Lilith (the Mandrake) was nostalgically inspired by memories of my own youthful desire and identity struggle in the reign of disco.
By incorporating discarded elements of sartorial seduction current to the period (late 70’s early 80’s),the ubiquitous Izod shirts, which seemed mandatory for young gay men, the neon “New Wave” colors found at Fiorucci (and elsewhere) and the general “clone” aesthetic raging in NYC at the time, I tried to playfully examine the entanglements that were ahead of me.
The Harrowing of Hell 2018 Sanguine pencil, white charcoal, toned paper 24 by 18 inches
The theme of the great Harrowing of Hell, that period in time in which the Church seems to hesitate a bit, unsure of what really happened, that time after Christ sheds the mortal coil and isn’t seen for a few days. Where he is said to have descended into the Underworld as a triumphant New Adam and liberates lost and languishing souls- that, that moment , fascinates me.
It has for quite some time, as a youth I placed ink to paper in an attempt to imagine such a mythic moment ( the use of pomegranates as a decorative motif, seemed at the time, a brilliant allegory and subtle reference to Eurydice)
Youthful stab at a subject too grand…(1980-81?)
As the first(and latest) image attests, the theme still beguiles. Having only recently listened to George Saunder’s astonishing Lincoln in the Bardo (thank you Audible, now I must actually read it). I have been taken with the in-between time of death, redemption and the ambiguous souls left floundering; the Bardo as Saunders asserts. Death isn’t always with me in a dismal way, but it is endlessly fascinating. I don’t actually want to know for sure what the path ahead holds for me, but I am darn curious.
The first introduction to the theme of the Harrowing was Albrecht Dürer’s spectacular depiction of it (Dürer is a heartthrob figure for me in so many ways).
Albrecht Dürer Descent into Limbo
One can easily see Dürer’s influence on my work, going back to my teens. Clearly I stole from the Master in this youthful depiction of the Fallen Adam.
Unfinished drawing of Adam and fallen Bishop of Rome.
What I had failed to comprehend was what was meant by Hell. In time I came to realize not so much the eternal fires of a wrathful God, but a waiting station, the vague Limbo of my youthful Catholicism.
The theme has been explored countless times; the following, are a few favorites.
The ubiquitous follower of good old Bosch.A lovely example from 1504.14th century Petites Heures de Jean de BerryA gorgeous depiction of the Harrowung of Hell, only vaguely attributed as “Renaissance”. Lovely nonetheless.
My own inspiration was more random, less planned; in my last studio move, an accidental composition made itself available to me. I suspect I will returning to theme again. Perhaps next time Christ will be more triumphant, more muscular in spirit, less hesitant. Although, truth be told, hesitancy seems a reasonable stance.
The Harrowing of Hell 2018 Sanguine pencil, white charcoal, toned paper 24 by 18 inches
I’m very pleased that two of my favorite and decidedly not “family friendly” paintings have been included in this exciting group show curated by the talented Gwen Freeman.
Show details follow:
“Family Friendly” is a loaded phrase for those who do not conform to the hetero-normative model–the paradigm often described as “normal,” “just regular,” or “traditional.”
This phrase, “family friendly” can be interpreted by the LGBTQ community as code for “not including me.”
But, of course, gay, lesbian, transgender, non-gendered, gender-fluid, cross-dressing and queer people are very much a part of families all around the world.
This exhibit seeks to explore that fact, and to celebrate a broader more inclusive definition of family.
PARTICIPATING ARTISTS:
Joanne Chase Matillo * Natalie Egnatchik * Michael Frey * Leonard Greco * Kerry Thorne
CURATOR:
Gwen Freeman
LOCATION:
The AAC Blue Wall Alcove @ Ave. 50 Studio
131 N. Avenue 50, Los Angeles, CA 90042
EXHIBITION DATES:
February 10 – March 3, 2018
OPENING RECEPTION:
Saturday, February 10, 2018, 7 -10pm
Herakles & Telephos 2015 watecolor on paper 12 by 9 inchesThe Castration of Uranus 2015 watercolor on paper 11 by 14 inches
Last evening’s reception for Embodied:St.Anthony & the Desert of Tears was gratifying in many ways . Most especially in the support shown by my wonderful friends and fellow artists . The art community in LA is a generous one , I am exceedingly grateful for that .
But also in where this residency has brought me , I feel as if I am on a landing , creatively speaking , and about to ascend with a stronger conviction and more focused intention.
I thank Kristine Schomaker and her ShoeboxProjects, which offered this residency to me . I also thank Kristine for these marvelous images . Amidst the hubbub I didn’t take one image . So again, thanks Kristine!
With that said , let the mayhem be fondly remembered.
