Decoration

Distemper on plaster. Design taken from a tapestry detail. (Distemper is paint made using animal glue as the binder.)  I intentionally tried to make it look aged.

Esoteric Simplifications: A Character of Our Time

(photo taken in the White Mountains, NH)

"Although the doctrine of the transcendent unity of the Intellect is affirmed by all revealed scriptures, it nevertheless remains esoteric in that it cannot be transmitted to everyone without the risk of a misleading simplification.

"The chief danger is that, in its effort to comprehend, the imagination may concieve of the unity of the Spirit or Intellect, as a sort of material unity.  This would lead to the obscuring of the distinction between God and creation, as well as the essential uniqueness of each individual creature."

Titus Burkhardt

Puer Senex

A distemper painting, done on plaster--13x15 inches

charcoal study

some sketches, and a quote

"He had apparently answered 'yes' to the question asked on the day of the preeternal Covenant, while secretly his choice fell on his own passion. He apparently chose rightly when he answered in the affirmative the question that was put to him.  But though his choice was sufficient to commit him to the effort, nevertheless his secret state of mind outweighed the formulated answer.  For this answer was certainly on his lips, but his secret tendency contradicted it.
"After he descended into this world, and the effort he had to make was shown to him a second time, everything was dissipated in doubt and confusion.  Thus, the secret thought contradicting the answer which was then formulated, was the matrix of the work later carried on.
"That is why this secret thought is the 'clay' from which he was created by his own works.  Each individual assumes the form which, thanks to his works, has lodged in his most secret part."
Ahmad Ahsa'i (d. 1826)

Warm-up drawing symbolism, continued: 'Zen circles'

                                               ('Zazen bell with enso', photo by Spoktu)


Zen brush painters have a practice of painting freehand circles, sometimes as a warm-up for other painting, and sometimes as a painting in itself.  We can do the same with whatever drawing or painting tool we are using.
Let us consider the difference between drawing circles with a compass and drawing (or painting) circles freehand.

When drawing a circle with a compass we begin by marking the center.
We place the point of the compass on the center dot, and turn the compass to draw the circle.
The starting point of the process is the visible mark of the center--the dot we marked, or at least the spot where the point of the compass is touching the paper.
The drawing of the circle begins with a visibly indicated center.

When we draw or paint circles freehand there is no visible center--the center, which is the 'principle' or origin of the circle, remains invisible, unseen.
The center must be intuited.
So, in the drawing of the circle freehand, one is guided by one's intuition of something not seen and not drawn. The center also remains unseen to the viewer of the drawing--yet the person viewing the drawing can, through looking at the drawing, come to the intuition of the center that the artist had and was guided by when making the drawing.

Drawing the circle freehand, then, is a good image for the saying of Dionysius : "We make assertions and denials of what is next to it, but never of it."
Our words and concepts and images are like the drawn, perceivable, circle.  They are not the center--the center remains unperceived and unnamable--yet our perceptions and images can, like the drawn circle, awaken our intuition of the unseen center.
By beginning our art with the practice of drawing freehand circles we remind ourselves to awaken the intuition of the unseen and unseeable, and to let this intuition guide our art-making.  And maybe our images can be occasions for awakening this intuition in those who see our work.  Then our art will really be not about the drawing or painting at all, but 'about' (that is, 'around') what can never be painted or imaged or said.

Warm-up drawing and its symbolism: Intro

                                       ('Doodles # 2576' by the artist himself)


Here are some drawing warm-ups I like to do:
-circles
-spirals
-spheres
-spirals wrapping around spheres

These have practical value, and they can be good ways to make your doodling moments constructive--I find they help my hand and my imagination.

But they can also be seen and practiced as symbolic meditations--so I will do a number of posts on the symbolism of these shapes, and especially on the practice of drawing or painting them as itself symbolic.

Communion

For this painting I covered a panel with copper leaf, patinated the copper with weak acids,  and then painted over it with oil paints.
It is inspired by an old black and white photo of my friend Amy's mother, on the day of her first communion. It is 16x20 inches (and available to purchase).

I will begin with a poem:

When I am asleep
I can see through the walls
Outside are birds
Some fly through the air
Some stand in the grass
Looking at me