On the Easel: Phobetor

It is really difficult to photograph these dark paintings in various stages. I am afraid to take it out to shoot because it freaks out my neighbors. The paintings, I mean. Not for everyone, I get it, people.

But I am really excited about where this is going and you can get the general gist from a less than optimal image. Looking for moths now, that will be emerging from the cocoons.....is it synergy, or something more sinister?

Andrew Wyeth and Michael Jackson

I have read the biography "Andrew Wyeth, a Secret Life" (Richard Meryman) three times and have revisited passages since his death at 91 this past January. While keeping an eye on CNN and Fox coverage of Michael Jackson yesterday afternoon, I remembered that the two had met in 1985 and that Meryman recounts the story in his book.

Jackson sent word to Wyeth that he wanted to have his portrait painted. When Wyeth's entourage of dealers and agents heard of the possible portrait, they were thrilled at the idea of the millions that would be made from the painting and subsequent reproductions. Andrew refers to them "like mafia" who used him for money and didn't care about him at all. And, of course, they all wanted to be photographed with Jackson who apparently had an entourage of his own.

The two artists met at the Brandywine River Museum where they looked at Andrews paintings and talked.
Andy states," I found him a very sweet, sensitive person, very nice, very intelligent."
At some point a man from Jackson's entourage marched in the stated that Michael had ten more minutes and then they were leaving.
Andy goes on to say, "We had a real thing going between us and then these shits got into it. The poor guy was owned by these people. I felt sorry for him. God help any artist that gets caught up in that."
Though he felt a real connection to Michael, Andrew bowed out of the project saying, "Imagine me painting with those guards standing there."

So, we have no amazing portrait of Michael Jackson by Andrew Wyeth, two great artists who sadly now are both gone.

Thoughtful Thursday

Over a period of a few years, the figure has disappeared from my painting. I have thought a lot about this over the months wondering why animals have become the centerpiece of my life's work. In my artist statement, I speak of a love affair with animals from an early age:

"As a child, my three-ring binder full of drawings of horses was a prized possession. In my mind, horses have a mystical, almost phantom-like quality that I became drawn to from an early age. I became transfixed just seeing one in an open field. Today, I recognize this mark in all animals as the fingerprint of the infinite imagination of the Creator. There is a kind of communion that takes place between me and God when painting or in the presence of animals."

Even reading it now, there is a sense of incompleteness to those words, something deeper that I cannot seem to excavate. I suppose it is a journey of sorts and as I find out more about myself, which I believe is expressed in choice of subject, I then understand the connection increasingly. It is very much like peeling an onion. The intimacy with which I feel connected to the work can be very overwhelming. Why? Such mysteries of the human soul.......

I had a hard time getting to sleep last night after seeing a film short about the fate of racehorses once their careers are over, and I feel rather heavy-hearted and introspective today. I see inconsistencies in myself and asking some very hard questions has been a long time coming. Information is power, but it is also often quite painful.

With Dunny