I love this image of Kristine, really working my hat .
My friend , the excellent photographer Stephen Levey took these images , I particularly like the one with my talented friend Bibi Davidson and our demonic love child .
Our wonderful friend Jodi Bonassi , another great artist , was working the hat as well !
Always lovely to see my friend Randi
And miraculously , our dear Malka Nevidi , yet another amazing artist, arrived near closing . Thank goodness. But all good things must end , we’ve packed it all away , down to the crisp white walls , ready for new inspiration. Filled with much gratitude… and now, a head cold .
In the final week of my residency I’m quite literally tying up loose threads ; I’m also trying to gather my thoughts, my feelings and clarify my intentions.
The following is the result :
EMBODIED: ST. ANTHONY & THE DESERT OF TEARS
Leonard Greco
Shoebox Projects – Artist in Residence
Embodied:St.Anthony & the Desert Tears, my latest (ongoing) body of work, is inspired most significantly by Gustave Flaubert’s “The Temptation of St. Anthony” (1874). The richness of detail and illusion that Flaubert evokes almost suffocates the reader in its voluptuous beauty. Flaubert himself was inspired in great part by Brueghel’s own phantasmagoric depiction of the tormented hermit. I wish in some way to allude to that dizzying yet exhilarating experience.
As a young boy Flaubert witnessed a marionette performance of “The Mystery of St. Anthony”. From that point on, “St. Anthony accompanied Flaubert for twenty-five or thirty years”, as the philosopher Michel Foucault has written. Flaubert returned to the anchorite time and again until completing the work in 1872. This is not an easy read, dense, at times over-ripe, seemingly more chant than prose; Foucault describes the work as an “overcrowded bestiary” with “creatures of unnatural issue.”
It is this “overcrowded bestiary” I wish to evoke with the still evolving Embodied, wishing to populate the tableaux with a parade of bewildering, complex “creatures of unnatural issue”. These hybrid embodied beings represent not simply base impulses but our own deep struggle to live a fully expressed life. For when I tackle such fraught topics as sin, temptation and redemption, I am looking beyond the typical biblically inspired admonition (such as Lust or the other Seven Deadlies). I am more interested in the quotidian, seemingly insignificant distractions that prevent us from embodying our truest selves. In essence, what interferes with your being authentic? What is your demon? Who, what shadows your path?
I’m particularly interested in exploring how the tools of modernity – social media, the self-commodifaction through “branding” oneself, the pursuit of relevancy— all hinder full true self-expression, perhaps even censoring it or rendering it mute. Foucault describes Anthony’s temptations as “…false gods resembling the true God….” I argue that false gods lurk in the inky alleyways of a frenetic and rapacious contemporary society.
The mystic Thomas Merton in discussing the Desert Fathers insists, “they did not reject society with proud contempt, as if they were superior to other men”, but instead were seeking the fullest expression of their purpose. Throughout our lives we are given signs which point us (or call us) in the direction of our authentic purpose, so as Merton reminds us: “…whatever you see your soul to desire according to God, do that thing, and you shall keep your heart safe”.
I will do that “thing”, clumsily, distractingly, awkwardly, but like Anthony, sincerely and with purpose.
In addition to my own words I was flattered by this generous review of my work by the art and culture writer Genie Davis . It certainly warms my heart .
Thank you Genie, Art and Cake and ShoeboxProjects.
I think I’ve developed quite an addiction to the myriad filters , texts and aesthetic options available on apps such as Phonto. As I try to promote my residency work and its reception next Saturday at ShoeboxProjects, I find myself distracted by the plethora of options .
Here is a sampling:
If you are in LA please try to attend , the location is in The Brewery at 660 S. Ave.21, unit 3, 90031.
If you can’t make that day , give a holler , I’ll be installing all next week and will be delighted to meet you there .
New year, new motivation. Today David and I spent the day hanging work for my installation piece Embodied: St. Anthony & the Desert of Tears . In addition to his unflinching support I was particularly grateful for the second pair of hands and eyes . I will continue to be more dutiful in documenting Embodied.
The following images were taken this afternoon.
My little Fiat is quite the workhorse.
The final unveiling is Saturday January 13th, 2018, 3-6 at Shoebox Projects ( in the heart of the Brewery), 660 South Ave. 21, Los Angeles, 90031.
Once again we find ourselves in Arizona for the Christmas holiday . Serene in the quiet of the high desert . David and I spending this celebration of the Savior’s birth reading , lolling about with the pups and desert strolls .
Seemed a jolly time to don my latest mask . I look a bit like Satan Claus.
I find it nearly impossible to engage in the abstract , my vocabulary is perhaps too concrete . In a brief attempt at schooling I was assigned a project in which I was to refrain from representation. I failed miserably .
