Posted in Old Hand's Indonesian Voyage, Saturnius McWhirr stories

Old Hand’s Indonesian Voyage–episode 1

The bewitching breezes that had vexed our northerly course along the bleak, rocky coast gaveway to an absolute calm as we steamed into Sunda Kelepa Harbour and brought up under the ornate, lofty spires of Jakarta.  It was as though the anchorage were under the spell of somevengeful deity that held the stagnant seaport in irons– a fitful sleep of waking dream.I gazed up at Jakarta’s towers and heard, high on the ramparts, Rama’s  gong-struck plea to deliver a flute-weeping Sita from Ranga’s jangling curse.  A sword held against a blood-red sky by masked Barong tragediennes brought down the threadbare, red curtain in the ritual re- enactment of the primal leave-taking and arrival; when carved gods glared from the bowsprit, holding vigilant watch against marauders while we were moored off the savage isle of dreams.  I too, have sat hungry around those ancestral fires, a villan, hero or common swab, subject to the changeable turns of karmic law..

.“Skip lively, Mister Spencer.”

The resonant voice was hoarse, as if weathered by eternal watches on the Greenland ice, or worn ragged from hurling oaths into the teeth of a gail.  I flaked out 5 fathoms of chain from the locker with hamfisted elegance.

“Nicely done, lad. Ye’ll be a sailor before long.”

McWhirr is a pain in the ass sometimes. He’s a relic of working sail and can be as dark as Ahab in rehab on a bad hair day.  He stood stark against the red sky like a weathered piling on a  rocky cape.  Light flickered through the dark shrouds, his shadow looming on the limp stays’l behind him, as if projected on a movie screen.  The  harrowing passage through the Sunda Strait had frayed my nerves and I groped clumsily the 3/8ths chain from the locker.

“All right, Mister Spencer.”

I let go the anchor. There sounded a low rumble as I paid out 3 fathoms of chain into the muddybottom of Sunda Kelapa Harbour.

“Have you paid out enough scope, lad?”

“I cast the anchor in 6 fath…” I said.

“Avast, Ya greenhorn! You don’t “cast” anchors. This isn’t fly-fishing! My gorge rises at suchlubberly misuse of sailing language.”

His wrath, like a line-squall, subsided as rapidly as it came.

“Did you know that to raise an anchor you must first let it go?”

“That’s true, sir.”

He always makes these pithy pronouncements like they were scripture.  And, for McWhirr the act of sailing is a religious rite. He hails from Zoroastrian, Quaker stock and, for him, a ship is a vessel to carry his weary spirit ascending through the 7 concentric spheres of corporeality to the final landfall of essential being. He has seen the beatific vision reflected on the sea’s mirror and it draws him ever northward in search of the true face of divinity behind the mask of appearance.

Posted in Paintings in Progress

Building Golganooza-an artwork in progress

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Golganooza

Strange.  For all my efforts to loosen up, I seem to be heading in a more classical direction.  When solid form threatens to vanish in an atmospheric haze, I recall Blake’s admonition to delineate everything a solid line.   William Turner advised enclosing all shapes with a glowing red line that can move easily from cool shadow into warm, brilliant light.  Gauguin used this technique to unify his compositions and bind his luxuriant forms to the picture plane.

Here, I use it to construct Blake’s towering edifice of Golganooza, whose:

  …stones are pity, and the bricks, well wrought affections Enamell’d with love and kindness & the tiles engraven gold, Labour of merciful hands..

This Golganooza is built with primary colors on a scaffold of charcoal lines set along the Golden Mean proportion.  The challenge is to integrate illusory depth with the shapes on the flat surface into a dynamic, interwoven whole.  This is what makes it so complicated.

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Jerusalem (detail)

Painting doesn’t proceed only with big, creative leaps by the likes of a Picasso or Pollack.  There is also a slow evolutionary process at work, and painting, like any other discipline, moves toward ever higher levels of complexity.

The dichotomy between abstraction and realism is a false one.  It’s all abstract in a sense.  What is bad is intellectual, materialist abstraction devoid of feeling and humanity–removed from art’s most exalted purpose:

  To open Eternal Worlds, to open the immortal Eyes of Man inwards into the Worlds of Thought:  into Eternity  ever expanding in the Bosom of God:  the Human Imagination!

-William Blake

Posted in Paintings in Progress

Studio Update 2

vickers cropped 10-13vickers 10-13 cropped DSC02808fall colors 10-13 croppedHere are a couple of paintings I’ve been working on for my November exhibit.  The top one is my first version of the Vicker’s memorial in Kane cemetary.

One of the most difficult things in painting is knowing when to stop, and maybe that time passed long ago. But I have another version which I began when I’d given this one up for lost.

The second one I just began.  The colors outside the studio window are more vibrant than I could ever hope to capture in paint.  It’s still a work in progress, though the show goes up in 3 days.

Posted in Paintings in Progress

Raven Window-The Albedo Phase

DSC02382raven window 3The canvas is theTemenos, where I had earlier faced the black work of the Nigredo- where the inessential was burnt away leaving the skeletal composition etched in blackest black..

Stained glass framed the scene for my latest confrontation with doubt and the obstinate reality of the Prima Materia.

Now is the phase to which corresponds the Alchemical process of the Albedo-the whitening.

The Hermetic philosopher, Artephius said it is:

“That which is uplifted by the air…pure, subtle, brilliant, clear as the dew, diaphanous as unflawed crystal.”

