In Memoriam

2nd of November 2012

Apparently this tribute post to my friend Loreen has caused considerable angst to folks that also have called her friend.

If in my own sadness I said anything that has caused hurt I regret that fact.

I received a comment from one individual, quite mean spirited and untrue, that gave me an indication of the breadth and impact this modest studio blog possesses in this age of hyper connection.

My intention was a testament to my friend, her kindness, her quirkiness and her compassion.

I have combed through my post searching for anything that might be misconstrued.

What I will not do is erase the memory of my friendship with this exceptional woman.

That belongs to me.

If for some reason (even after scrupulous editing ) I have somehow missed an untruth I will consider reasonable requests for further editing.

Please remember to maintain a courteous tone when making comments.

Thanking you in advance,

respectfully,

Leonard Greco

Loreen prior to a charity costume event, April 2012

I lost a friend today, she died suddenly, I hope without too much agony.

In April she was  gleefully attending to her duties as a Palm Beach hostess;  by August cancer had spread through her little bird like body.

My heart is heavy thinking of my  friend suffering .

Her name was Loreen Farish her maiden name was long , complicated  and Teutonic ,”B” something, I’m ashamed to say I do not know it. Nonetheless she was a wonderful friend, a joy to play with, laugh with and share a cocktail with.

Born into an old Philadelphia family, rich in lineage; she fell in love with Judge Joe.  Equally old family, southern charm, grand old plantation sort of background, he had love to spare . They were an odd-ball pair, he a bit older, both vivacious and social. He built the biggest house on the block, dwarfing Tiger Wood’s pile.

Restraint wasn’t their style, they lived lavishly yet in keeping with good old Waspy sensibilities (if not  orthodox taste), frugally popping into the Dollar store almost every day -” A hundred bucks buys a lot!”one of Loreen’s familiar refrains.

I met Loreen as a client, initially it was difficult, she wanted mermaids but insisted upon Disney characters; fortunately she liked me and I reminded her of fairy tales and she warmed up to softer imaginings. I worked for her for years, often camping out in Palm Beach, she would golf, go to Walmart for inexpensive fabric (she made her own clothing out of some  of the most audacious patterns I have ever seen), she would play and fuss over  her ridiculously spoiled cat Maya but most especially fun, she would chat with me.  

Trips down Memory Lane of “fabulous” parties and costumes, tickled by excess,she would trot out her jewels (Harry Winston, the NY jeweler was a family friend and crafted much of her collection) modeling them in her  sweetly silly pajamas.

Every day was show time, no outfit was complete if it wasn’t thoroughly “themed”, jungle print costume required amber pineapples tipped with jade fronds and panther bangles ;summertime fare featured funny crab pins articulated in such a way that the ruby arms pinched you amusingly, pearled starfishes sat on her breast; a trip to the race track suitably and campily equestrienne.

Loreen loved camp and adored skewering “good taste”, nothing made her happier than pissing off her  somewhat priggish decorator (my boss) with her outrageous glitzy taste.

I loved her for all these reasons, her “garden” fashioned from dollar store blooms; her silly cards on “our” holidays: St. Pat’s, Valentines Day and most especially Halloween. She didn’t manage to live to see Halloween this year, I sent her a card as usual, but I doubt she was well enough to chuckle at it. That hurts.

When told her cancer had spread essentially everywhere, chemotherapy wasn’t helping at all ;  her response was typical: “Oh shit!”.

Such a statement, typical of her, would have been more effective with a tall glass of gin in one hand and a cigarette in another , but by that time… But Loreen was right, “Oh Shit!”.

I miss you my friend.

The following are snippets of the work I did for her (around 2004).

I confess they are not really something I am particularly proud of : but she loved them, that makes me proud. I haven’t had many “fans” over the years, but Loreen was my most faithful.

Today I lost a fan and a friend, and tonight my world is a bit lonelier.

decorative panel, dining room

Red, purple, gold (real gold) and white (as in marble), were the only colors permitted.  I love a design challenge and this was a doozy.

dining room featured in some vulgar magazine.
detail, we both love orchids, who doesn’t?
Detail with what she called her “Santa” thrones, gold leaf and scarlet ostrich, difficult to appreciate, but God love her she thought they were “fabulous”. I guess they are.

