I’m working on the skulls high on the right side, gradually bringing them down to meet the foreground. Getting the balance of the contrast is going to become increasingly important, and I’m concerned to get the scale of the skulls right as they get closer, but simultaneously looking for a swell-like motion in the surface too emphasize the feeling that the angel is wading through a sea of the dead, so having some variety of size is necessary too. It’s tricky to find the balance. I’m going to continue with the work, then edit when I’ve completed the layer.
Heading for the horizon
The skulls at the centre are complete, so I’ve moved to the right hand side of the painting, where I’m working my way up toward the horizon. I started putting a little shadow in the distance, leaving the most distant skulls alone in the faded white that I put on a couple of months ago; as they come closer I will add increasing detail to them to give the illusion of depth. By glazing a thin white over the top of them high in the painting and allowing this glaze to fade as it comes down the painting will add to this feeling of recession even more.
Once the entire layer of brown is complete I’ll revisit the skulls that feel shaky, touching them up and improving them with a little care, then add some warmth and coolness into the shadows and highlights. While I’m at it, I’ll extend the legs of the angel down a little further so he’s standing a touch more forward in the painting, and pay attention to the colour consistency of his rib cage, which presently appears to be very white on the right hand side, darker on the left.
I’m still figuring out how to add to the wings. The idea of putting peacock feathers into the painting still appeals to me, so I’m considering how they would work. I’d like to see the wings become more flamboyant.
Meanwhile, I’m trying to get over this jet-lag – I’m not sleeping properly, waking up very early in the morning, unable to get back to sleep, then feeling extremely tired in the afternoon. It’s making me feel quite antisocial. In addition, it’s been difficult to find the right times to paint, because there’s nothing like weariness to make my painting go bad. Why would I find it so easy traveling East, and so difficult going West? Wah wah wah…
Consistency
Jetlag has made me feel blurry and I’ve avoided the studio in favour of more adrenaline oriented activities so I can throw this tiredness off as soon as possible. I’ve also got to pay attention to some important administrative work for the art department at the university, so I need to divide my time carefully for the next few days between studio and office so I can focus on how we can provide students with a more effective program that gives them a really solid grounding in the studio techniques they need to learn.
The Angel shows some inconsistency in the skulls – those I did before Christmas are grayer and a little looser than the ones I’m working on now. I will need to be careful to rework those that are in that double band in the foreground to make them consistent with the new skulls. The first ones also got some Ultramarine Blue and Raw Sienna glazes wiped onto them when I was uncertain about the landscape and experimenting with it; before committing to the ocean of skulls that I’m now producing. The solution to that is obvious: simply add some of those two glazes into the new skulls so they match; traditional painters often choose to make their shadows cool and their highlights warm (blues and greens tend to feel cooler, while browns, yellows and reds feel warmer) so this will add some nice variation to the boney surfaces, while also making them feel more realistic and convincing.
Consistency is important in the production of the painting: if different methods are used in different areas the painting will feel disjointed and clumsy. I want this painting to feel unified and to produce an illusion that we are catching a glimpse of another reality, as if we are looking through a portal into another world.
Home to skulls
Arriving at home last night was wonderful! Although spending some time in Britain was profoundly rewarding, including the best visit to Stonehenge I have ever made, with a beautiful sunset so powerful that it felt as if I could hear the sun going down to the horizon, it still felt great to get back home and return to work.
This morning I went straight to the studio and got into painting the skulls, continuing my efforts to finish the Angel of Death foreground. These went pretty well, but I felt myself getting weary after a couple of hours, and thought I’d better stop while I was ahead rather than trying to keep going and messing it up. I’m making the skulls that have their faces visible look toward the Angel on this side, as they did on the left, making the skeleton draw more focus.
Fabulous Neolithic Art
I feel extremely fortunate to have seen as much Neolithic art as I have. Here on Anglesey there are some excellent examples of rock art still within its context, dating from four thousand years before the current era. It’s incredible that it’s still here to be seen.
First four pictures are at or around Barclodiad Y Gawres chambered cairn, Anglesey; the remainder are all from Bryn Celli Dhu. Both of these are splendid examples of Neolithic architecture with accompanying rock art.
Trefignath
Photos from the Trefignath burial mound near Holyhead, on Anglesey, showing two of the chambers. In the third shot you can see a band of quartz crystals that were on the back wall of the largest of the three chambers. The building was raised in about 3750 BC, then sealed by about 2250 BC, so it was in use for roughly the same length of time as the period from the Roman departure from Britain to the present day.
Inspiration
I still love this stuff as much as ever. Anglesey, North Wales. This was the last stronghold of the druids before they were annihilated by Agricola, who slaughtered them and overthrew the sacred groves. There’s not a single stone circle left on Anglesey, just fragments.
