places”, the space between the world of man and the world of the spirit. This lenten season, instead of forgoing any particular vice, hindrance or pleasure, I simply drew. With a pencil in hand, promising to whoever listens to my private thoughts, that no matter what, each studio day I will produce at the least, a decent enough drawing. No promises of masterworks, just a commitment of time and energy before I began my studio day.
I once studied under a Russian Orthodox monk and iconographer Vladislav Andrejev, he, through the translation of his sweet wife Olga, told me that art making must be considered a prayer to the Divine.
That I believe in.
The following is a result of my Lenten Indulgences ( a little nod to dear old Luther) :
2018 Feb 6 Jezebel and Ahab2018 Feb 7 untitled2018 Feb 8 untitled, neomedieval study2018 Feb 9 Ecce Homo2018 Feb 12 Betty Brown2018 Feb 13 Mummer2018 Feb 16 Perseus2018 Feb 16 Young Anchorite2018 Feb 19 Faun2018 Feb 20 Arlequino2018 Feb 21 Studies2018 Feb 22 Centaur2018 Feb 23 Folly2018 Feb 26 Polyphemus2018 Feb 27 Birdboy, marginalia study2018 Feb 28 Womba (Ivanhoe series)2018 Mar 1 The Fair Rowena (Ivanhoe series)2018 Mar 2 Bauble study2018 March 5 Frontispiece design2018 March 6 Proserpina & Cerberus2018 Mar 7 Hades2018 Mar 8 Underworld mummer2018 Mar 9 Eurydice2018 Mar 12 Night terror, dream memory2018 Mar 13 Orpheus2018 Mar 14 Mummer2018 Mar 15 The Jewess Rebecca (Ivanhoe series)2018 Mar 16 Leprechaun2018 Mar 19 Winter2018 Mar 20 Spring Awakening/Cernunnos2018 Mar 21 Rape of Europa2018 Mar 22 Pilgrim’s Journey2018 Mar 23 Lavinia2018 Mar 26 Abraham and Isaac2018 Mar 27 Jonah and the Leviathan2018 Mar 28 Job
2018 Mar 29 The Tree of Judas2018 Mar 30 La Dolorosa
