- Published on
The Time of Year for Storytelling
"The Time of Year for Storytelling" - oil on canvas, 26 x 31.5 x .75. Ready to hang. Available here, at Artfinder and at Bluethumb.
Our culture doesn’t think storytelling is sacred; we don’t set aside a time of year for it. We don’t hold anything sacred except what organized religion declares to be so. Artists pursue a sacred call, although some would buck and rear at having their work labeled like this. Artists are lucky to have a form in which to express themselves; there is a sacredness about that, and a terrific sense of responsibility. We’ve got to do it right. Why do we have to do it right? Because that’s the whole point: either it’s right or it’s all wrong.
- URSULA K. LE GUIN
Our culture doesn’t think storytelling is sacred; we don’t set aside a time of year for it. We don’t hold anything sacred except what organized religion declares to be so. Artists pursue a sacred call, although some would buck and rear at having their work labeled like this. Artists are lucky to have a form in which to express themselves; there is a sacredness about that, and a terrific sense of responsibility. We’ve got to do it right. Why do we have to do it right? Because that’s the whole point: either it’s right or it’s all wrong.
- URSULA K. LE GUIN
The fairytale characters are leaping off the walls here at Malarkey Central. The stories are epic and varied and wild.
Le Guin is speaking right to me with this quote. I've been pondering the responsibility I have as an artist.
I mean, we want to go into the studio thinking LET THE WILD RUMPUS BEGIN and not worry about what we're saying with our work and why. But if we want to tell a story - a story that connects with other humans, expands or explains their experiences, delights or sobers or thrills or saddens - then we've got to do it right. Which brings us 'round to being present with the process. Following the muse. Exploring the dark (and light) corners. Making sense (or nonsense) with the constant thrum underneath of the knowledge that it is sacred.
This piece lingered in the studio. I didn't know at first what it wanted, what it was saying or why I felt drawn to paint it. I know now. It ultimately whispered gently to me, a soft voice among all of the loud ruckus of the other characters on the walls.
The question becomes, what is it whispering to you?
I mean, we want to go into the studio thinking LET THE WILD RUMPUS BEGIN and not worry about what we're saying with our work and why. But if we want to tell a story - a story that connects with other humans, expands or explains their experiences, delights or sobers or thrills or saddens - then we've got to do it right. Which brings us 'round to being present with the process. Following the muse. Exploring the dark (and light) corners. Making sense (or nonsense) with the constant thrum underneath of the knowledge that it is sacred.
This piece lingered in the studio. I didn't know at first what it wanted, what it was saying or why I felt drawn to paint it. I know now. It ultimately whispered gently to me, a soft voice among all of the loud ruckus of the other characters on the walls.
The question becomes, what is it whispering to you?
About the art - the AI bot loves when we play with antlered creatures and the style of Edgar Degas. This means the bot puts antlers on everyone and ultimately tutus as well. Which is quite entertaining but often downright silly.
Once in a while, though, the images become profoundly moving and bring tears to my eyes, as did the fodder for this piece.
This one was all about resisting the use of color, keeping the creature shadowy within the forest and allowing our dancer to be in a "spotlight" in the painting. Many layers of glazing in a dance of "pushing back, pulling forward" while keeping things soft. A final layer of Gamvar gloss over this one gives it a museum feel. Oh!
Once in a while, though, the images become profoundly moving and bring tears to my eyes, as did the fodder for this piece.
This one was all about resisting the use of color, keeping the creature shadowy within the forest and allowing our dancer to be in a "spotlight" in the painting. Many layers of glazing in a dance of "pushing back, pulling forward" while keeping things soft. A final layer of Gamvar gloss over this one gives it a museum feel. Oh!
work in process
Malarkey Central is now at Bluethumb!
Check out all your favorites at a whole new venue. Super delighted and STOKED to be part of this online gallery!
Sacred work you do, Lola. Thank you!
Every creation is a story, a song, a dance, a painting, etc. A world where we can go to in our own imagination. It doesn't matter if our story is the creator's story. A place to dream and forget. I need this place everyday!