From the Roman propagandist Tacitus:
“… [Suetonius Paulinus] prepared accordingly to attack the island of Mona, which had a considerable population of its own, while serving as a haven for refugees; and, in view of the shallow and variable channel, constructed a flotilla of boats with flat bottoms. By this method the infantry crossed; the cavalry, who followed, did so by fording or, in deeper water, by swimming at the side of their horses. On the beach stood the adverse array, a serried mass of arms and men, with women flitting between the ranks. In the style of Furies, in robes of deathly black and with dishevelled hair, they brandished their torches; while a circle of Druids, lifting their hands to heaven and showering imprecations, struck the troops with such an awe at the extraordinary spectacle that, as though their limbs were paralysed, they exposed their bodies to wounds without an attempt at movement.
“Then, reassured by their general, and inciting each other never to flinch before a band of  females and fanatics, they charged behind the standards, cut down all who met them, and enveloped the enemy in his own flames. The next step was to install a garrison among the conquered population, and to demolish the groves consecrated to their savage cults: for they considered it a pious duty to slake the altars with captive blood and to consult their deities by means of human entrails. – While he was thus occupied, the sudden revolt of the province (Iceni and Boudica) was announced to Suetonius.” (Tacitus Annals XIV.xxix-xxx.)
These photos of Penhros Feilw Standing Stones.
Only two stones remain of what was probably a circle reminiscent of the magnificent stones at Steness and Brodgar in Orkney. The stone here is a splendidly buckled metamorphic rock with occasional quartz crystals showing up in it. In the background of the third picture you can see the Holyhead Mountain, fortified in the iron age, but failing to resist against the might of the Romans.
This is the stuff that feeds me! Call me a romantic idealist, but I feel completely satisfied when I get to be close to these stone monuments. I love visiting them and getting familiar with them. Although they were built six thousand years ago they feel very personal and make me feel as if the ancestral people who built them are still present today.
Spent the last couple of days hiking in the Borders of England and Scotland, first in Lancashire where the Emperor Hadrian built his two thousand year old wall, walking past the quarries from whence the legions cut its stones and the forts that were used to guard the Northern frontier of the Roman empire against the Scots and Picts.
Next to Dumfries for a wholly different kind of structure: Andy Goldsworthy’s “Striding Arches”; a series of free-standing arches that have been constructed here at Cairnhead near the village of Moniavie; in New Zealand and America.
The first photo shows Hadrian’s Wall at sunset – ‘nough said. The two below are of two of Goldsworthy’s arches, one at Cairnhead, another at the peak of Colt Hill.
At Rosslyn
Having been held up in both Los Angeles and Heathrow airports, I’ve arrived in Edinburgh with our students and made a delightful trip to Rosslyn Chapel, where Christian symbolism runs riot in an extraordinary display of stone carving. Here allegory is the language of the masons who built this lovely little chapel, almost bringing musicians, angels and biblical figures to life in the stonework of the ceilings and walls. I find this kind of imagery extraordinarily inspiring – clearly others do too, with Da Vinci Code devotees filling the coffers of the owners of the chapel, allowing them to rebuild the roof and repair the wear and tear of centuries of neglect and misguided restorations.
In these pictures: The Bronze Age tomb at Cairnpapple Hill, an allegory of death, one of many Green Men, a curious Angel and a horned Moses with tablet.
The boney crowd grows, and Tony Pro comes to lunch
We’re crazed at the university these days, in the midst of exam week and a frenzy of grading large stacks of drawings and paintings, but I squeezed in a few hours of painting time today, enjoying the company of my students Kiah and Payton, both working on learning en grisaille technique. It’s particularly good to see their efforts coming together so nicely.
Tony Pro came over to visit with my friend Mike Adams. Tony’s not only a splendid contemporary realist painter, but a very nice guy, take a look at his website. I thoroughly enjoyed eating lunch in the sunshine with him and Mike, and sharing war stories about the joys of working at rebuilding traditional painting techniques in the new millennium. It’s wonderful to find other people who share the same unease with the total rejection of craftsmanship in making paintings that happened in the twentieth century. I am increasingly convinced that the tide is turning, however, and that this is the time to emphasize traditional technique, putting us in the curious position of being avant garde while reviving what has been considered a dead art! In the photo Mike’s on the left, me at centre and Tony on the right.
Skull painting is going nicely, but more slowly than I hoped. I’ve been working on these heads in the middle ground of the painting, which allows me to commit to less detail, but means that I have to proceed with some caution to be sure that I keep them to the right size and continue the illusion that they are piled on top of each other. I’ll use a transparent white to glaze over these later on so that they appear to recede a little more than they do right now. I’ve chosen to paint the majority of them facing toward the skeleton, emphasizing its position in the foreground and increasing the impression that he has pushed his way through the heaped bones, which flow around him, suggesting great strength.