Dream

I wasn’t really sure that this would be appropriate for the blog, but I suspect that this dream will show up as source material for a painting one day.

I was at a funeral in a hall. The body of a man lay across a platform raised three steps from the floor, on the right side of an altar, his hands placed on his chest, his head close to the altar, feet pointing toward the right side of the room. My old school headmaster (whose name was “Jock” Campbell) approached the cadaver from my right and placed a wooden device over the body’s fingers so they were secured inside its framework with the palms together. Having positioned the device on the chest he took some string and made a cats cradle network in his own hands, placed the string into the top of the machine and smacked it hard with the palm of his hand, pushing the line quickly down around the dead man’s fingers and tying the hands together in an attitude of prayer.

As the headmaster turned his back on the body, two men strode forward and in quick succession efficiently threw their burdens onto the corpse’s chest; first a coiled rope with a noose tied into one end; then a live cat. The cat landed on the body with claws extended, digging them into the man’s flesh. The cadaver’s head turned toward the audience, opening its eyes and began to slide sideways. I expected it to collapse down the stairs, but even though his mouth opened to reveal a blackened tongue and somehow his chest opened to show the embalmed organs, the man was impossibly alive, and reaching out his arms, now instantly freed from restraint, extended his spread fingers to the floor to prevent his fall upon his fingertips.

Appalled, I realized that in spite of his hanging on to life even after being embalmed, he would not live, and the ceremony would most likely continue anyway. Horrified, I woke (and wrote the dream into my sketchbook).

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Summer Solstice

Today’s the summer solstice, the longest day of the year, when the sun at sunrise reaches the most northern point of its journey across the horizon. Depending on where you are on the earth, at midsummer the sun rises roughly North East, setting at the end of the day roughly North West. At mid-winter it rises roughly South East, and sets roughly South West. Days on which this event occurs are called solstices, which literally means “sun stands still”. 

 

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A simple way to imagine the division of the horizon is to divide a circle with a diagonal St. Andrew’s cross, creating a universal solar symbol that appears in archaic cultures worldwide.

Other important astronomical events, including lunar limits (orange dots) are shown in the diagram below. Solar events are in blue.

 

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At solstice the sun rises in roughly the same spot on the horizon for three days before and three after the solstice day itself, for a standstill total of six days. The sun has reached the extremities of its sunrise and sunset positions, as far North as it will rise on midsummer’s day, as far to the South as it will rise on midwinter’s day. The lunar “Metonic” cycle is also predictable (although over the much longer period of 19.67 years) and has similar extreme rising and setting positions that may be marked using the same technique of alignment. Alignment to lunar or solar events is an important feature of some stone circles and chambered cairns.Other significant positions in the solar year include the days of Vernal and Autumnal Equinox, when the day and night are exactly evenly split and the sunrise and sunset are due East and West and the other two cardinal directions: North, the fixed point around which the night sky spins, and South, which follows the sky’s solar zenith line. Neolithic architecture seldom was aligned to either North or South, but tending toward the solar extremes.

Christmas Day is on the 25th December. I wondered why this important festival missed the winter solstice, then discovered that the 25th is the day the sun starts moving again, after it has been stationary for the six days of solstice. The symbolism is lovely, the Christ is born on the day darkness is overcome, the sun wins its victory over night. The birth of other avatars has traditionally been celebrated on this day for the same reason, including Mithras and Sol. 

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As the crow flies VII

Today’s progress was minimal, but effective. I worked on adding colour to the second en grisaille layer, which I never did take a picture of. The first layer of colour has gone down pretty well, as usual I see an host of irritating details that I will need to put right, and not much time left. (mouth too small and too dark, nose completely wrong, grumpy expression, not enough detail in the arms, hands and hair… I’m looking at a few days work to really get things right.)

 

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The piece is shaping up well, and I think it will work out well in the show. There’s a fair bit of work yet to do adding more crows.

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As the crow flies VI

Sandy sent this piece of Ted Hughes’ work as a comment. I thought it was fabulous, so here it is as a post too. Thanks for sending it Sandy.

 

Ted Hughes – From the Life and Songs of the Crow

 

Crow Communes

‘Well,’ said Crow, ‘What first?’
God, exhausted with Creation, snored.
‘Which way?’ said Crow,’Which way first?’
God’s shoulder was the mountain on which Crow sat.
‘Come,’ said Crow, ‘Let’s discuss the situation.’
God lay, agape, a great carcass.

Crow tore off a mouthful and swallowed.

‘Will this cipher divulge itself to digestion
Under hearing beyond undestanding?’

(That was the first jest.)

Yet, it’s true, he suddenly felt much stronger.

Crow, the heirophant, humped, impenetrable.

Half-illuminated. Speechless.

(Appalled) 

 

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Geomantic man

The work today began with the crow piece, to which I added the second more refined layer of grey work to get the figure closer to the finished rendering before the colour work goes down. I’m pretty content with him right now, but I think one more go at it will really do the trick. I’m not sure what happened, but I forgot to photograph the painting as it is after todays en grisaille work, so I’ll post it tomorrow.

After getting the figure work down I turned my attention to the Geomantic man, who has benefitted immensely from some definition in black of the bottom half of the painting in particular. I don’t particularly like the face, and I’d like to rework the entire head to become more stylized, in keeping with the rest of the body.

 

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Some detail shots of the man. 

I’ve been thinking through how this is all going to work in the exhibit, and I’m committing to laying down tape on the solstice line, then hanging the paintings accordingly. This may result in an odd arrangement of the room, should be fun to reorganize the space for a while.

