My Chronicle as an Artist

We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.

T.S. Eliot

26: Birds of Paradise

Life is paradise, and we are all in paradise, but we refuse to see it. ~ Fyodor Dostoevsky

Birds of Paradise ©️2020LSAuth

Birds of Paradise ©️2020LSAuth

I have never seen the exotic birds named Birds-of-Paradise, native to eastern Australia and Papua New Guinea.  But while in Santa Monica, CA, two Januaries ago, I saw the plants by this same name on every street.  So many green stalks arced over neighbouring yards and sidewalks like the outstretched necks of cranes and herons. Their flowers were uniquely beautiful:  Brilliant yellow-orange petals mimicked feather plumes, vivid blue-violet arrowheads targeted unsuspecting prey, and sword-like variegated bills waited to skewer the fallen victims.

I sketched and painted these plants often that month of January. I found their beauty beguiling because there was a subtle edge of malevolence in their elegant, yet hostile, gestures. I had to stop and stare at them every time I walked outside our building. I soaked up their color and warmth in hopes that it would sustain me for several months when I returned home to the dreary Connecticut winter.

I have been thinking about this place called paradise.  I have been there millions of moments in my life.  Seeing something beautiful brings me there, even if the experience dissipates quickly.  Paradise starts with that beautiful sight or sound, which is usually one in the natural world.  And then, often, that initial sensation triggers a memory of another time, another place.  Paradise and visual poetry are, for me, one and the same.

Over those few weeks in Santa Monica, the birds of paradise brought me to the endless acres of the green and ripening cornfields of my childhood, when my parents and siblings would take occasional Sunday afternoon drives to the country in our overstuffed station wagon, with all the windows rolled down, while we sang the familiar repertoire of family songs.  This freedom of movement along with the heady smells of summer were experienced as pure joy as far back as I can remember.

When I walked those residential streets of Santa Monica,  the yellow-crowned floral heads with their limb-like, green stalks walked with me to where my destination always ended — at the beach.  There, the gulls screamed with mixed cries of greeting and outrage, depending on whether they felt my presence to be benign or aggressive.  The early evening stars twinkled their replies to the lights on the distant pier.  When I walked along the water’s edge, the sounds of birds and water melded with ocean spray, salty air and sand — creating a roaring primal music which swept me along with the tides. I was cleansed, uncluttered, and detached from earthly concerns.  I was a swirling speck of grit in a timeless universe. Dreaming.

I was in paradise.

10: ...and Larger.

I had to use the full length of my wall space.  BreakingThrough is roughly 9 feet long and BlueWave is over 10 feet.  

9: Painting...large.

My first paintings were small—often not more than 14"  wide.  I was working in a variety of mediums with prints, drawings, and paintings, so I chose a smaller format as a constant — it was a practical way to create a larger body of work.

When I started to paint exclusively, I moved upstairs to the painting department and had my own 12 foot square studio space.  One of my mentors said "why don’t you scale these up in size — you might not get another chance to paint this large for a long time…"

For the remainder of my time at the Institute, I did just that. The tools of my trade were large brushes, lots of oil paints, and a step stool to stand on.  I built my own stretchers in the wood shop.  I stretched, primed, & gessoed my own canvas.  I learned so much from my colleagues and reading Ralph Mayer’s The Artist’s Handbook (the bible).  I also had to work totally differently— I could no longer sit but had to stand and walk back & forth just to see.  And as my working method changed, my imagery evolved.

 

These, BeverlyRevisited ( 4’ x 6’), and Firefly ( 90" square) were a couple of my first smaller, large  canvases. 

5: Threads

I knew I wanted to create a body of work which was essentially about landscape. The pieces here are from a series called  "The Lake is Not the Ocean".   As I worked,  I imagined flying over all the places I had loved and tracked my movement with a vocabulary of marks--wavy & straight lines, verticals & horizontals, dots & dashes.  I used a paintbrush like a pencil, and the works were small & intricate.  Chicago & Virginia melded together into unique places.  Looking back on these & other works like them from this time period, I realize that my technical approach was not unlike the sewing & needlework projects  of my teen years.

3: Chicago...

The immense and vibrant city of Chicago and the close-knit, secluded life of art school were the two poles of my world for the next 7 years.  Each had an immeasurable influence on my work.  My map drawings, like those shown in the previous post, developed from colored pencil & conte materials into oil paintings.  I thought of these as internal travel logs and I developed a personal vocabulary of mark making which became a legend for all the landscape maps I was to create for the next body of work.  The natural landscape that I left behind on the East coast combined with the architectural footprints of my new city life.