poemimage

The visual & the poetic.

Tag: ink drawing

Yes, it seems I have….

Yes, it seems I have interrupted doing my ‘to do’ list of what must be done. Yes, it seems I have started working on a new roll of Italian mid-weight paper using B&W media: both inks and gouache.

Fish-woman? Wise-woman? Shaman? Doesn’t feel like fibre-optics.

The main thing on my ‘to do’ list is the promotion (for purposes of exhibition or sale) of my 2022 work ‘Druidica’ (W35′ X H5′) also on a roll of mid-weight Italian paper. I have discussed this work in these pages: https://poemimage.com/2023/05/01/druidica-blue-deja-vu-cave-art-for-the-new-psyche/

This new B&W work takes me full circle, in a way, to when I was a young, self-taught, beginning artist working with a 01 fine-tip, refillable, Rapidograph pen. I laboured over intricate, intuitive work, often overnight – stippling and scratching away at the tiniest details – dark and surreal, somewhat psychedelic. I have expanded on how I work with B&W since (of course – one does expand). As the Grateful Dead sang, What a long strange trip it’s been…I sold offset prints of my ink drawings door to door to students in university residences and the infamous Rochdale College in Toronto. I still remember encounters from those long-ago days and still have many of those drawings.

That may be Boudica in among natural forms and abstracted Celtic motifs.

It requires a bit of finesse to juggle ink & gouache side by side. You integrate two mediums, in one image, hoping the unique properties of each medium stand out. Each approaches the other: from here or there, keeping its own edge, and relationship with water.

A physician ‘nurses’ an anvil with a baby bottle – a deliberately absurd image.

Although I began (Whoosh!) without any plan, this work immediately communicated a specific theme. Two themes actually, I will play them off against each other, intertwining them. One is a ‘reverse metaphor’ of sorts – highlighting an impossiblity.

A wee seahorse appears in gouache.

And the other depicts a figure in mythical folklore (who existed historically). I will abridge her mission, into my overall theme of juxtaposing polarities within a dense, intricate ‘jungle of the psyche.’ I will reassign her, respectfully… Once again the ancient juxtaposes against the ‘now.’

I was surprised by the sense of ‘portent’ in the composition.

I have not corrected these iphone8 photos, taken under less than ideal conditions. I started to ‘adjust’ them in Photoshop and decided it was too time-consuming. Below we see an example of ‘drawing’ beside ‘painting.’

A ‘star’ within the breast of the bird breathing ‘fire.’

Just like with my ‘long blue painting’ I am working on the floor.

Green tape (not very sticky) helped me divide sections for photography.
I must remember to get those soft knee-pads for gardening to help with working on the floor.

Often in my poemimage postings I post the first draft of a poem and spend days editing the material. However, what I am saying here is pretty much just ‘black and white’ facts (excuse the pun).

Face to face with a bird breathing fire…
Abstracted face with emotion…
I imagine a sound to go with this…
I may have ‘adjusted’ or ‘corrected’ this image in Photoshop.

With ink I am both drawing and using a looser, painterly style, with wash, dripping, splattering, and expressiveness, which can be rather unforgiving. The gouache, although paint itself, is used more deliberately, adding depth, and solving problems.

Time Machine

I told them I was no expert but they signed the contract anyway.

The flight to the cave in the mountains was so long it included five meals.

When it came time to adjust the settings they told me I would be the operator.

They asked me over the intercom what I saw.

I said, ‘A cow.’

They said, A bull belonging to Genghis Khan?

A bull breathing fire?

A bull pulling a chariot across the sky?

I said, ‘A cow in a barn

watching Sonny and Cher sing The Beat Goes On.’

They said, ‘Adjust the settings.’

I did. They said, ‘Where are you?’

I said, ‘I see Rasputin.’

They said, ‘What is he doing?’

I said, ‘Building a time machine.’

A simple ink drawing

Drawing in my sketchbook on a city bus as the driver aims uphill on a paved surface at normal speed. The bus stops and starts. The sketchbook bounces on my knee. I suspect he is avoiding prehistory, postmodernism, and the now. This explains weaving, dodging, and swerving.

