Working in the studio

It’s amazing how much preparation goes into making a painting. I have three projects on the go simultaneously: the crucifixion needs to be re-stretched and completed, the “Aviator’s Dream” is demanding ivy, and “As the Crow Flies” needs to get started.

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I laid out the bars for the crucifixion. They were leaned together in the closet where I had hidden the painting away for all those years. The canvas won’t fit exactly right on the bars again, but it will be pretty close.

I spent a couple of hours figuring out how the birds will ascend the panel for “As the Crow Flies”. It has to be vertical in order to gain a sense of height; the birds will spiral up and out of the frame of the canvas, rising from what I think is going to be a cauldron at the bottom with a male figure looking into it. We’ll see how much I end up sticking to the plan, these things have a habit of changing themselves on the way to completion. 

Finally I put the “Aviator’s Dream” up on the big easel and winched it up high in preparation for the ivy work in the coming weeks. I love this easel. It laughs at the most enormous canvases, doesn’t even flinch and holds them totally steady for me. 

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Fama finished

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Here’s the finished  piece, shot from the front.

Today I sold my red haired mermaid painting to Jean Amador, a well known Southern California architect designing environmentally friendly buildings, making use of clever lighting and spatial arrangements to cool them without wasting power.  

I’ll miss my maiden, but she’ll be in a good home with people who love her, surrounded by water and reflections. 

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As the crow flies

Here’s the beginning of the next project. It’s a six by eight foot panel with a gold leafed  canvas laid down onto it. 

 

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If you’ve been watching the blog for any length of time you’ll know that I’ve been getting a bit fanatical about crows and ravens. Here’s the panel that I’m going to start with, watch the birds appearing in the next few days. I need to get this ready for the show at Channel Islands: a week and a half to go!

In alchemy the crow is symbolic of the beginning of an alchemist’s spiritual journey. Here’s a passage from Adam McLean’s article about the birds found in alchemical symbolism:

“The Black Crow, sometimes also the Raven, is the beginning of the great work of soul alchemy. This indicates the initial stages of the alchemist’s encounter with his inner space, through withdrawing from the outer world of the senses in meditation, and entering what is initially the dark inner world of the soul. Thus this stage is also described in alchemical texts as the blackening, the nigredo experience, and it is often pictured as a death process, as in the caput mortuum, the deaths head, or as some alchemical illustrations show, the alchemist dying within a flask. Thus in the symbol of the Black Crow we have the stepping out in consciousness from the world of the physical senses the restrictions that bind us to the physical body.” 

(McLean, Adam. 1979. “The Birds in Alchemy” in The Hermetic Journal Issue 5.) 

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Back in the studio

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I’ve returned to the studio and brought boxes of paint and some stretcher bars to re-stretch the crucifixion painting and to take stock of where the “Aviator’s Dream” stands. It seems to me that I need to get some ivy painted into the foreground in order to complete the composition, then I’m done. I also need to get to work on the new pieces for the CSUCI show.

 

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The boxes of paint came from the closet in my home studio where they have been my secret stockpile of oils that I purchased years ago when I made a series of portraits of the rapper Master P. I have at least two more crates full of quart cans. I made a lot of money on commissions from rap stars and invested in several thousand dollars worth of good studio oil paint, hoping to never run out of paint again. Of course, now I’m running out of paint. Curiously, the ones I’m running out of are not the ones that I expected to need, because the way I paint has changed since then. I have plenty of bright colours that I seldom use any more, but I’m low on blacks and browns.

You can catch a glimpse of my Master P. paintings in the MTV Cribs video visiting the No Limit general’s house.

 

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Meanwhile I realized that I never posted a decent picture of the completed Fama painting. It’s on display at the Hillcrest Centre in Thousand Oaks right now, so I’ll head over there at some point and take some decent pictures from straight on.

I have a show coming up at Studio Channel Islands at California State University Channel Islands in a gallery that used to be a padded cell. It’s entirely made of cast concrete, so it’s a booming vault of a space that should be great for performed elements of the show. I’ll exhibit a combination of paintings and sculpture from the Cabinet. I hope you can come to the reception. We’ll be doing at least one performance piece in the space while the exhibit is on, watch this space. 

Posted in Alchemical work, Exhibits, Fama, Making work, Performance / lecture, Storm / The Aviator's Dream | Leave a comment

Elements

After seven days off sick, I’m finally feeling semi-human again. 

I’ve been thinking about elements. During the trip to England we visited a number of places which were ruled by the old alchemical elements in quite clear ways:

AIR

At Glastonbury we climbed the tor to the empty and ruined church tower on top, where we were battered by winds so strong that we could lean out of the tower doorway at an angle, supported by the wind. At the bronze circular map placed at the end of the curiously shaped top of the tor I stood with my arms out, feeling almost as if I was on a hilltop ship cutting through the ocean of the English countryside.

EARTH

At Men an Tol in Cornwall, after years wanting to visit this wonderful site, at last I climbed through the holed stone. Passing through stone has been associated with transformation for centuries. It’s my belief that our neolithic ancestors used the chambered cairns and  barrows for liminal initiation rites, and that the ceremonies included remaining inside the earth among the ancestors through the night. Passing through the stone acknowledges our debt to the earth and our ancestors.