I see figures everywhere , in water beading upon the shower door, cracks on a wall and in the drifting sand . It’s impossible for me to not embody.
Yet with stitching I find the randomness of my clumsy stitch work ( I am an inept seamstress, the “brut” quality is not an aesthetic affectation) reveals accidental non representational compositions. The compositions create themselves , I merely accompany them , needle in hand .
Of interest at the moment is mining the accidental compositions found upon my studio floor when working with needle . Fashioning my Stuffed Paintings is messy work , gravity and chance creates repeated patterns that I as a designer would be unable to imagine . I find them particularly poetic. I snatch them up and appliqué them upon whatever figure I am working upon .
There is something deeply gratifying in celebrating the discarded . As a queer man making work that is frequently as queer and having frequently felt disposable myself , elevating the overlooked is gently satisfying. This might very well be the overindulgent musing of an artist at work , but they are my musings . I leave them here , wishing all a tender holiday season .
Work in progress shot of “Lilith the Mandrake”, Twenty Nine Palms, CA
Today is the official first day of my residency with Shoebox Projects, here in Los Angeles. The residency is a little over a month allowing for the holiday interruptions. The unveiling of the work will be Saturday January 13th, 3-6 pm; link to the event: https://www.facebook.com/events/1994368064109763/.
As I embark on this exciting opportunity I wanted to first clarify my thoughts, the following is my statement of intent for this installation which I call Embodied: St. Anthony and the Desert of Tears.
Embodied: St Anthony and the Desert of Tears
The anchorite’s cave , the hermit’s lean-to and the studio of an artist are ideally a place of solitude, reflection and self discovery.A place to contemplate upon the divine , be it the godhead or the muse .
Yet this desired solitude is frequently tormented by demons, external and internal, distracting temptations seductively masquerading as duties or obligations, understandable commitments such as those to family, health and home are inevitable. These realities must be tended to with balance and discipline.
Yet more pervasive is the insidious influence of social media and the subtle influences of “community”, the chattering world , which frequently, at least for this seeker, stirs up emotions of self doubt , insecurity, timidity , and a call to conformity. Even within the sacred space of the studio one can be tormented by an almost adolescent peer pressure, the hive mind buzzing about can be deafening . Community, particularly amongst artists, is currently highly valued , perhaps a reaction against Individualism. But why ? Haven’t we the spark within? For although I treasure the fellowship there is also a very palpable anxiety ( again exacerbated by social media ) to compare and judge oneself , frequently unfavorably, against ones peers.
My inspiration for this mixed media installation is drawn upon the well known narrative of the Early Church Father , St Antony of the Desert and the hermit’s own struggle with demons. It is in the tradition of depicting Anthony ‘s demons playfully that I wish to explore my own struggles.
Oscar Wilde famously said that an artist’s duty is to make art “…for his own pleasure, and has never asked the public what they wanted …”.
This is an extreme, perhaps arrogant , isolationist stance yet if one recalls ones childhood , mud pies were made for the pure delight of the making. It is in this making , unfettered by opinion , second guessing or concern for that ever-elusive societal “relevance” that the artist must center their practice . For it is my belief that is where true art is found .
This anchorite hopes to do just that during this residency.
Ready to begin…
We were fortunate this Thanksgiving break to spend the holiday in divine desert isolation (Twenty Nine Palms, CA), renting a small cabin, free of distraction, bathed in blissful silence. It was much needed balm for us both and has provided inspiration for this project. A few images follows:
“Our” little cottage, eager to return.The house has running water, but a reminder…
The property has a wonderful abandoned cottage, it provided added inspiration. Trying to incorporate some of the images into Embodied.
In reading the narratives of the Early Church Fathers one is struck by repeated themes: temptations of lust, boredom, the perils of isolation. One recurring motif that I found particularly amusing was the desert desire for cucumbers. A reasonable desire perhaps, but the Freudian associations were hard to dismiss. Surprisingly, adjacent to our rented cottage, stood a date farm planted upon an oasis. The laborers had tapped into the precious water and planted gorgeous pumpkins and squash; they seemed a fitting reference to the hermit’s cucumber.
Eager to begin to assemble my multiple elements. I have a sense of intention, but as with all plans (and art making), change is inevitable. Please wish me luck.
But all good things must end , we’ve packed it all away , down to the crisp white walls , ready for new inspiration. Filled with much gratitude… and now, a head cold .
Once again we find ourselves in Arizona for the Christmas holiday . Serene in the quiet of the high desert . David and I spending this celebration of the Savior’s birth reading , lolling about with the pups and desert strolls . 
Boondocks Babylon 