Posted in Saturnius McWhirr stories

Old Hand’s Voyage to the Babylonian Theme Park

The bewitching breezes wafting from  the intermediate zone that had vexed our northerly course along the bleak, rocky coast gave way to an absolute calm as we stood off the rank harbor of Virtual Babylon.  It was as though the anchorage were under the spell of some vengeful deity that held the stagnant seaport in irons-a fitful sleep of waking dream.

McWhirr called from the wheelhouse:

“All right, Mister Spencer.”

I let go the anchor. The silence was broken by a low rumble as I paid out 3 fathoms of chain into the muddy bottom of Moloch Bay.

After 2 weeks of foul headwinds and devilishly flukey breezes, we were ready to don shore-going rig for a nice row to an ancient, stone pub at the head of a dilapidated wharf to splice, as they say, the proverbial main-brace.

The melancholy treble of a loon-bot echoed over the still anchorage as McWhirr sat in the bows of the skiff brooding upon the lurid, crimson sea. Not wanting to disturb his meditations, I rowed on.

I’d heard Saturnius McWhirr was a pious man of Quaker stock who had fallen into some branch of the Zoroastrian persuasion. Or was it some Sufic offshoot of Shi’ism whose adherents await the 12th Imam’s return and wander the storm-wracked shores of this world seeking some vestige of a golden age–a relic safeguarded from the literalist creed by occult signs that can be decoded only in the secret halls of pure imagination?

Be that as it may, McWhirr gazed into the offing as the violet light of dusk fell over his weathered brow and said:

“I first heard of the Babylonian Theme Park when but a nipper on my grandfather’s knee. He told me of the Neo-Art Exhibition, the wonders of the Pharmaceutical Pavilion and how he touched the robe of the King of Wall-mart. He told me yarns of how it’s foundations had first been laid in the 21st Century by drones captured during the great cyber wars.”

“But,” continued McWhirr with a tone of caution, “he also told a darker tale. He said the streets were paved with sorrow, the walls built with the grief of mothers who toiled over an illusory harvest, it’s ramparts manned by desiccated souls who invested all their goods in the virtual fun-house of Mammon.”

“Yes sir,” I said though, in my green youth, I could scarce fathom the depths of his narration..

We landed the skiff and walked the cobbled street toward the the ancient, stone pub. Soon, my attention was caught by the droning whirr of something hovering overhead.

Could this be one of the fabled harpies that had long plagued unwary mariners who sail these latitudes–these droning machines of evil and ubiquitous surveillance that kill with rockets as well as with the bland, droning sameness that reduces our citizenry to penile servitude to the sexless god of materialism?

McWhirr drew his cutlass and, slashing at the malignant thing,  thundered:

“Get thee hence, instrument of Satan!”

Posted in Uncategorized

Los’s Bright Halls-The Exhibit-an artwork in progress

exhibit 2 I finally got the art show up.  I came down with a nasty cold as the time for hanging approached, and all the work of logistics, promotion, and “finishing” the paintings became a real grind.

But we had a nice opening last night.  Many friends came showing their appreciation and support.  Thanks to all.

In my next post I hope to give a more complete account about the experience of creating these works over the past 3 months.

Lets just say for now that I came to realize I bit off far more than I could chew, though I did this deliberately–as a sort of audacious challenge to myself.

jerusalem in show
Jerusalem-painting by Craig Spencer

There always looms the possibility that the painting was better left at an earlier stage, or that the work may not bear the test of time.  At times I wondered if a painting might be veering perilously close to maudlin tripe, or the whole concept totally misguided.

But I  really don’t worry about it.  It’s best to have the courage to make a clear statement.  I think age and experience has taught me to trust the process and to carry through despite such doubts about relevance, skill level or (in this case) my understanding of Blake’s gorgeously bombastic, prophetic poem.

These blog posts have been an integral part of this exhibit’s creation.  Thanks to all who have been following and commenting.

vala, arches, golgonooza
Vala, Temple 3, Building Golgonooza-paintings by Craig Spencer
albion in show
Albion Asleep-painting by Craig Spencer
Posted in Paintings in Progress

Albion Asleep-an artwork in progress

albion asleep 2
Albion asleep, painting by Craig Spencer

My art show goes up in a week and now the most difficult part has arrived–the Artist’s Statement.  But in this odious task, which I’ve always dreaded, I may have a small advantage.   I’ve actually been working on it since I began this series, some three months ago.  I only need glean the relevant bits from my blog posts and tidy them up.  Right.