WATER

In Bath we went to the hot springs that the Romans named Aquae Sulis. The ruins of the Roman baths were excavated by the Edwardians then used until the middle of the twentieth century. The Celts had thought the hot springs were sacred to the goddess Sul, who the Romans equated with Minerva, and offerings to the goddess continued to be made well into the Roman period. In our time visitors to the Roman Baths throw their change into the pool and in the famous Assembly rooms drink the spring water continuing the traditions followed for thousands of years. 

FIRE

We didn’t have any direct experience of fire in its simple state during this trip, although this apparent absence caused me to think about what the element is really about.  Fire is light: pure energy, the first thing. In his Utriesque Cosmi Historia the alchemist Fludd wrote “it is said that God is a consuming fire, so subtle, penetrating and effective that no mortal can behold it in its essence and live”. We can catch a glimpse of the purity of that divine fire in the light of the sun as it rises, or as light passes through stained glass, or in the rainbow. Perhaps when God breathes into the clay in the Genesis story to bring Adam into being, the divine breath is like fire; the spark of life. If so, we experience the element of fire every day, simply by living, by seeing what light reveals to us, feeling the heat of the sun.

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Sick

Sick as a dog, I have nothing much to write about. Fever dreams that I can’t recall, something to do with programming and holes in the ceiling. I lie in bed and feel okay, but as soon as I get up I feel like hell and have to lie down. I caught the sore throat and upset stomach bug at last.

That transmission’s going to cost $2100 dollars. I could buy another car for that much money.

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Crossing the ocean

We’re back. After an interminable journey across the Atlantic we have arrived back to Californian warmth and long summery days. Our adventures in England were fantastic and will be the source of good memories for all of us who went on the trip.

I spent today dealing with several hundred emails that have accumulated over the last two and a half weeks, and the horrifying realization that my transmission has not miraculously fixed itself. In between emails I enjoyed doing a bit more work on my tarot book, which I finally started working on in England. I’ve been thinking about this for a long time, so it’s good to begin writing.

I find tarot fascinating because these are images that people actually use. Most paintings and prints simply decorate a home, which is great in its own right, but the images of a tarot deck not only get used for divination, but act as “a book of keys” that imparts esoteric knowledge to people who are looking for it. I’ve been tracking the development of the deck through time, starting in fourteenth century Italy, moving to France, where Etteilla, then Levi develop it by incorporating Jewish mystical ideas into the imagery, and on to England where several members of the Order of the Golden Dawn add to and reform the deck into the popular collection of cards that became the basis for hundreds of decks by the beginning the new millennium. I need to balance time between writing and painting carefully so that one feeds the other. I see the tarot book as a long term project.

I’m also thinking about painting and the logistics of being car-less for a short period. This is going to be tricky, because all my work is at the University, and I’m 35 miles away. (Have you seen the price of gas? It’s going to cost me nearly $20 a day just to get to work!)

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Stonehenge

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After a five hour drive we arrived in Salisbury, where we were privileged to be able to spend dawn within the stones at the greatest of megalithic monuments. It’s hard to describe how this felt, as the last time I was among the stones was at the 1984 festival, when I followed the druid procession and saw the sun rise beside the heel stone in a beautiful display. It was amazing to be there then among thousands of celebrating people, quite a contrast to the peace I found this morning. Prior to the festival I had been to the henge several times with my parents and I remember playing soccer as a young boy among the stones and eating our sandwiches while sitting on a fallen megalith .

 

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Today was grey and foggy, but beautiful.  Crows and ravens populate the site, nesting in spaces upon the trilithons.

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St Michael’s Mount and Bodmin Moor

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We made it to St. Michael’s Mount, which is an island at high tide, but part of the land at low tide. It’s a wonderful in-between place, used by Neolithic folk as a location where they could meet ship born  traders in search of tin. Pytheas the Greek visited this place in 350 BC, which ultimately led to a little trouble with the Romans.

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This megalith hangs onto the cliffside next to the castle at the highest point of the island, indicating the antiquity of the site. It’s not approachable for close inspection, but looks like a Celtic cross of the type found here in Cornwall. 

Bodmin Moor has a very different character to Dartmoor. It feels more damaged and exploited after the centuries of tin mining that has happened here. It’s bleak and has a similar population of horses and sheep, and we discovered that the local farmers breed cows on the moor with the bulls on the loose. We saw four during our hike, avoiding them carefully.

 

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Four thousand years ago Neolithic people were here building their enigmatic structures. This pair of megaliths is known as the Pipers, found standing at the edge of the triple stone circle called the Hurlers in the middle of the Moor. It’s another unusual site, being the only triple circle I know of.

 

 

 

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Tintagel crows, and a holey place

Tintagel castle is associated with King Arthur because in the 1200’s a local nobleman decided to construct a castle suitable for the legendary Englishman. There is almost no evidence that Arthur ever came near here, but it’s still a fabulously beautiful location.

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I found many crows at Tintagel who were very happy to eat my bread. 

 

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Later we visited Men an Tol, an amazing Neolithic stone site. It’s most unusual to see an arrangement like this because most of the holed stones were destroyed long ago. Here I felt thoroughly content. I’ve wanted to visit this place for a decade. Tradition says that climbing through the hole will cure rheumatism and make you fertile. I climbed through just because it was so completely inviting. I poured a little whisky over the stone to thank the people who built it.

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