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Posts Tagged ‘MUltitudes’

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Every saint has a past, and every sinner has a future.

–Oscar Wilde

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Yesterday, I wrote about trying to go back through my work from the past decade and choose pieces that best summed up each year. It’s a difficult, if not impossible, task. There are often many different directions that the work moves in over a given period of time or sometimes pieces that strike a chord most for me may not represent the larger body of my work for that time period.

This past year, for instant, had many tentacles. The landscapes began appearing with multiple beds of flowers. The sailboats took on larger and more expressive waves. A new female figure emerged to paddle across flat waters. And, of course, the faces from my Multitudes series began to appear.

All of these elements will no doubt remain in play for the near future and maybe well beyond that. Who knows? And who knows what new things will emerge to grab my focus?

I sure don’t.

The piece shown here, Saints and Sinners, is from this year’s Multitudes series. It’s a favorite of mine, one that I might consider as a piece to represent this past year, at least for its particular tentacle. It’s a painting that I think works well for ending this year and welcoming the next. It has a feeling of looking backward and forward. Of examining what we have been, what we are and what we might someday be.

As I like to say: What I was then is not what I am now and what I am now may not be what I will be in the future.

None of us are fully saints or sinners. There may be a few who are fully sinners well beyond redemption ( ** comes to mind) but most of us are in that boat that drifts between the two opposite shores.

I am hoping that we drift closer to the saintly shoreline in 2020.

Have a good and safe New Year’s Eve.

 

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The wind is blowing; those vessels whose sails are unfurled catch it, and go forward on their way, but those which have their sails furled do not catch the wind. Is that the fault of the wind? Is it the fault of the merciful Father, whose wind of mercy is blowing without ceasing, day and night, whose mercy knows no decay, is it His fault that some of us are happy and some unhappy? We make our own destiny. His sun shines for the weak as well as for the strong. His wind blows for saint and sinner alike. He is the Lord of all, the Father of all, merciful, and impartial.

–Swami Vivekananda

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This new painting in my Multitudes series is a 36″ by 24″ canvas and is titled Saints and Sinners. It’s headed out to the West End Gallery this weekend to be part of my solo show, Moments and Color, that hangs there until the end of August.

I came across the words above today from Swami Vivekananda, a 19th century Hindu monk/mystic, and they seemed an appropriate fit for this painting. Looking at this piece, the faces seem to form a sail of sorts, something I hadn’t noticed before this morning.

The imagery of our lives as being boats appeals to me. Like sailors on boats, our decisions set our course. Two boats on the same body of water may react differently on the water due to the actions of the sailor aboard each. Sometimes these are small and subtle actions. Similarly, the differences between the saint and the sinner are often small and subtle.

The saint may let go of anger where the sinner holds fast to it. The saint may see hope where the sinner sees despair. The saint may give mercy where the sinner might seek vengeance. The saint bears responsibility for their own decisions while the sinner places the blame on others for their own mistakes.

Written down, the differences seem greater than they do to the eye. The saint and the sinner may be indistinguishable at first glance. And maybe that is as it should be. We have the possibility of each– saint and sinner– within us. We have all made bad decisions but we live with the hope that we may make better ones in the future.

Like Oscar Wilde said: Every saint has a past, and every sinner has a future.

Or in the words of Nelson Mandela: I am not a saint, unless you think of a saint as a sinner who keeps on trying.

Or maybe there are neither saints nor sinners. Just simple sailors in boats, some running fast and some foundering in their wake.

Hope you’ll stop out and see this new piece.

You can see it if you come to my Gallery Talk at the West End Gallery on Saturday, August 17, beginning at 1 PM. I’m sure it will be part of he discussion and maybe you’ll take home a prize! Details coming soon!

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Well, the work for my upcoming show, Moments and Color, is out of the studio and at the West End Gallery. The show will be completely hung sometime today well in advance of next Friday’s July 12 opening.

