Grotesque Paleolithic Imagination - Another Work Shot or Slow Painting Progression

I had hoped to finish this for my group show that went up yesterday at Kingston. It was not to be. But the show looks super good! Congrats Sue, Liza, Antoinette, and Hannah! I'm so excited to show with all of you!

Mille-fleur

I have been listening to Tracy Chevalier's "The Lady and the Unicorn" on sound recording, a delightful diversion when driving and painting. I have become enchanted by the idea of Mille-fleur, or background flowers from tapestries. Chevalier's book traces a fictionalized account of the making of the unicorn tapestries held by the Musée de Cluny in Paris. Chevalier's website has samples of all of the tapestries, but I found examples of Mille-fleur to be even more enlightening. In Chevalier's book a garden is described in detail as the source material for the "thousand flowers" background of many a hunt scene or fete. I recalled my attachment to "The Unicorn in Captivity" from the Hunt of the Unicorn cycle held at the Cloisters. I think much of my attachment to that work is derived from the Mille-fleur covering the ground, I wonder how I might apply it to my work now. The above images are taken from the Metropolitain's website for the Cloisters tapestries, specifically these are details of "The Unicorn in Captivity." On the left is an example of the clove pink Carnation with a fragment of the unicorn's fence, and on the right is an example of a Madonna lily. Both flowers have symbolism grounded in virginity and earthly love, betrothal, and marriage. Many of the flowers in these tapestries provided talismanic protection because the flowers were used in daily life to warded off illness or combat poison.

Further Along

I've been kinda pokey in the studio lately, so I'm slowly finishing this 18 x 24" picture, obsessively finishing each little grape and then ham-fistedly painting a bird. I don't know whats up... winter ennui? I had been having trouble with the color balance but I think the strawberry shortcake resolved that.. nothing like a small punch of color for interest within a larger limited palette. I thought it would be interesting to show myself in the midst of my painting, although it may just appear that I am slowly progressing, barely changing the picture from one step to the next. I love slow incremental changes to a collection of anything, books, mushrooms, chocolates, perfume, paper cuts. Perhaps that is why I rehearse that in the paintings.

Upcoming Show at the Kingston Gallery in Boston

Our opening is January 2nd, bright and early in the new year, come if you can! I'd love to see you all! Here's a link to the gallery's announcement.

Andy Harper

This is the work of Andy Harper, found via BigRedandShiny's recap of ArtBasel Miami.. Harper shows these jewel box oil paintings of flora and fauna at a gallery called One in the Other. I'm totally enamored.

Another Progress Shot

In Process, Vanity

Sincerely

There is much in progress, much to be finished. But for now, a bit more source material to cheer up my rainy day.

Cordially Yours

Not quite Caroline

Itty Bitty

Two 2" x 3.5" miniatures derived from an arcade cards and antique visiting cards. I consider these less copies than ham-fisted restatements or homages, a kind of daily practice doing honor to collected ephemera.

Home as Still Life and Curation

Over our fireplace I have a collection of green depression glass mixed in with some of my favorite artworks and gifts. The larger lush green oil painting adjacent to the day of the dead figurines is a Wendy Edwards work. The figurines and the little antler next to our antique clock come from Amanda Lechner, and the gorgeous little print comes from Asa Muir-Harmony. The lovely tulip prints in the rear are street finds from Amsterdam.

Sketchbook Ladies