“Embodied”, my intention and some kind words

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.

https://artandcakela.com/2018/01/07/leonard-grecos-embodied-st-anthony-the-desert-of-tears-at-shoebox-projects/

 

 

Fonts, Themes & Filters!

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 .

Wish me luck !

Desert Epistles, 1st of January 2018

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.

I would love to see you there !

Stitching Towards Abstraction

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 .

Embodied:St.Anthony and the Desert of Tears

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.

Playing with Dolls

I am currently focusing upon an upcoming  December residency with Shoebox Projects here in LA. The last month has been spent fashioning figures such as the comely fellows above. The figures, what I call Stuffed Paintings are essentially dolls, dolls play acting an existential tableaux that I have called Embodied. In the spirit of Neo-medievalism I am tempted to call the dolls  Mummers. The latest Mummer is the red figure in the foreground.

“Proserpina, Archdiablesse, Princess of Evil Spirits”
2017
Mixed media: thrift store fabric, recycled clothing, acrylic painted canvas, embroiderty floss, poly-fill.
48 by 21 by 10

Proserpina, Archdiablesse, Princess of Evil Spirits is typical of the Mummers I have in mind for my revamped Mystery Play centered upon the trials and tribulations of the early Desert Fathers, most particularly, St. Anthony (and his legion of troublesome demons). Proserpina is also a bit of a gender play as are most of the characters. Gender role and “appropriate” performance  being explored and expanded upon.

Early conceptual sketch for “Embodied”, 2016

 

With Embodied I am also eager to explore the concept of withdrawal from worldliness, so beloved by the early Desert Fathers yet so elusive, so prone to “failure”; I find myself, in this age of constant performance (social media, self-branding, creating content suitable to absurdly small  attention spans) alluring and terrifying. I have struggled for the last few weeks to at the very least disconnect the Facebook app from my phone, but even that minuscule rejection of worldliness leaves me anxious and insecure. How did this happen, and what shall I do about it? Can balance be found?

For now I am focusing upon my desert tableaux, my Mummers and perhaps costumes, perhaps even performance of some sort. The following are a few of the Mummers thus far.

“Pierott”
2017
Mixed media: recycled fabric, acrylic painted canvas, embroidery floss, poly-fill.
51 by 23 by 8 inches

Pierott is perhaps the most emblematic of the Mummers. As a  queer boy I was fascinated with the commedia del’arte , particular Pierott, his melancholy and chronic heartbreak was both familiar and comforting. I knew the gist of the comedys and I attempted to recreate them in the little shoestring theater I set up in our suburban basement. All went well with my spit-and-glue scenery and costumes, the problem being actors (and an audience). Given that I was the eldest of six siblings I thought recruiting my siblings would be a cinch. I was wrong, they, my brothers in particular, balked at the faggoty-ness of it all (my father agreed with this ) and after several very lame attempts, the show did NOT go on.

My brothers to this day still mockingly gripe about my directorial bossiness; and I still feel hurt.

Stuffed Mummers, mute and obedient, would have been a better solution. 

“The Wodewose Quercus”
2017
Mixed media: recycled fabric, acrylic painted canvas, twigs, embroidery floss, fiber-fill.
54 by 31 by 8 inches

Al of the figures begin life as a sketch, sometimes just a random thumbnail drawing.

Sketch for “Quercus”

I find further inspiration from multiple sources,such as this manuscript illumination.

The making of Embodied is in itself a reaction against set gender roles. The stitching, the quiet needlework , historically determined to be women’s work is for me deeply enjoyable. Yet when I go to the craft and sewing emporium I feel conspicuously male amidst a shop full of Glendale housewives. I catch myself (pitifully) trying to butch it up as I clutch my fistfuls of gaily colored embroidery floss and sparkly trims. Usually I chuckle at my own absurdity and proceed to the cashier. But the sewing, what may have been women’s work , is now mine as well.

I still have much to do, so much more stitching and painting and thinking and writing , yet I am determined to enjoy this time. To forgo  elusive perfection and instead allow the process to unfold, hopefully revealing new directions , new intentions or solidifying ambiguity.

This fellow is based upon a strange tale told by one of the Desert Fathers. Locked in his desert cell, the unrelenting sun pulverizing his devotion, he suddenly, lustilly desired a cucumber. One can sympathize but the symbolism is amusing. That figure is next on the sewing table.

Concept sketch for “Cucumber Boy”.

I also plan on a crucifix, this being the beginning of the Corpus.

Corpus with sketch

Thanksgiving approaches and we are preparing for our own desert holiday in Joshua Tree , we’ve never been there, so I look forward to being inspired.

Happy Thanksgiving!