THE MYTHMAKERS: GODDESSES, GODS AND HEROES
As a child, I was invited to work in the studio of an old Greek icon painter. For the many years that I sculpted in his studio, he delighted me with tales of the Greek myths. These formative moments were a thread linking storytelling and art that has since woven through the tapestry of my creative life.
Expanding on this foundational love of traditional world mythologies, for the last several years I have been writing an original mythology featuring characters, creatures and stories of my own imaginings. These tales come to life through both my paintings as well as my sculptures. Each piece depicts a pivotal moment in one of the stories, and, as the stories give rise to the sculptures, the sculptures also inspire the tales.
Expanding on this foundational love of traditional world mythologies, for the last several years I have been writing an original mythology featuring characters, creatures and stories of my own imaginings. These tales come to life through both my paintings as well as my sculptures. Each piece depicts a pivotal moment in one of the stories, and, as the stories give rise to the sculptures, the sculptures also inspire the tales.
Born of the Elements
Born of the Elements, 60"x 26", Oil on linen. Available
These works revolve around the question of where does inspiration come from and how does it manifest itself. In these paintings, the muse form coalesces from the fire, water, mist and earth - the vestigial form begins to transform in an active, vital part of the creative process. The multiple arms indicate movement as well as the process of transformation and growth, much like the limbs on a tree are not confined to a particular structure but are more organic and can change moment by moment.
Born of Root and Stone - The Highlands
Born of Root and Stone - The Highlands, 60"x26", Oil on linen. Available
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Born of the Elements - II
Born of the Elements - II, 60"x26", Oil on linen. Available
Born of the Valley of Mist
Born of the Valley of Mist, 60"x26", Oil on linen. Available
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Perigrinato
Perigrinato, 54"x30", Oil on linen. Available
"Perigrinato: Perigrination of the Spirit" symbolizes the inward personal journey involved in pursuing an introspective life. In exploring one's path the conceptual wanderings encompass all of the fluctuations of life.
In the initial sketches for this painting I had a third figure standing behind the ones you see here. As the painting progressed the background became darker and the figure disappeared leaving the focus on the foreground pair. I imagine that both of the remaining figures are the same person but this is for the viewer to decide.
In the initial sketches for this painting I had a third figure standing behind the ones you see here. As the painting progressed the background became darker and the figure disappeared leaving the focus on the foreground pair. I imagine that both of the remaining figures are the same person but this is for the viewer to decide.
Vanquishing of the Self
Vanquishing of the Self 24x36, Oil on wood. Available
Oftentimes, the biggest obstacle we have to overcome is our self. This painting represents that moment of triumph when the part of us that holds us back succumbs to the higher purpose and will of our true self.
Denouement - Passage to Elysium
Denouement - Passage to Elysium, 66"x38", Oil on Linen. Available
This painting depicts the mythological journey in the afterlife to the paradise of the Elysian Fields, a land reserved for mortals chosen by the gods. Charon, the ferryman, transports his passenger(s) across the Acheron River. The Acheron, in northwestern Greece, is considered in the Homeric poems to be one of the five rivers of the underworld. Later, the Roman poet Virgil referred to it as the Styx, a name has remained in the modern vernacular.
The painting works with the inherent uncertainty of what happens after life. Charon and his charge look into the distance. Are they looking forward into the future or back towards the past? If one sees the boatman as standing in the stern, they are both looking back toward the fading, greying world of the passenger’s life and the glow illuminating them from the right would be from Elysium. Conversely, if they are seen as being in the prow of the boat, the glow would be from the world they are leaving and they both look towards the uncertainty of what lies ahead in the afterlife, which is obscured from view.
The ambiguity created by the similarity of the two figures poses the question of whether the passenger is actually both boatman and charge, guiding himself through his own journey. Similarly open to consideration, both figures are in one end of the boat, yet the craft is not tilting into the water. This presents the question of whether there are other passengers in the boat, possibly the viewer.
In this painting, the journey is the denouement of the passenger’s life - the final part in which all the strands of the narrative are drawn together and matters are resolved. From the title, one is left to presume that these and other questions are answered by the journey’s end.
This is one panel of a diptych with "The Hand Of Prometheus." Both paintings are the same size and were painted simultaneously. These paintings use mythology as a metaphor for one’s internal journey, the challenges, struggles, triumphs and joys of becoming who we are.
The painting works with the inherent uncertainty of what happens after life. Charon and his charge look into the distance. Are they looking forward into the future or back towards the past? If one sees the boatman as standing in the stern, they are both looking back toward the fading, greying world of the passenger’s life and the glow illuminating them from the right would be from Elysium. Conversely, if they are seen as being in the prow of the boat, the glow would be from the world they are leaving and they both look towards the uncertainty of what lies ahead in the afterlife, which is obscured from view.
The ambiguity created by the similarity of the two figures poses the question of whether the passenger is actually both boatman and charge, guiding himself through his own journey. Similarly open to consideration, both figures are in one end of the boat, yet the craft is not tilting into the water. This presents the question of whether there are other passengers in the boat, possibly the viewer.
In this painting, the journey is the denouement of the passenger’s life - the final part in which all the strands of the narrative are drawn together and matters are resolved. From the title, one is left to presume that these and other questions are answered by the journey’s end.
This is one panel of a diptych with "The Hand Of Prometheus." Both paintings are the same size and were painted simultaneously. These paintings use mythology as a metaphor for one’s internal journey, the challenges, struggles, triumphs and joys of becoming who we are.