The diaphanous in between I invoke, where light reflects both ways.

Julius Evola, says in the Hermetic Tradition says the Albedo:

“ …reintegrates the personality with the non-corporeal state.”

It moves me outward from this dark interior of crowded thoughts, into something vast-where the spectral colors of the work’s final phase finds its completion in harmony.

It is Raven’s call.

Posted in Paintings in Progress

Raven Visitation 2

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Carrying on with the Raven Visitation. As Raven is the messenger who dwells between worlds, the stained glass window motif fits the theme. It frames the shifty threshold where spirit travels between waking and dream.

Stained-glass demands a faithfulness to process which brings you back, again and again, to the logical form of it’s making. It is fitting that the material for scribing of boundaries in stained-glass windows is Saturn’s element, lead.

It is also fitting that the base material of the painter is charcoal, end product of the calcification process in Alchemy. Composition is a fiery process where all superfluous passages are burnt away, leaving only the original inspiration, the point of it all. It is a reminder of the point of all this shifting between worlds, and the spirit I need to maintain through the fiery calcification process: that my heart’s work may benefit all beings. It is Raven’s wake-up call.

Posted in Paintings in Progress

Our Lady of the Kedge

vickers painting may 23 2013

There are infinite possibilities in art. When faced with an empty canvas an artist can be stymied by so many alternatives. It requires a narrowing of focus to hone in on intention, that particular thing you are called upon to express.

One needs set the right environment, speak prayers of supplication to the muse, and open to what nature has to reveal in the exuberant flow of her endless manifestations.

The challenge is to maintain balance, and walk the fine line between conscious intent and receptivity to what arises spontaneously when paint hits canvas and colors bleed in confounding ways.

I take a break from the mental gyrations of painting to work in the garden.DSC02047

Thatcher Farm is big, with more rows of fertile earth than I can plant. I take an 8 by 16′ bed and divide it according to the square foot gardening technique. I lay it out with sticks and line, and plant seeds so many per square depending on the plant’s requirement for space. I impose an ordered framework, prepare the ground and trust that Mother Gaia can take it from there.

It’s like the layout for my next painting. But here the grid is based on the mystic proportion, the Golden Mean.

It is a major precept of spiritual and artistic disciplines to work like nature. The ancients discovered that the Golden mean is the proportion that comes closest to the original unity from which the diversity of life forms arose. It is this unity to which, in spiritual practice, we aspire to return. The proportion is expressed in plants, shells and seasonal cycles.

I lay out a grid of charcoal lines and, with color studies, narrow the colors to a triad of blue/green, red/violet and yellow/orange.

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The sculpture on the Vickers memorial abides by the golden proportion, and its mystic rule sets the measure for creative expansion into the space around her. She is a portion of that spaciousness which is the ultimate nature of reality and she bestows it generously upon the graves of Port Madison’s founders lying at her stone feet.  Like a beacon, she radiates light far over the bay.

I recall what my Eastern European sculpture teacher told me: sculpture is, ultimately, about light and space. He talked about how Michelangelo distorted David’s head so it would catch light and project it upward. Maybe it had to do with chakra’s. But I did learn from him that the ultimate end of the sculptor’s work is emptiness.

It is the quality of spaciousness and light she projects that is the theme of my painting, and her expansive energy inspires a harmonious distribution of color and form on the canvas. For, in the end, it comes down to this: to call upon the muse of art (and gardening) to favor us with her bounty and use the brute material of the tangible world to evoke the intangible spirit.

Posted in Paintings in Progress

An Artwork in Progress-The Post Deluvian Perspective

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Here is another go at an old unresolved work.  As this blog is about the art process, I include it despite its cloying sappiness.  It was inspired by a story from the same manuscript in which Gawain’s story is told. It is called The Pearl.  By a stream, the poet falls asleep and dreams of a maid who leads him to wondrous visions of salvation.  Nearly 20 years ago I decided to memorize it and can recall some of it still.pearl image from jung

From the memory practice unfolded a long period of work with lucid dreams, of bringing conscious intent to bear on the spontaneous flow of dream imagery by doing walking meditation and mantra within the dream itself.  The dream mantra invokes the aid of compassionate deities as we wander alone through the hazardous pathways of the dream bardo.  According to Tibetan Buddhists, This prepares us for the bardo after death.

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These illustrations are from Carl Jung’s Psychology and Alchemy

In the poet’s dream, the unconscious is pushed into conscious awareness  like oceanic tides flooding upriver.    This inundation has been long expressed in flood myths.  Its flow forms an imaginal landscape and the sudden release of its energy forces a breakthrough of vivid imagery.  This can form a tsunami if not channeled  through the creative process.  It demands integration with our logical mind.  It becomes necessary to  reconcile the irreconcilable, to balance  contrary states into a healthy, creative relationship.  This is the artistic process.

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This drawing is for a new version.

This harmony is represented in Alchemical imagery as the mystic marriage.  Sufi’s have a phrase, ishq’ allah mabudlilah, which means something like: Love, lover and beloved are One.   This sacred phrase speaks of how we are continuous with all we behold, and that knowledge of this truth transforms us through  knowing it.  It is the Gnostic vision.  The subject/object dichotomy is illumined by a larger, more inclusive totality that embraces paradox.

The Golden Mean  expresses this truth and is the proportion closest to the original unity from which multiplicity arises.