Monday, March 22, 2010

Portrait of my Dad & Spring

So this one wasn't so easy. I've only done a few sketches and a watercolor of him before. Of my Mom I only did a drawing of her while she was very sick with lung cancer in the hospital. I'm off into the land of faces again.
I get on the subway and paint strangers. I walk through Central Park and imbibe bodies.
Spring is pressed into the buds on trees; squeezing, willing, wishing its way into space. There was a man running around the reservoir. He was a big, muscular guy bounding along the graveled trail, his essence swirling behind him and gathering bits of verbal accolades in response. He made me think of the mythical hart leaping away from his hunters.

Wednesday, March 17, 2010

To Walk

Walking on the High Line, peering at the masses of curved-over wild grasses, I see poking up between the strands: violet crocuses. I look out at the Hudson and see the broken teeth of old pier legs surrounded by the fillibration of water, its blue and mercurial talk ever centric and ever extended. Staying and leaving constantly. The sky is a step down from the madness of its sudden appearance last week. I draw a quick sketch of a bridge going from one building to another. I drink sunlight with my face and notice much less than I could.

Saturday, March 13, 2010

Pisces Quick

Still push-pinned to the wall...
Quick as in 'cut to the quick'. Pisces as in the mute fish that swims in all directions and still talks.
torn maps, torn old physics book, ink, oil & pencil on paper
more actually: cut quick & deep, delivered by water thought & water hand

Sunday, March 7, 2010

Spring in NYC?

Walking up Broadway in the sun, the sky taken from peacock's eyes and spread clear across the universe. You could easily roll on the ground, leap up and feel exact. Exactly with the warmth, the sudden sidewalk full of smiles, the perfect touch.
The difficulty being in maintaining a cohesive shape and not melting down one side of oneself, or the person standing next to you.
Spring is inappropriate...

Thursday, March 4, 2010

Leaving Home

I left the City of Green Fire. I didn't know I'd left it because its imprint is indelible. I remember its warm cobblestones. I always walked barefoot there. Actually I didn't wear any clothes at all, yet never felt naked. Was it completely safe? No, but the parameters of its possibilities were so much an extension of me that I didn't feel any more fear than the usual nightmare or beautiful dream. Did it break my heart. I'm sure. But that seems a daily surgery once the hood is lifted, and light pours in. How do I know I'm not still there? Recently someone made a comment about City of Green Fire, saying it is a painting about gestation. Simultaneously I am working on a large collage/painting on paper. Unlike what I usually do I started with no image in mind. I tore up some maps and an old physics book and began to glue pieces, paint, and draw. Sometimes when I work the emotions of the period are very strong and they get purposely mixed in with the making, even if the picture is relatively subdued or, as in this case, mostly abstract. This time this is true and also I'm working without a template. It's pure wing-it. The familiar creatures of the City aren't here. There is no writing on the wall and no wall of green fire. I'm in the illuminated place of action?/no-action? Every time I make a mark, glue a piece of old equation or a bit of archipelago I drift in another direction. The ripples go out and impact everywhere. Of course this is true all of the time but I'm not usually so acutely aware. The City walls, tunnels, arches, and bridges to nowhere are no longer there to echo back my location.
I'll send you a postcard...


The image so far...just ground up my everyday soul into little bits and tried to put them back together again...

Tuesday, March 2, 2010

City of Green Fire conversation

My friend Vincent Czyz sent me this:

Here's an exchange between a friend of mine (Christine) living in Holland, and a little from me about your fabulous painting.

CHRISTINE: > The painting is quite impressive color wise...

ME: Oh NO. The colors are not nearly as good on the website. You should see it in person. I want to buy it ... it's only $10,000.

C: Well, if I am impressed by the colors now, I'd probably even be more intrigued in person. And yes, I know how much the internet can morph the look of actual paint. I remember Blue Dog, color-wise, in person was much more impressive than anything seen on the net.

This painting is colorfully intense, symbolic, and feminine wonder you like it!

Hard to make out all > of the images though. Seahorse, Sphinx, and Patron of Roses.
Taking my time to look at it closer..., Christine.

ME: Yes, fun stuff.

The entire painting has feminine curves of all types in most images. Also tons and tons of pairings -- Pair of wings, shadows, falling water, breasts, goldfish [koi], roses, reflections, all odd kinds of symmetry....even the woman seems divided into two parts. And undoubtedly, the symbolism is going to be paired too.

I looked up what the symbolism may mean...interesting....Enjoy the reflections, while I keep looking. Christine....

seahorse represents:

The Ancient Greeks and Romans believed the seahorse was an attribute of the sea god Neptune/Poseidon and as such, the seahorse was considered a symbol of strength and power
Chinese cultures believed that the seahorse was a type of sea dragon, and as such they were revered for their power and thought to be symbols of good luck.
ancient Europeans believed that the seahorse carried the souls of deceased sailors to the underworld - giving them safe passage and protection until the met their soul’s destination.
are symbolic of patience and contentment - they are happy with being where they are, and are in no hurry for advancement.
However, along with a resistance to change, and a carefree approach to progress, the seahorse can be a symbol of inflexibility or stubbornness. To wit, the seahorse wraps its tail around the nearest object in order to anchor itself in turbulent waters. This is a lesson to be persistent in our goals, but be mindful that we are not too inflexible or stubborn in our achieving them.
Eyesight of seahorses are incredibly sharp, pay attention, and take a good look around psychically and spiritually


The Sphinx is said to have guarded the entrance to the Greek city of Thebes, and to have asked a riddle of travelers to allow them passage.

The exact riddle asked by the Sphinx was not specified by early tellers of the stories, and was not standardized as the one given below until late in Greek history.[4]

Stages of man riddle

Patron Saint of Roses:
The rose is thought to represent God's love for Rita and Rita's ability to intercede on behalf of lost causes or impossible cases.

Rita is often depicted holding roses or with roses nearby.

On her feast day, churches and shrines of St. Rita provide roses to the congregation that are blessed by priests during Mass.
koi fish symbolize -perseverance in adversity and strength of purpose

Symbolic in the Buddhism to represent courage. Humans "swim" through the "ocean of suffering" without fear, just like a fish swims through water.

The Koi is symbolic with family. On Children's Day Koi flags are raised: Black Koi, the father; Orange/Red, the mother; Blue/White for a boy; and red/pink for a girl.

There is another word to describe "love" which is "koi". The kanji character for "kokoro (heart)" is included as part of both kanji characters. Both "ai" and "koi" are probably translated as "love" in English. However, they have slightly different nuance: "Koi" is a love for the opposite sex, or a longing feeling for a specific person. It can be described as "romantic love" or "passionate love". While "ai" has the same meaning as "koi," it also has a definition of a general feeling of love. "Koi" can be selfish, but "ai" is a real love. Here are some lines that explain them well: Koi is always wanting. Ai is always giving."