My favorite room was the Breakfast Room, the Atlantic lapping at the door, and  one of those ostentatious mega fishtanks front and center. But Loreen and I had a ritual at day’s end, drink martinis and feed “Joe’s” fish. She was squeamish about the live fish food so  she thought her vegetarian friend should have the honor. Suitably lubricated we would giggle and fall in love with the finned fellows. When one died (they were always dying) we were heartbroken. We decorated the room with a grotto theme, it is far more elaborate than what I have posted, but enough is enough.

breakfast room, detail with lobster

over-door decoration, breakfast room
another over-door decoration, featuring element from the Farish crest.

Joe was big game hunter ( I know disturbing as all Hell). He had tons of  musty dead animals all over the place. Loreen was the least PC person I knew, she delighted in decorating the stuffed horrors with diamonds. It was awful, but her delight tickled me in spite of myself. This poorly painted cat is taken “from death” , a study of a ratty moth eaten feline, one of a pair.

Game Room decoration, pun intended

As I mentioned Loreen wasn’t at all politically correct, quite the opposite. Her husband didn’t hold  strict politically correct views either. When decorating the house powder room a Blackamoor was requested.  Blackamoors are considered by many to be a “no-no”, viewed as insensitive concerning racial identity. There is a decorative tradition for this sort of thing, that’s what I told myself , for I  also love Blackamoors.

 

decorative panel, Blackamoor with martini.

I cringe a bit at this image, poorly rendered, harsh coloring,distasteful; but it pleased Loreen immensely .

The following is a page from the aforementioned “shelter” magazine. The “slipper” chair was equally treasured, you see what company my poor Blackamoor keeps.

Loreen was the last of her line, the house will be sold.

It is an ostentatious pile, 20-30 thousand square feet, I can’t keep track of that sort of thing. But it will most likely be torn down, my frivolous decorations  with it: Jack climbing his Beanstalk as you ascend the elevator; the pretty golden mermaids in the maid’s bathroom; Maya’s feline portrait a la Turque over the bidet, all will go. That’s the price you pay with decorative work, it’s ephemeral. 

I’m not saddened by the loss of work I am not particularly proud of. I am saddened at the loss of the moment, funny hours,  a bit blottoed on martinis giggling with my friend. Silly funny memories from a  delightfully silly, sometimes terribly sad woman I was very pleased to call my friend.

the much loved/reviled slipper chair.

Tomorrow is Halloween , Happy Halloween dear Loreen.

You were a complicated, perplexing , sweet and thoughtful friend.

I miss you, looking at these images reminds me once again how fleeting all of this is, the good and the bad.

Take care friends,

Happy Spookiness!

LG

From Yesterday’s Sketchbook

I am on a Minotaur jag, conversations with Clive have me thinking about the theme. I want to explore possible emotional themes concerning the unfortunate beastie while at the same time avoiding the Beauty and the Beast trope.  I have a lot of territory to explore.

Theseus and the Minotaur

Until next time,

take care,

LG

A Blast from the Past

 

What seems like many moons ago, I painted the dressing room ceiling of my friend Eleanor. She posted this image on her Facebook page, bringing back very fond memories.

 Eleanor has a fantastic collection of jewels and fashion, what would be more suitable to guard her treasures than a fierce dragon.

The room and the painted decoration were a nod to Brighton Pavilion, a shared passion of the client and of the painter.

Brighton Dragon, Eleanor’s dressing room

Until next time,

take care,

LG

Theseus and the Minotaur

I was assigned by my printmaking instructor to put together a full value sketch for our next assignment, mono-printing.

No problem, delighted to oblige.

What I find  surprising is how most of the class does not share my enthusiasm for this part of the process.

 I-phones in hand they download an image and create from such a micro source- it boggles my old weary eyes.  

I overcompensate at times and this sketch became a finished drawing.

 I’m happy about that, I have wanted to play with the Minotaur theme for quite some time.  Picasso an inspiration for subject matter if not aesthetic approach, Clive’s gorgeous horse-men also prompted me along , but most especially Blake’s incredible illustration for Dante’s Inferno.

 I love the half beast-half man being truly half beast and not just sporting a bull mask (although Picasso’s Minotaurs cannot be beat for pure erotic appeal).

detail of Theseus and the Minotaur

Theseus, described as young and handsome, was of course a delight to depict-thank goodness there aren’t many plain Greek heroes.

Theseus and the Minotaur
pencil on paper
18 by 24 inches

Detail of Theseus.

detail of the hero prince

The following was a beautiful inspiration for the awful Minotaur, an inspiration I failed to follow.

