Following Rich’s comment about the hermit, here’s a related card from that Rider Waite deck. This time it’s the Fool with a staff, about to step off a precipice.
I do like these cards. This is art that’s useful.
One day I’ll get round to painting this character, or my version of the archetype.
The staff and the light are notable parallels between the Fool and the Hermit, who both represent the seeker in different stages of the journey.
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.
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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.Â
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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.
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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).
I meant to mention that I marked the 1.62 ratio on the rod, and I’ll define that ratio still further when the white layer has dried completely. I thought I might try having one end black, the other white, and the centre section in grey, emphasizing the trinity.
I cleaned up the sidebar this evening, after I realized that the links hadn’t transferred over from the previous site. Please visit them!
I’m getting my share of painting rocks right now, although the work is worth it because it’s making a rich textured surface. I mingled grey stones among the white / orange ones, a simple mark of dark grey with a white highlight on one side and a dark shadow on the other. Very easy, but there are so many of them to do. In order to continue getting the depth I want I’m painting the pebbles that are closest with most detail and contrast, and the ones that are furthest away with a softer and lighter touch, a greyer paint.
I painted the rod white and started fixing the black shoe, which is still not right. I’m going to need to focus on this with greater clarity than I was able to find today.Â
I’m really enjoying making this painting, so much that I’m beginning to neglect other works. I must get the panels ready for the As the Crow Flies additions, and the Golden Bowl has rested untouched for a couple of weeks, deserving better treatment than that.
This morning Art and Doug came over to take photos for a slideshow that they’re making for the university website. I will post it here as soon as it’s finished.
The show at CLU has found its way onto the cultural events calendar on the University website here. Thanks to the web design folks, Art Miller, Peggy Johnson and Doug Barnett, who all rock!
The Principle
Works by Michael Pearce
September 20 – October 24, 2008
Kwan Fong Gallery
Opening Reception: Saturday, Sept. 20, 7 p.m.
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I was irritated enough by the scrappy surface of the canvas in the sky that I scraped it all to knock off the protuding bits, then repainted with a light blue grey.
I added some cadmium red to the hermit’s hat, and scattered some dashes of it around the stones and into the mountains to give some unity to the painting. In natural light there is a lot of reflected colour that is almost unnoticable, but if you don’t make sure that there are a few hints of each colour elsewhere in the painting your eye will notice that something’s not quite right, so I always add a little of each colour into the general landscape even if the object is a minimal part of the piece.
I mixed a touch of cobalt blue with the flake white and added some of the slightly blue lead white into the stones which are really coming to life now. Using the same white on the circle has given me a bit more dimension as the warm and cool whites play against each other. Finally the megaliths got another cleanup to define the colour.
 