Coral (?) atmospheric tint added in Photoshop

Almost!

Almost here – almost there.

Painting on Fabriano mixed-media paper, a soft yet substantial texture.

Inks, water-soluble graphite, gouache, watercolour, watercolour pencil.

Mostly materials one might use for smaller works and yet here we are.

Blues. Druidic blue. Pictish Blue.

It almost came to me – how to begin.

It almost came to me – how to complete this work.

A medieval hedgehog decides my painting shall become an illuminated manuscript. It almost does.
Textured drawings based on line drawings above. Almost sentient.
Soon I will enter this doorway. Perhaps to find ancient Druids. Almost ancient almost now.
How quickly my work space looks like chaos or an upheaval!
Many hours rolling – unrolling, hello, goodbye, almost goodbye, almost hello.

GIF Experiments: 24 (The Ronettes… although)

I’m glad I was able to post a GIF today. I was working with a large volume of images interpreting five lines from Lyon by Pierre L’Abbe and need more time. I will (knock on wood) assemble that GIF this coming week. In the meantime I offer this ‘slow-moving river of a GIF’ featuring (ostensibly) The Ronettes, although they too were code for something else I suspect, considering when I drew them.

THIS GIF HAS SUFFERED SOME SORT OF DAMAGE OVER TIME. EACH PANEL IS SUPPOSED TO LOOK LIKE THIS (BELOW). I WILL FIX THIS (REPLACE) AT SOME POINT.

You Told Me You’d Be Home By Ten

Original

Neolithic

Watching you in the shadows rip your poems into pieces, tossing them like blossoms cascading into a bucket of glowing coals.

The shadows of your hands flutter perfectly against the wall, the shadow of your fingers tearing shapes into pieces, tossed up & falling down, the sun at two o’clock highlighting shadows like birds sliding down the wall.

Nobody imagined your face streaked or the palms of your hands covered in coal dust.

One torn fragment flies through smoke and sticks to your streaked face in the shadow of a cherry tree, the bucket heavy as an anchor, the last of your words going up in smoke.

I fell in love with the maps of distant time, unexplained distant time & the Neolithic, I fell in love with the Neolithic – your dark hair,

Dark as some mystery strain of ancient wheat shimmering in the coolness of twilight, pressing your toes and fingers into the clay floor, stretching your body from horizon to horizon

Balancing a voluminous golden disc upon your delicate, curving spine. I’ve learned the language of discs and cherry blossoms, your fingers and smoke. I bury my animal cry.

Your shadows are hunger.

The eye blinks once in the gloomy shadow of the soul’s laboratory. A shattered disc showers fragments. Clay – no, not clay – gold. Hollow doors open and close, concealing this world. You seize the universal remote. Your fingertips press TV channels bright as a sun. The Clay Channel. The Gold Channel.

You gave me an indelible precision I mistook for esoteric ambiguity. Shadows conceal and reveal. I gave you tools for repairing machinery. You asked where this machinery might be found.

In the Legion parking lot snakes fall from the sky. You sing them down into the branches, how you sang! They wound themselves down, sliding and wet, their hearts tinted with gold, zigzagging into liquid angles and spitting hieroglyphics, falling upon your shoulders like rain loosening your hair.

Cauldrons along your spine bubbled over spilling gold. I was drawn as if by a magnet to your magical hysteria on the night you promised you would never shatter again.

You raved about a coastline where we might find ourselves half-buried.

You ridiculed mannerism in cinema but never did you ridicule Suprematism. In the shadow of a tower you open a drawer filled with soft gloves and the sounds of night. You pull charcoal up to your elbow. The Suprematism of your eyes lined with kohl.

A movement crosses the palm of your hand dividing stone from water. Your breath fills your spine with heat, a motionless reflection shimmers, spreading to the edge of a stone radius.

                                                                                                                                                                                                                                                                                                                 Your blood has not forgotten this stone.

                                                                                                                                                                                                                                                                                                                        I read Neolithic in full in February and it took me ten minutes to read with a fairly brisk delivery. I have edited it substantially (and spontaneously) for this posting. I hope I have conveyed the essence of the poem even knowing how much is missing…