Barefoot artist, part-gypsy, born dreamer. I work with the mythic forces of the inner realms and bring back communications from the depths. I speak in the language of dream.
When I incorporate mythological references, I avoid “falling into an academic rendering of myth” (Mackintosh 10). My perspective is totally personal, but also an atavistic emergence of primal vision.
- Dreams, rituals and meditation
- Greek mythology and theater
- Pre-Classical Greek art, especially the pottery of ancient Corinth and Athens
- Catholic Mysticism
- The mysteries of the labyrinth
- Roger Bezombes , Arnold Bocklin , Pierre Puvis De Chavannes , James Ensor , Erte , Paul Gaugin , Rene Gruau , Samuli Heimonen , Walt Kuhn , Wilfredo Lam , Odilon Redon , Walter Schnackenberg , Franz Von Stuck , George Frederick Watts , Eugeniusz Zak
William Blake: “If it were not for the Poetic or Prophetic character the Philosophic & Experimental would soon be at the ratio of all things, & stand still, unable to do other than repeat the same dull round over again” (qtd. in Lucie-Smith 33).
Blake: “Man’s perceptions are not bounded by organs of perception” (qtd. in Lucie-Smith, 33).
Watts: “I paint ideas, not things…; my intention is not so much to paint pictures which shall please the eye, as to suggest great thoughts which shall speak to the imagination and to the heart and arouse all that is best and noblest in humanity” (qtd. in Lucie-Smith 47).
Hugh MacMillan described Watts as “essentially the seer. He thinks in pictures that come before the inward eye…” (qtd. in Lucie-Smith 50).
G.K. Chesterton, in describing Symbolist George Frederick Watts’ paintings: “There is nothing there but the eternal things, day and fire and the sea, and motherhood and the dead” (qtd. in Lucie-Smith 49). Lucie-Smith adds, “The last sentence quoted supplies an excellent list of typically Symbolist subject-matter” (ibid.).
MacMillan: “giving no message at all to one, an inadequate conception to another, the full significance of the artist’s own mind to a third, and telling their story to all, without any help or interpretation from the painter, as would be the case if he were dead” (qtd. in Lucie-Smith 50).
Odilon Redon, whose first album of lithographs was called In Dreams, describes his work as creating “a sort of diffuse and dominating attraction in the dark world of the indeterminate” (qtd. in Lucie-Smith 72).
Mackintosh, Alastair. Symbolism and Art Nouveau. London: Thames and Hudson Ltd., 1978. Print.
Lucie-Smith, Edward. Symbolist Art. New York: Thames and Hudson Ltd., 1988. Print.