(It can be found in the Museum of Athens. It is incredible, I would love to visit the mad beast.)

When researching the Minotaur myth I found few examples of the “centaur” version as depicted so beautifully by Blake.

Although there is little stylistic similarities in my drawing to the Blake, I think with mono-printing I may be able to capture Blake’s well- studied spontaneity.  I will post the results.

I was delighted and spooked when the Minotaur theme entered popular culture. On one of our favorite television shows, Dexter , last evening’s episode featured a terrible  murderous villain obsessed with the myth. It was a truly frightening. 

Well  ,back to work,

until next time,

LG

Gligamesh and Enkidu and other beefy fellows.

 

Printmaking is progressing onwards, seventh week already; received  my first grade for  the etching/aquatint segment of course.  I’m pleased with the grade.

I’m less pleased with my actual mastery of this tricky medium, trying to be patient and enjoy the discoveries.

It would be lovely if I were a relaxed, easy going southern Californian like  my fellow students, everything that is produced is “G-r-e-a-t!!!!”.

Their enthusiasm is exhausting.

Anyway, the following  print was designed to showcase my understanding of the various techniques taught within the last few weeks.

I upped the ante a bit by choosing a larger plate (9 by 12) and focusing on drypoint which everyone in class including the teacher seems to shun; I love the technique. The techniques are a soft ground transfer, with drypoint and aquatint ; the aquatint failed multiple times to produce sufficiently dark value- the plate became warped and the rosin would not settle properly. I compensated with drypoint.

The Vanquished Humbaba
etching
9 x12
1/3

The above image was printed in a particularly pretty blue, I also ran a run in graphite, pretty color, but a bit weak.

graphite run

Actually, I rather like the color.

My first proof was just the soft ground etching, which I liked, reminded me of a very primitive Flaxman print.

first proof

We initially begin the project with a value drawing.

Initial preparatory drawing for the “Vanquished Humbaba”

My inspiration for the print was from a spectacular Syrian bas relief of the 10th or 9th century; I’m crazy for its archaic quality and its humor.

Syrian basalt relief

Gilgamesh and Enkidu Slaying Humbaba

basalt relief, from palace of King Kapara at Toll Halaf, Syria.

10th-9th cent. B.C.

When I began this class I also began a large painting, 50 by 60 inches. Taking Clive’s advice I decided to move the action forward (the Syrian relief an inspiration). I made use of my Hero Twin maquettes and have been busy painting since.  I am nearing completion.

Until I post the final image I thought I would tease with my preparatory sketch.

Preparatory sketch for the “Resurrection of the Father” with maquettes of the Hero Twins.

Well I must get on with my day, an evening class but first a studio day to work out a plan for for mono prints, our next adventure!

 Take care, LG

“N” is for New Fire Ceremony

At last another entry for my Primer of New Spain, “N” for the New Fire Ceremony. The end of the Aztec “century”, every 52 years was a precarious time, one full of tremendous trepidation. In the period of 7 “centuries” four major disasters occurred ; it was of great significance to the Aztec  that the New Fire Ceremony succeed .

After all flames within the kingdom were extinguished, the ceremony was performed south of Tenochtitlan at Huixachtlan, the Hill of the Star. The  nocturnal ritual entailed the usual human sacrifice; but after the removal of the unfortunate victim’s heart, the priest kindled a new flame from a drill board placed in the chest cavity.

The belief was that the new flame was divine, sent from the heavens ; IF a flame occurred the Universe was given a 52 year reprieve, if not…

My interpretation depicted with my usual romanticism includes a youthful priest, the victim equally young; I am currently a bit obsessed with Cain and Abel; my Temple of Huixachtlan fashioned to vaguely resemble the letter “N”;my altar looks suspicioulsy Neo-Classical.

All to be expected I suppose.

“N” is for New Fire Ceremony
watercolor on paper
11 by 18 inches

It is interesting to note that according to Fray Bernardino de Sahagún the last New Fire Ceremony was held in 1507 during the reign of Motecuhzoma II; the eighth was scheduled for 1559 but by then New Spain was a firm reality and the Aztecs long vanquished.

On another note my painting The Sacrifice of the Father: Recollections of the Popl huh I has been accepted in a group show at the Los Angeles based Brand Library and Gallery ;the exhibition, Memories , seems to have proven a suitable fit for my offering.    This is the second year I have participated at the Brand, the exhibition is Brand 41 as there have been 41 exhibitions.  My painting is now sitting in my studio freshly ( and unexpectedly expensively) framed.  I will most likely not attend the opening ( a bit of a schlepp), but I am hand delivering the painting tomorrow . 

