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”.

 

 

Daphne, the Apotheosis of.

I’ve just finished my latest “stuffed painting”, the term I use to describe my painted-mixed-media sculptural figures. This latest figure, my largest thus far (56 inches tall) employs a heavy use of embroidery and crude needlework. Like Herakles under Omphala’s gaze I turn to “women’s work”, however unlike the disgruntled enslaved hero, I relish the task.

The new work explores gender not only in its materiality but in “gender-fucking” the main character; my Daphne is no slim maiden but a hirsute fellow ripe in manhood yet broken and unable to save himself from a horrid fate.

Detail of “Daphne”

My figure of Daphne was inspired (very loosely) by Bernini’s ravishing depiction of the attempted rape of the maiden Daphne by the libidinous Phoebus-Apollo. The way Bernini depicted her delicate fingers morphing terribly into branches has always struck me with horror (and admiration). For although the chaste Daphne pleads with her father,the  river god Peneus to save her from the looming rape, his solution always seemed as cruel as her debasement. Patriarchy in action, the solution to male excess being born heavily by the victim.

At least Bernini’s vision of the terrible scene was breathtakingly beautiful.

Gian Lorenzo Bernini
“Apollo and Daphne”
1622-1625

I do not fool myself into thinking my own version in any way resembles the Baroque masterpiece, but I do hope I captured some of the pathos.

Leonard Greco
“Daphne”
2017
Mixed media: acrylic painted recycled rag, thread, twigs, embroidery floss, poly-fill.
56 by 33 by 9 inches

My desire for the work was to capture the pathos of his/her situation , the brutal transformation of supple gorgeous flesh into brittle bark. What horror Daphne experienced as the soul became encased and ultimately erased. Transformation into an olive tree is hardly a reward for virtue.

I also wanted to explore how gender factored into the beauty of Bernini’s depiction of a violent crime. Why are there so many ravishingly beautiful depictions of violence against women, art I know and love : the raping of Sabine women, of Europa, of lusty satyrs having their way with unconscious Maenads, and of course Daphne. Why is this acceptable and yet the depiction of male rape is not glorified by art; clearly not desired by the male gaze at large,  aside from the homo-philic images of Ganymede.

And even with the images of Ganymede’s “abduction” , they frequently depict a slightly effeminate ephebe. Rembrandt goes so far to depict the rape by depicting Ganymede as a rather horrid infant pissing in fear. Its a nasty bit of work from an artist I have failed to appreciate. The painting seems to embody heteronormative bias against same sex affection.

The rape of Ganymede
*oil on canvas
*177 x 129 cm
*signed c.: Rembrandt. ft / 1635

But aside from the politics of the piece and my developing intentions, I wanted to create a work that pulled the heart (in a neo-Baroque sort of way).  When I look into my Daphne’s face, I am moved to pity. I hope that is the general effect to the viewer at large.

The images below are progression shots, Daphne being the first piece made in my new studio, started close to my birthday , July 24th.

Concept drawing for “Daphne”.
All of my work starts in pencil.
The “painting” part of my “Stuffed Paintings”.
The new space.

A study in contrasts.

 

 

 

 

 

 

Bugger’s Baroque

My love of the baroque (and the subsequent revivals) is long standing, so much so that I built my previous career as a decorative painter identifying my craft as Neo-Baroque. As a studio painter I still find the allure of the baroque irresistible and in my latest work Reflection of a Harsh Super Ego , I attempted to capture the florid excess of the period.

The Reflection of a Harsh Super Ego
2017
Mixed media: acrylic paint, recycled fabric, thread, feather , fiber-fill
50 by 32 by 6 inches

This work is an extension of my “stuffed painting” series which constitutes a large part of my latest body of work Fairyland. Ostensibly this latest piece is a  reflection upon such cheery topics as existential angst, mortality, self-worth/esteem and of course, aging. It is also hopefully funny, a memento mori with wit.

Utilizing fabric allows me to explore the funeral lushness found in over- upholstered baroque furnishings, particularly the decidedly non cozy state beds:

Design for state bed by Daniel Marot, 1661-1752

 

Daniel Marot, the designer of the state bed above was a master of baroque theatricality. His designs for court furnishings are astounding , so inventive, whirling madness yet an underlying balance. I can easily stare at his compositions for hours, and I have. My aforementioned decorative work was directly influenced by Marot and his contemporary Jean Berain.