It always feels a little weird the first morning back in the studio after delivering a large group of work for a solo show. While it’s a relief to have the work gone and the task met, it is a bittersweet sensation. The paintings that have surrounded me, that have called out at me, that have occupied my mind for months are suddenly gone. It feels hollow here even though the place is far from empty and the work that is gone seems to have left behind an echoing presence.

Some pieces definitely leave behind reverberating waves. Like the one above, a 16″ by 20″ painting from the Multitudes series that I call Soul Boat. It’s a piece that I miss now when I scan around the studio. There are faces in it that I had gotten used to locating and focusing on, like the one here on the right that reminds me of Henry Miller. Maybe he’s sailing out on the Tropic of Cancer or Capricorn.

Don’t know but I kind of miss having him staring out at me.

If you want to have this Henry Miller stare at you for a bit, Soul Boat is now at the West End Gallery for next week’s opening on Friday, July 12. Please stop in and get a sneak peek at the show.

Anyway, here’s an oldie from Grand Funk Railroad that might kind of line up with this piece– if you squint your eyes and try real hard. It’s I’m Your Captain/Closer to Home.

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And the sages of the subway sit just like the living dead
As the tracks clack out the rhythm, their eyes fixed straight ahead
They ride the line of balance and hold on by just a thread
But it’s too hot in these tunnels, you can get hit up by the heat
You get up to get out at your next stop, but they push you back in your seat
Your heart starts beatin’ faster as you struggle to your feet
Then you’re outta that hole and back up on the street…

–Bruce Springsteen, It’s Hard to Be a Saint in the City

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The other day, I was working on another of the Multitudes pieces, a 12″ square canvas that was featuring a halo or at least a gold orb hanging over one of the faces. The painting started with this central haloed character and the rest of the faces grew out from it. The faces other than the one with the halo were originally going to be many shades of blues and purples but while I was working, a song from Bruce Springsteen‘s first album in 1973, Greetings From Asbury Park NJ, came on.

I could lie here (as I have been known to do on occasion) and say that it was It’s Hard to Be a Saint in the City. That would make for a nice tidy little tale.

But it was actually Spirit in the Night. At first I thought that maybe I should use that title for this piece. It would work pretty well, especially with the dark blues and purples. But  instead I instantly saw in my head the title from another song from that album, It’s Hard to Be a Saint. It fit even better. The painting already had a saintly halo, for god’s sake. So I decided to go back at the surrounding faces and give them a green, jaundiced tone. Give them a uniformly alien appearance that would contrast against the lightness of the haloed one.

It works for me, at least. You may or may not like it and, again, that’s okay.

Anyway, here’s the song that gives this painting its title. It’s early Springsteen so its densely worded in its lyrics, the thing that really attracted me to his work at first. Many of the songs from his first albums felt more like short stories or novellas than songs. As his work evolved, his best work moved from this sense of literature with intimate, wordy description to one that felt more cinematic, with broader, sweeping vistas. I like both styles but this early work still appeals deeply to something in me.

Give a listen and have a good Sunday. And a good Father’s Day.

 

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One part of my show that opened Friday night (and continues to hang through the month and into July) at the Principle Gallery was the first public exhibition of the Multitudes series that consists of masses of faces. The response to these pieces was very strong, more than I had anticipated with a couple of the pieces finding new homes. I knew that the potential sales aspect of this series might take a bit of time at the start just to get viewers acclimated to the work. But  I wasn’t confronted by anyone who felt uneasy by them and that is a victory of sorts. At least, a good first step.

I was pleased with the way these pieces blended in with the more typical body of my work. I think that plays well into the idea that we are all prisms with multiple facets that are not visible to everyone at all times. While this work may not have been evident before, it was still there in place. As much a part of who I am as any other piece in the body of my work. Just a different aspect.

Below is a slideshow of the pieces at the show.

https://spark.adobe.com/video/zyiabQaWWtnmm

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My show at the Principle Gallery is in place, adorning the walls of the Alexandria gallery. I got word yesterday in the form of a few images that really put to rest a lot of my apprehensions.

It looks good. Very good.

