I have been slowly working my way through Marina Tsvetaeva’s ‘Art in the Light of Conscience – Eight Essays on Poetry’ and read yesterday about Zhukovsky’s translation of Goethe’s Erlking. There is a child, on a horse, held in his father’s arms… All new to me. I borrowed the image and added that bit about ‘the only city’ and related the child’s emotions to String Theory. To not do justice to Tsvetaeva’s essay titled Two Forest Kings I’ll just call it mesmerizing.
In my computer floating freely I found a digital file of (shall we say) cartoonish ‘Druid-monk’ images. He’s working beneath a light bulb (of course) and creating an icon of spirals. One is a cauldron-spiral. Perhaps I was thinking of manuscript illumination.
Then I found an ink drawing/collage from my (rather dark) 2011 exhibition at Propeller Centre for the Visual Arts in Toronto.
After combining them in Photoshop I was going to call the series ‘Temptation at the Manuscript Factory’ – humour inspired by a miniature I’d created many moons ago for an art gallery and gallery owner (both gone) who annually held an International Exhibition of Miniature Art. Instead I worked with a line from my unpublished poem Celtlandia Has Fallen.
Celtlandia Has Fallen is a sort of a quest poem, inspired by ancestral yearnings. There is something in the DNA stirring. In the Continuous Vegetal Style I served her. I don’t remember this, but in the poem ‘I’ do.