Design by Jean Berain, 1640-1711
Pair of decorative cartouches
1999
Naples, FL

So it was of little surprise that I would return to the wonderful fripperies of Marot and Berain. I particularly admire the baroque compositions that incorporate a writhing pool of figures, sensuously colliding with one another yet all forming a cartouche, a mirror frame or cabinet. The mad fusion of sculpture, ornament and perhaps some functionality.

Design by Daniel Marot.
André Charles Boulle, 1642-1732
Getty Center, Los Angeles

My fripperies and atlantes may not be of ormolu, ivory or silk but they are roiling about in a nutty baroque manner.

Detail from “The Reflection of a Harsh Super Ego”

 

In his excellent Baroque Baroque , the art historian Stephen Calloway refers to a  British baroque revival as “bugger’s baroque”, apparently a witty retort to queen-ish  decorative excess. I like to think my “mirror” might have earned that title. Being that The Reflection of a Harsh Super Ego is a further exploration of  “sissy” arts, and an element of a larger body of work called Fairyland, I think it has earned that distinction. 

Reflection of a Harsh Super Ego will be part of an upcoming solo show at Ave.50 Gallery, 131 N. Avenue 50, Los Angeles, CA 90042

Opening reception July 8 2017, 7-10 pm.

The Reflection of a Harsh Super Ego
2017
Mixed media: acrylic paint, recycled fabric, thread, feather , fiber-fill
50 by 32 by 6 inches

The Wodewose

I finished my latest figure last evening, what I had heretofore been calling simply a rag-doll, I am now calling a stuffed painting.

 He is called The Wodewose.

Greenmen (andGreenwomen), The Green Knight, Wildmen and the archaic form, the Wodewose, fascinate me. They are at once pure of heart and spirit yet unbridled, carnal, the embodiment of our bestial selves. No wonder they appear so frequently in medieval marginalia; amidst sacred texts, randy hairy beastie-folk cavort and beguile.

I’ve turned to the theme multiple times. After reading Simon Armitage’s excellent  translation of “Sir Gawain and the Green Knight” I was hooked on the theme, a wondrously fascinating archetype; ripe for seemingly endless re-interpretation.

The Green Knight
watercolor and pencil on paper

 

This latest work is in the round and I was able to more fully develop his fleshy-ness ( and hairy-ness thanks to some found faux fur).

The Wodewose
2017
Mixed media: recycled rag, acrylic paint, twigs, thread and poly-fill
Approx. 40 by 22 by 6 inches

I was inspired to employ the Wodewose-Wildman archetype because of the recent celebration of Beltane on May 1st. Rebirth, renewal, the “pagan” appreciation of unbridled spring. My figure has two ways of presenting himself in order to more fully keep in the step with the seasons.

The first being flacid Winter Dormant:

And the second, lively Spring Renewal:

“The Wodewose” will be part of my contribution to “Satan’s Ball”, a group show at Art Share LA that promises to be an:

“unapologetic embrace of the dangers, demons, burdens and temptations that beckon to the more sinful angels of our nature”.

 I would replace “natural” for “sinful”.

a link to ArtShare:

http://artsharela.org

I’m going to close with a few random images of Wildfolk that never fail to delight me. As I leave for Pittsburgh tomorrow and rain is supposed to be in order, I’m looking forward to a wild rush of greenery (and perhaps a few fauns).

My Posse

 

Detail of “Dancing Salome”

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.

“Coyolxauhqui Reassembled”
2017
Mixed media: acrylic paint, recycled rag, thread, fiber fill
Approx. 21 by 12 inches
“The Sisters Wyrd”
2017
Four plate relief print; series of four
Plate size 8 by 10″; matted and framed 12 by 15″
“Dancing Salome” , a Jumping Jack (Jill)
2017
Mixed Media: enlarged original drawing, graphite, watercolor, cardboard, brads, thread
Approx. 45 by 29 inches
“The Magdalene”
2017
Three plate relief print on paper; series of five
Plate size 8 by 10″; matted and framed 12 by 15″
“The Magdalene”
2017
Mixed media: acrylic paint, recycled rag, artificial foilage, thread, fiberfill
Approx. 26 by 17 by 6″

 

 

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!

“The Magdalene”, study
2017
Sanguine and white pencil on toned paper
Approx. 15 by 18 inches
Private collection

The Magdalene

 

“The Magdalene”
2017
mixed media: painted recycled fabric, embroidery floss, artificial foliage, polyfill
approx. 26x19x6″

I am happy to say that I have finished my latest figure for an upcoming group show here in the Los Angeles with a theme of “Bad Girls &Outcasts”. I’ve made about five pieces for the gallerist to consider and this soft sculpture figure is my latest.