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The Hand of Prometheus, 66x38, Oil on Linen. Available
Zeus, the ruler of the gods on Mount Olympus, hid fire from mankind in retribution for a trick played on him by the Titan Prometheus. Prometheus stole fire back and restored it to humanity to ensure the progress of civilization. For this transgression, as eternal punishment given his immortality, Zeus chained Prometheus to a rock where his innards were eaten every day by an eagle - the symbol of Zeus.
In this painting we see the chained Prometheus enduring Zeus’ vengeance, gazing at his hand - the bearer of the gift of fire to mankind, as the undersides of the clouds in the distance are illuminated by firelight.
This is one panel of a diptych with “Denouement - Passage to Elysium”. Both paintings are the same size and were painted simultaneously. These paintings use mythology as a metaphor for one’s internal journey, the challenges, struggles, triumphs and joys of becoming who we are.
In this painting we see the chained Prometheus enduring Zeus’ vengeance, gazing at his hand - the bearer of the gift of fire to mankind, as the undersides of the clouds in the distance are illuminated by firelight.
This is one panel of a diptych with “Denouement - Passage to Elysium”. Both paintings are the same size and were painted simultaneously. These paintings use mythology as a metaphor for one’s internal journey, the challenges, struggles, triumphs and joys of becoming who we are.
Daphne
Daphne, 24"x36", Oil on Wood, SOLD
There are various versions of the ancient Greek tale of Daphne, each as unique as the teller.
Apollo, the deity of sun and light (as well as music, dance, healing, poetry and more) is entranced with the beautiful naiad Daphne and pursues her against her wishes. She flees and, being fleet of foot, outpaces Apollo for a time. He professes his love and chases her relentlessly. She flies on. And when, at last, Apollo is upon her and reaches out, Daphne prays to her father, the river god Ladon/Peneus, to save her. In moments she is changed into a laurel tree. Apollo, in deep despair, mourns his lost love and the laurel becomes his sacred tree. Thenceforth the winners of Apollo's Pythian games of Delphi received a laurel wreath. To this day, the laurel is often awarded to athletes, poets and musicians.
In this painting Apollo is the light that filters through the trees at the moment when Daphne changes. The tips of her fingers and hair can be seen turning into the branches of the laurel while her feet transform into its trunk. Her father the river god winds through the meadow at the her base.
Apollo, the deity of sun and light (as well as music, dance, healing, poetry and more) is entranced with the beautiful naiad Daphne and pursues her against her wishes. She flees and, being fleet of foot, outpaces Apollo for a time. He professes his love and chases her relentlessly. She flies on. And when, at last, Apollo is upon her and reaches out, Daphne prays to her father, the river god Ladon/Peneus, to save her. In moments she is changed into a laurel tree. Apollo, in deep despair, mourns his lost love and the laurel becomes his sacred tree. Thenceforth the winners of Apollo's Pythian games of Delphi received a laurel wreath. To this day, the laurel is often awarded to athletes, poets and musicians.
In this painting Apollo is the light that filters through the trees at the moment when Daphne changes. The tips of her fingers and hair can be seen turning into the branches of the laurel while her feet transform into its trunk. Her father the river god winds through the meadow at the her base.
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Wellspring of the Naiads
Wellspring of the Naiads, 48”x 72”, Oil on Linen. SOLD
The Naiads were fresh-water Nymphs who inhabited the rivers, streams, lakes, marshes, fountains and springs of the earth. They were immortal, minor divinities who were invited to attend the assemblies of the gods on Mount Olympus.
Eve, Atalanta and Idunn
Eve, Atalanta and Idunn, Each painting is 16"x 4", Oil on Wood. Available
On the left we have Eve from a story may know well. Succumbing to the temptation to know good and evil for herself, Eve eats the apple from the Tree of Knowledge and then shares an apple with Adam who also eats. For this transgression, they are cast out of paradise.
The center painting is of Atalanta. She was the Greek huntress who agreed to marry only if her suitor could outrun her in a footrace. Many young men failed in the attempt, until Melanion, who was so in love with Atalanta that he implored Aphrodite for help. The goddess of love was sympathetic to his yearning and gave him three golden apples to slow Atalanta down. The apples were irresistible, so each time Atalanta pulled ahead of Melanion, he rolled an apple in front of her, and she would stop to pick it up. In this way, Melanion won the footrace and came to marry Atalana. I have depicted Atalanta at the finish of the race, bemused by her lover's cleverness and devotion to winning her hand.
The center painting is the Norse goddess Idunn. She carried and guarded the apples of immortality that sustained the the gods.
The center painting is of Atalanta. She was the Greek huntress who agreed to marry only if her suitor could outrun her in a footrace. Many young men failed in the attempt, until Melanion, who was so in love with Atalanta that he implored Aphrodite for help. The goddess of love was sympathetic to his yearning and gave him three golden apples to slow Atalanta down. The apples were irresistible, so each time Atalanta pulled ahead of Melanion, he rolled an apple in front of her, and she would stop to pick it up. In this way, Melanion won the footrace and came to marry Atalana. I have depicted Atalanta at the finish of the race, bemused by her lover's cleverness and devotion to winning her hand.
The center painting is the Norse goddess Idunn. She carried and guarded the apples of immortality that sustained the the gods.
Mythmakers Slideshow