Recollection awaiting delivery.

Until next time,

take care,

LG

Found a  silly Aztec cartoon that seem timely to this post:

Intro to Printmaking

As I mentioned before I am taking a course in printmaking, so far we have focused on etching and its various methods.

It is as many can imagine, very exciting, frustrating and humbling.

But I am thrilled to be gaining this knowledge.  The following image is my first complete print, which consists of three distinct processes: hardline etching, soft ground texture and aqua/mezzotint.

Predictably I have chosen my beloved Quetzalcoatl sowing his seed (naughty innuendo intentional) .

Quetzalcoatl
etching
6 by 5 inches

First off, please understand I am still trying to master the most basictechniques; my stylus slips all over the zinc plate, my hand is unsteady and insecure, this clumsiness is apparent .

But at this stage I really am trying to merely understand the process and the opportunities afforded by this new medium.

The first stage of this print is hardline etching, pretty basic ; you press your stylus into a plate prepared with a base coat of hard asphaltum. Warm the wax on a giant hotplate, you roll it out, cool  it and presto, a lovely surface to doodle upon.

Unfortunately  i have yet to master line control on this slippery surface.

Patience and practice… first stage follows:

First plate- hardline etching

The second plate, adds texture and mood (or so I am told), frankly it is my least favorite stage.

I prefer creating texture by hand.

In this assignment I was instructed to press textured material into the plate which had been prepared with a softer ground of asphaltum than we had used for the hardline step.

I chose, given the print’s very small size, wisps of broken cheesecloth and snippets of  an ungodly 70’s textured wallpaper. 

second plate- textured soft ground

The third plate, which was to be our last, was aquatint, a variation on mezzotint (made famous by Goya).

This was the most challenging step, values are determined by timed soaks in an acid bath.

Having first fashioned (a time consuming) value chart , I had a sense of how to achieve the values I sought; or so I thought.

third plate- aquatint process

Unfortunately my timing  was off, I hadn’t created any blacks; a problem in that I wanted them, and more importantly the assignment demanded them.

Back to the acid bath, blocking out the areas I wished to keep with a material called Stop Out ; then with careful timing, seeking to attain my goal of a richer black foreground.

fourth plate-final

I achieved what I sought, I would make changes if I could have better predicted the outcome,  but I am pleased that I am beginning to better understand the complexities and opportunities of etching.

My appreciation for my own collection of  18th and 19th century engravings and etchings has soared beyond mere aesthetic appreciation ; what was accomplished by these past masters is technically astounding.

A technique I was eager to play with was drypoint.

 I have a few drypoint prints in my collection, I love the evocative smudgy quality of the images. Rembrandt of course made the technique famous, but others have mastered it as well.

 It turns out (thus far) to be my favorite technique.

It also proves to be the most challenging, this little (3 by 4 inches)Ecce Homo is my first incredibly naive attempt.

It is a brutally ugly image, I’m frankly embarrassed  by it; but Clive has encouraged me to revel in the process.

So here is what reveling in the process looks like.

God save me.

Ecce Homo
drypoint
4 by 3 inches

Tomorrow we start a new process, soft ground etching. It is a process my insructor believes offers artists the freedom drawing affords. In anticipation I have put together this finished drawing of Cain.  I understand the final image will not retain the precision, but I like to work out all details BEFORE facing an acid bath.  I will post the result and perhaps some of the process when  I am finished.

Expulsion of Cain
preparatory drawing on paper
6 by 5

Until next time,

take care,

LG

“K” is for Kukulcan

As the deadline for Alphabet Soup looms in the not so distant future I decided it was time to get busy; printmaking and mythology assignments be damned.

This addition to the Primer of New Spain is for Kukulcan, the Yucatec  term for quetzal-serpent (aka Quetzalcoatl).

Early accounts (pre-Aztec) of the priestly king describe a  divine sovereign so gentle of nature that when tempted by demons to engage in ritual human sacrifice he refuses. The Codex Chimpalopoca informs the reader :

“he would never agree [to human sacrifice] because he loved his vassals the Toltecs, and his sacrifice was always of snails, birds, and butterflies”.

Poor snails, birds and butterflies.

This enlightened monarch evidently introduced his people to the benefits of maize-hence the funny little crown.