I go through a cycle with every show where I have peaks of excitement over the work as it builds in the studio. But near the end of prepping for every show or after the show has been delivered and is out of sight, I begin to second-guess my own judgement of the work. The excitement I once held turns to a fear that I have been seeing the work through magic goggles that give the work qualities that really aren’t there.

Thankfully, most of the time these fears have been unfounded. But even so, this year gave me an extremely high level of excitement for the work which translated to an even greater dread in the last week or so. Much of it has to do with the fact that this is the 20th solo show at the Principle Gallery, the significance of this being something I have written about here in recent weeks.

Add to that the inclusion of my new Multitudes series that consists of masses of faces, such as the piece, The Following, here on the right. This group of work makes up a significant part, almost 25%, of the show and is untested in the marketplace. But Michele and her great staff– Clint, Taylor and Owen– have done a masterful job of hanging this work, interspersing it with the other work in a way that shows it as an extension of the prior work and not an exception.

Plain and simple, it all really fits together well. And that bring back to me a level of excitement. But that just makes me wonder if I put my goggles back on.

I guess you’ll have to be the judge. You can borrow my goggles, if you want.

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The show is hung for previews and the opening for Red Tree 20: New Growth is this Friday, June 7, beginning at 6:30 and running to 9:00 PM. Hope to see you there!

Taylor in the Front Gallery

 

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This morning, I was looking for a piece of writing that I could pair with this new Multitudes painting, a 12″ square canvas that I call Facing the Crowd, that is part of my upcoming show at the Principle Gallery. I came across the poem below from the late poet Charles Bukowski and before I even read it I had a feeling that it might work. These paintings have a kind of Bukowski feel to them, as though each of these faces might inhabit a dark corner of his seedy world. If I look close enough I am sure I can find Bukowski’s timeworn face somewhere in there.

I was originally going to call this Welcome to my TED Talk or just Public Speaking. But I felt that Facing the Crowd described it better because I didn’t really see it as being about standing in front of crowd once in a while, even though I have given a talk or two where I definitely felt like this. Actually, I saw this as being willing to face the scrutiny and judgement of the crowd in order to be the person you desire to be.

Too often we choose to stifle our own voice and desires and instead blend in with the crowd, getting swept along in a force that overcomes all our individual efforts. The choice of the crowd becomes our choice, without nuance or depth of understanding. We lose our voice in the din of the many.

We become the din.

To choose to turn and stand before the crowd, to speak our own words in our own voice is a scary thing for any of us. But more than that, it is an act of bravery, an act of liberation from a crowd that is most often driven by the lowest common denominators of our character.

Well, that’s what I get from this. You might see it in altogether different terms and maybe even dislike this piece immensely. And I celebrate that because that is how it should be. Art allows us great liberty if we listen to our own reactions rather than becoming part of the crowd.

Anyway, here is Bukowski’s poem:

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“The Genius of The Crowd

 

there is enough treachery, hatred violence absurdity in the average

human being to supply any given army on any given day

 

and the best at murder are those who preach against it

and the best at hate are those who preach love

and the best at war finally are those who preach peace

 

those who preach god, need god

those who preach peace do not have peace

those who preach peace do not have love

 

beware the preachers

beware the knowers

beware those who are always reading books

beware those who either detest poverty

or are proud of it

beware those quick to praise

for they need praise in return

beware those who are quick to censor

they are afraid of what they do not know

beware those who seek constant crowds for

they are nothing alone

beware the average man the average woman

beware their love, their love is average

seeks average

 

but there is genius in their hatred

there is enough genius in their hatred to kill you

to kill anybody

not wanting solitude

not understanding solitude

they will attempt to destroy anything

that differs from their own

not being able to create art

they will not understand art

they will consider their failure as creators

only as a failure of the world

not being able to love fully

they will believe your love incomplete

and then they will hate you

and their hatred will be perfect

 

like a shining diamond

like a knife

like a mountain

like a tiger

like hemlock

 

their finest art”

 

― Charles Bukowski

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