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As the crow flies V

I worked at the en grisaille layer of the figure today, first sanding down the area that needs to be painted, then laying in a rather rough version of the values. The more I paint the more I appreciate the roughness of working fast in the earlier stages of the work, then controlling the marks and refining them later on. This allows for the accidents of the mark-making process to become part of the work, so it feels as if it has all created itself, almost by accident. The looseness is controlled so that there is the sensation of guided spontaneity. In the Amelia Earheart woman of the “Aviator’s Dream” you can track that process as you watch the painting develop. I’ll keep the same discipline now as I work on the seated man.

 

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First layer en grisaille. Lots more to do here. 

Once I’d completed the rough en grisaille layer on the “Crow Flies” painting I continued working on the Neolithic Geomantic man, mostly line work to clarify the edges of the figure and clean up the feet and legs in particular. I plan to paint some crows onto the large open areas, then for the installation I’ll hang the two pieces opposite each other. In the centre of the space I want to lay out a circle of gravel with a circling pendulum suspended from the ceiling, rotating about the circumference. 

I’ll probably lay some tape onto the ground to mark the solstice line and align the space. On the other two  walls I think I’ll mount some blocks with some wax and salt opposite each other. We’ll see.

I gave up on the numbers by painting series some time ago, I think because they were too tight and design oriented rather than painterly. I started thinking of the Pythagorean numbers in terms of figurative composition, so I started doodling for a figurative version of the number seven. I’m pretty satisfied that this might go somewhere, particularly if I can come up with figurative arrangements that conceal the shapes so that they’re only obvious if people are paying attention. I really love to put secrets in paintings. 

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As the crow flies IV

I spent the morning taking care of administration then got to work after lunch. The studio looks great right now after a big clean up courtesy of our student worker Marianne, who is doing a great job of getting things straight.

I managed to get nearly all of the birds laid down except for a few that need to go close to the seated figure, so that the birds are more clearly emerging from him. I’m enjoying the swirl of birds rising from the bottom of the panel, which looks much more as it will when it’s hung now that it’s raised up a couple of feet on the easel. I’m not entirely certain if the man is sitting on the box now, as a cube. It’s an interesting possibility, suggesting the freemasons’ “perfect ashlar” that represents the work of quarrying away imperfections from the rough stone to reveal the square, upright and true man within. By making his chair an ashlar I can add another layer of meaning to the alchemical allegory of the crows. 

 

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I’ll need to sand down the area covered by the figure so that the paint will adhere to the rabbit skin glue that holds the gold leaf. The gold leaf is not burnished, so it can be a treacherous surface to paint on. If the gold were laid onto a gesso surface it would sit into the surface incredibly smoothly, particularly when burnished. In this case it’s laid down onto canvas, which even stretched over the panel provides a more flexible, textured and consequently less reliable surface. However, the canvas stretched over a panel makes a really great surface for painting on. You can’t have your cake and eat it too…

 

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As the crow flies III

It’s almost half past midnight, and I’ve been working on the computer to isolate and construct a nice range of crow and raven photos. I shot a couple of hundred pictures of them in the course of last month. I arranged them in a rising cloud emanating from the feet of the figure, who is just left of the golden ratio at bottom left of the panel.

I’ll often use the golden ratio as a guide for composition, using both the line of the ratio itself across the picture, and the crossing points of the four lines together as key points in the arrangement of the figures of the piece.  

More on this later, I’m going to bed. 

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As the crow flies II

I have procrastinated long enough over this, and although I managed to spend a morning putting paintings away, tidying my office and taking care of some administrative stuff, then sharing a good lunch with my colleague Terry Spehar Fahey, who’s a fabulous painter, by the way, I had no excuses left.

Yesterday I spent an hour or two in Photoshop figuring out the arrangement of the crows, who will be spiralling out of  a box on the bottom edge of the panel between the feet of a man meditating, seated in the Western style. I decided that this is a self portrait, so I posed for working photos of the figure by setting my Canon XTi on the timer function. I shot ten pictures or so until I was satisfied that I had what I needed, then settled in to paint, beginning with the birds, the Pixies “Trompe Le Monde” cranked up. 

 

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I began by painting the base layer for the bigger birds on the top of the canvas, which is so tall that I painted them upside down, making it a lot easier to do.  (Standing on a ladder for hours is a painful process). Moving the canvas around is not the easiest task, eight feet by six being about the biggest I can manage by myself, but it’s far easier to flip the panel and paint upside down than to paint standing on a ladder.

The birds look disproportionally large at the moment, because these are the crows that are closest to the viewer as they flock out of the box. I decided to make the base black, although there’s a lot of blue in these birds a glaze of blue that blends slightly into the gold leaf will read as the light passing through the edges of the feathers, and the deeper blues in the bodies will come by a little grey work to define the features, with a glaze over the top. My old standby French Ultramarine will do it perfectly. I love that blue. I completely understand the stories of Vincent Van Gogh eating his yellow(?) paint. If it wasn’t lethal, I’d probably do the same with the ultra blue.

I feel the need to mention again the allegory of inner purification described so eloquently by Adam McLean in his essay that I quoted from a couple of days ago. The black birds represent the process of expelling the impurities of the soul as one begins the spiritual journey of alchemical work.

I think this is going to be quite dramatic. I didn’t get much done, but I’m back in the studio again. Better get a move on! One week to go until I have to install the show.

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Junkie Pieta

 

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Here’s an old friend that I haven’t shown for a while, the Junkie Peita. I borrowed my trusty painter friend Rich Brimer‘s truck today to bring the rest of the stored paint to the studio and realized that I could use it to bring some paintings over as well (most of my paintings are too big to fit into my car). Here are some detail shots:

 

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I made the files pretty big so you’ll be able to see some detail. They’re pretty scary. Enjoy! 

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