I wrote last year about a couple of places where my work has ended up in one way or another. Recently, I received some material from a couple of these places that show how my work is being used.
The first came in the form of a catalog from the Arts in Embassies Exhibition at the United States Embassy in Kuwait. My painting that hangs at the Embassy, The Way of the Master, was chosen to adorn the cover. This was a surprise and a thrill, especially given the quality of the work from the other artists in the exhibit, including Helen Frankenthaler.
The second was a calendar from the Spanish Society of Soil Science that featured one of my Strata pieces on the cover and Archaeology: Rooted in the Past inside for the month of May. I didn’t know anything about this calendar other than the fact that my pieces were involved. I was pleasantly surprised to discover the company I was keeping. Spanish tapestry artist Carles Delclaux and myself were the only living artists involved and among the others were some of my heroes, Vincent Van Gogh and Pieter Brueghel, and some of the finest classic painters from Spain.
Besides my obvious favorites in Van Gogh and Brueghel and one of the Limbourg Brothers‘ gorgeous plate from Les Tres Heures , one of my favorites from the calendar is shown at the bottom, titled O Paraño. It is painted by an interesting character, Alfonso Daniel Rodriguez Castelao, who is better known for his political works and writing in Spain than for his obvious talent as a painter. This piece was painted in the 1920’s and it’s use of color and form really connected with me.
I realize that in the big scheme of things, these little moments of having my work included in such projects don’t really matter all that much. But on some days, when things aren’t going too well, there is something reinforcing in seeing them and feeling that my work somehow fits into the larger puzzle.
And that is gratifying.