 

Blake saw Albion (universal Man) held in deadly sleep, in thrall to satanic, scientific-materialism that separated him from Jerusalem, his emanation, and the Heaven within himself.

The Gnostics taught that soul is imprisoned in matter; that Gnostic experience is a return to Divinity through overcoming the demonic forces (Archons) who hold humanity in bondage to dense spheres of matter.  These teachings informed much of Blake’s work.

His work also reflects the Neoplatonic doctrine that acknowledges the primacy of the spiritual world and sees nature as the “vegetable glass” reflecting spiritual truths.  Post-Cartesian science that recognizes only natural phenomenon perceived by the senses as sole measure of truth is the fundamental error which precipitated Jerusalem’s’s fall.

diagram by Foster Damon

Jerusalem tells of Los’s  struggles with Urizen (reasoning power) to re-establish harmony among the four Zoas (universal, four-fold man,) and the building of Golganooza, Los’s great city of art and science.

  …and fourfold the great City of Golganooza:  fourfold to the north ,

And toward the south fourfold & fourfold toward the east & west,

Each within the other toward the four points:  that toward

Eden, and that toward the World of Generation.

The Zoa’s correspond with the four Buddha families who inhabit the vast edifice of spiritual architecture in the Tibetan Book of the Dead.

  …at the northern gate of one’s skull is Vajra, Dark green, snake headed, and holding a bell.

O you, the four female gatekeepers…

Perform the rites which obstruct the doors leading to rebirth from the intermediate state!

Like the Buddhist masters, Blake saw that salvation lay in the recognition that God, Angels and Demons reside in the mind.  Christ’s resurrection was not a single event of time, unique to a single individual, but as expression of the universal Christ-spirit within.  This interiorization of the mysteries is part of the evolution of consciousness and the realization of the Divine Human.  For Blake, Jesus is imagination, and lamented “Abstract thought warring against imagination.”  The tragic effects of Urizen’s reign were evident in the squalor and slavery of the London cityscape where was enacted the cosmic drama of spiritual redemption.

Los is the fiery, artistic genius whose task is to restore Jerusalem and re-establish harmony among conflicting aspects of Albion; an inner kingdom that has been usurped by the soul-denying power of Urizen.  The soul divided into warring entities is a sign that Albion has fallen into a sleep that closes the doors of spiritual perception.  Caretaker of archetypal images,  and fluent in the language of correspondences, Los forges celestial links in his fiery furnace, and illuminates the inner, demonic specters that would banish Jerusalem forever.

Posted in Paintings in Progress

Building Golganooza-an artwork in progress

babylon 4babylon 4
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.

jersalem detail
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

Vala-an Artwork in Progress

earth 2Sometimes painting is a real struggle.  But I press on, slap the obdurate material into shape, as if my worn brush might push the paint into actual space–into the 3rd dimension.

Art often requires tactics that subvert one’s own assumptions in order to create the one image that is to the point, heartfelt, and true.

This one is a mess.  The possibility of failure is always present.  It is a perpetual letting go– of  tricks, habits and even those pretty passages that no longer serve the whole.

This exhibit started with an idea about altars or memory stations.  It is an attempt to combine my art with an interest in Blake in a way that helps me understand this eccentric genius and gives my own work greater depth.

The painting shows a stone wall with a niche in which is placed an image inspired by one of Blake’s Persian looking Angels.   Carved into the stone wall is a willow tree that arches over the niche and breaks into space.  The sun, etched into the wall, spreads beams of light over the canvas.   vala 4

The next painting is of Vala,   Jerusalem’s shadow, whose veil obscures the celestial light, and seduces Albion  away from Jerusalem’s pure spiritual beauty.

She is a complex figure.  Kathleen Raine has likened her to Psyche.

  Know me now, Albion:  Look upon me. I alone am beauty.  The imaginative human form is but the breathing of Vala.  I breathe him forth into the Heaven from my secret Cave, born of the Woman to obey the Woman, O Albion the mighty.  For the Divine appearance is Brotherhood, but I am love.