I’ve been invited to show some of my paintings at the International Alchemy Conference in Las Vegas this October! I’m delighted! This is billed as the biggest gathering of alchemists in five hundred years. How wonderful to be able to exhibit my work as part of this event.
Made my day!
Now, how will I have a show on alchemy at the CLU Gallery, and a three day exhibit in Nevada at the same time? Better get to work…
I just realized that after moving from the previous site I began posting the blog here on the Gilded Raven on August 8th, 2008: 08 08 08.
Here are a couple of old playing card hermits to compare to the Bombers painting I’m working on right now. Very different, but applying the same principles. The card version of the hermit appears to be weary and worn out, but he’s carrying the light with him. The card on the left is from the Marseilles deck, the one on the right is from the Rider Waite deck. My guy has clearly led an ascetic life, but he’s strong and clear-sighted. I think of the Christ in the desert as an archetypal hermit. The hermit of my painting models himself on him.
Art and Doug took some great pictures when they came to visit. Here’s a shot of the entire studio as it is right now. It definitely gives you the big picture. Art and I are talking in the top right, while my student Casey is way in the back at her easel.
I’ve been toying with the idea of expressing the trinity still further by painting the yin yang onto the hermit’s circle, resulting in this present appearance, which I’m quite partial to. The yin yang has become as ubiquitous as a smiley face, so I was concerned that it would be a bit cheesy, but I think it works well in this context.
The yin yang is often thought of as a symbol of duality, which is an oversimplification. The symbol clearly illustrates how dualities inevitably merge into each other within a greater context. It’s created by scribing two half circles within a larger circle, bringing it into line with the Pythagorean concept of trinity as an instantaneous product of duality. It really is a poetic symbol.
I worked on the lamp, coins, knife and grail, bringing them into a state of readiness for my next effort. I almost got to the sky again, but I’ll have to get to it next time.
I painted the knife as a lock knife again, as I did in the Fama painting. I reallly like these knives and use one regularly in my daily life. As an object for painting, I think they’re great, a nice mix of wood and metal.
The lantern is modeled after one I’ve had in the garage for fifteen years. It’s a British coal mining lantern that runs on paraffin (called kerosene in the States).