As I continue on this practice of “painting-sculptures” I find myself more and more drawn to the possibilities of figures in the round. The making of these figures being immensely gratifying.

 

This particular figure was directly inspired by a relief print I had made before crafting The Magdalene. Perhaps its gimmicky but that print will accompany the figure when she is presented to collectors.

 As with much of my work one thing leads to another, this small print leading to another more complicated and I believe, more successful print, of the same subject.

The Magdalene, 2017, three plate relief print on paper, series of five

It will also be presented at the gallery.

The Magdalene has been a figure of fascination since my boyhood, searching out her familiar red hair and raw tears in countless museum visits throughout my life.

Her renunciation of worldliness in order to be closer to the God who left her behind stabs my heart every time. I’m of course playing loose with history and church tradition, but that is the  emotional effect, one of abject abandonment, that moves me so deeply . In many ways, she reminds me of Dido and her awful lament.

 Of course, at least according to Church tradition, she is ultimately reunited with her Savior , often depicted ascending heavenwards garbed only in her anchorite-wild hair. This visual tradition of presenting The Magdalene as a Wild Woman is also extraordinarily interesting to me.  She is in effect the corporeal equivalent of the divine other-wordly Blessed Virgin.

That old trope of Virgin and (Redeemed) Whore.

This resonates for me in that it allows exploration of the Old Gods and the New and how we , as a society , have tried to synthesize these elements in a cohesive and manageable way. I love both the BVM and The Magdalene, but personally, I feel closer to the latter.

Following are a few (unattributed) images of MM that I treasure.

(this is I believe, her reliquary , at least that what my what I noted)

Below is info concerning the show, if in LA, please visit.

The Unconscious , Tapping Trauma

 I am working on a series of pieces for an upcoming group show devoted to the maligned women of history , folk tale and myth . The show is called “Bad Girls”.  There are plenty of so called Bad Girls to choose from and I’ve selected a few that have resonated over the years : Salome , Mary Magdalene, the three crones from “Macbeth”. 

My studio progress which had been going well has been interrupted a bit ( even this post , ordinarily made from the comfort of my studio , is now made from my IPhone at my breakfast table . 

My little dog Rose is very sick . We nearly lost her over the weekend and her recovery is arduous and fraught with worry . My time and my emotions are occupied with her recovery . 

That said , I did manage to bring all the pups to the studio yesterday and put in a few hours . Rose’s whimpering abating , the anti anxiety meds kicking in allowing me some time to  focus. 

What I focused upon was the Mesoamerican moon goddess Coyolxauhqui, link below :

https://en.m.wikipedia.org/wiki/Coyolxauhqui#/media/File%3ACoyolx%C4%81uhqui.jpg

According to the legend this unfortunate goddess for reasons complicated by patriarchy and misogyny,  is mutilated beyond recognition. Forever memorialized in the monumental disc bearing her image found now at the Templo Mayor museum in Mexico City . She is a powerful figure.

 I worked rather feverishly yesterday as I knew my time was limited before Rosie became restless again needing my attention and the result thus far , is the corpus of the goddess found above . I myself was struck by the pathos of the being . 

As usual with my dollmaking I hadn’t filtered my emotions for mechanics; the figure emerged on her own . And after I held her broken body and posted her image online , only then , over dinner with my husband ( the psychotherapist) did I realize that my Coyolxauhqui was in fact Rosie.

 This should have been obvious , Rose has an amputated rear right leg and now a near lame right arm- she is essentially an invalid . That the doll is nearly life sized to my sweet pug is also an unconscious similarity. 

I’m of course completely absorbed with Rose’s needs , we both are . David , a medical doctor’s son is particularly adept in assessing in a calm cool manner; but he has his own work , patients of the human sort wrestling with their own traumas . 

As the artist with a more flexible schedule, nursing is for the most part, my duty . I’m so happy she is alive I am grateful to have this second chance . But it’s hard , she cannot eliminate on her own , fights me ferociously over her bitter pills and the whimpering, not consistent, but when she does whimper , it breaks my heart in half . Believing myself to be impotent , useless .

 This is Rosie yesterday , a better day ( after a fraught night ) , shopping for new bedding and nursing paraphernalia. She loved the attention , her tail wagging with enthusiasm.

 Today, after her follow up at the hospital ( it’s predicted to be a lengthy recovery , six months or so of this schedule), I plan to head to the studio and meet my other  obligations to the show , my work and to myself .

 The following images are of my progress thus far: 
Wish me luck.

Update, finished! and Rose is steadily improving!

“Coyolxauhqui Reassembled “
2017
Painted recycled fabric , feather, polyfil , thread , spit and glue