He is also understood to be of great beauty, rendered the color of jade, beloved above gold-hence his pretty green body.

“K” is for Kukulcan
watercolor on paper
11by 18 inches

The funny little crown I mentioned is based upon a stucco portrait of the Great King Pacal of Palanque.

One of my older books describes this gorgeous bust as perhaps representing a priest of Kukulcan, the Quetzalcoatl of the Mayas. That has since been disproven but I thought the inspiration for my priestly king appropriate.

Stucco Portrait, King Pakal, Seventh Century A.D., Palenque

I love this portrait bust, I believe it rivals that OTHER bust of a certain lovely Egyptian queen. This portrait of Pakal captures the grace and beauty of Mayan art that just makes me loopy.

Another inspiration, another source of loopy-ness is the Pergamon Altar ; since boyhood the unabashedly sexy snake-legged giants have fascinated ( and titillated ) me.

They proved useful models for my winged- serpent- priestly lord, Bestower of Maize .

detail of Pergamon Altar

That is it for this evening, I have readings to finish, tackling the Orpheus and Eurydice tradition, next on to the Creation of Man.

Exciting stuff.

I’m almost finished of my first etching, it has been in three parts,  I will submit for later review. It is crude, but the process is fascinating.

Gotta love a good acid bath!

until next time,

take care,

LG

“Death would have him…”, the doomed Amphínomos

When I landed in San Diego I quite literally closed the final page of  Homer’s Odyssey ( Robert Fitzgerald edition); unlike our hero Odysseus I did not return to libertine suitors or “a wife dishonored” but rather my own dull life.

What I was left with was many vivid images.

Homer directs a set with meticulous detail, he minutely describes the marble halls of kings, golden vessels pouring forth liquid hospitality, horrifying monsters ready to pounce upon the weakness of man, fetching virgins willing to do the same and  the gallantry and failures of man himself.

Once such Everyman was Amphínomos, son of Nísos Aretíadês, comely , “gently bred” (340) and of all the ruffians wooing fair Penélopê he pleased her  “…for he meant no ill.” (302-303).  I was drawn to this character for in the telling of this tale Homer points out the excesses of  the suitors, the bold heroics of Odysseus and his son Telémakhos, the cunning of Kirke and the mad predictions of Cassandra; all characters extraordinary in their way.

Amphínomos isn’t particularly heroic he merely seems to possess basic deceny, a desire to try his hand at the hot widow Penélopê and indulge in the overflowing sweet wine and unending platters of roast meats served by boys with “…pretty faces” and “…pomade ever on their sleek heads…” (278). Can’t really blame the fellow.

In fact his only real act of heroics lies in his aversion to regicide, when the unruly mob of suitors plot to eliminate the young Telémakhos only Amphínomos objects, being unwilling to kill a “…prince of royal blood…” (303). Again and again it is just garden variety decency that makes Amphínomos so endearing, even to our lofty hero, Odysseus. Disguised as a beggar at his own court, Odysseus is greeted with cruelty by the band of loutish suitors; Amphínomos offers bread and cordiality to the unfortunate wretch. Odysseus repays this kindness with  words of advice “Get outta Dodge”. He warns the young man  that the king will indeed return and all are doomed for there will be “…no way out, unless by blood.” (341).

Something deep within the young knows this to be correct, he witnesses the debauchery around him and knows what the beggars says to be true. As he turns to leave he is frozen for “…his heart foreknew the wrath to come, but he could not take flight, being by Athena bound there. Death would have him broken by a spear thrown by Telémakhos. So he sat down there where he has sat before.” (340-341).

This is my interpretation of the doomed Amphínomos, the grey-eyed Athena and Unrelenting Death.

The Doomed Amphínomos
colored pencil on brown paper
24 by 18 inches

Well that is all it for now,after facing a fearsome goddess and Death himself, I must walk my dogs.

I had hoped to discuss my thoughts as to why this example of  Greek fatalism contrasted so sharply with the Good News of another figure to come. A theology where  redemption was indeed possible; where a fellow like Amphínomos inclined to change could have done just that. How in the Classical world god and man were bound by Fate ; the hapless must returned to the chair “…where he had sat before” and silently accept what must be. How a new theology could have understandably appealed to an ancient world weary of the irrational tyranny of  fickle gods and brutal destiny.

But thankfully I haven’t time to discuss such matters, I have rambunctious pups to attend to.

Until next time,

Take care,

LG