36th Entry "The Shinigami Series of 2011"

There is a strange sense of strength in feeling free, without the inhibitions of the physical - where the rules though they are still present can be skated on like leaves in the wind against gravity.


This was the leading thought behind the premier piece in the 2011 Shinigami Series "Shinigami Aki". But to understand the theory and concept behind the entire process one has to know what a Shinigami is.


The series came about after reading some Chinese and Japanese folklore. The stories were rich in a time where forces and spirits walked the Earth - timeless, wise and/or bored. These forces played a variety of tricks on humankind for what ever reason and administered tests of character testing one's cleverness, inner strength or worthiness of honor.

I used this spark of interest in tandem with a song by Origa which uses Russian, Latin and English vernacular in a haunting message that to some may seem common sense. However, it is so profound in its portrayal of near to 100 beats per second in some areas (you can hear and read the song in complete translation here CLICK THIS just use your browser back page to return you to the post when you are done).

The Shinigami are a curious lot, no one can really say for sure exactly where they come from and their history is shrouded in mystery being that there are several theories as to how they got the title "Shinigami" and what exactly they are. Some think of them the Asian version of Guardian Angels or a mix of Angel and Soul Reaper, while others view them as Gods of Death or dead spirits. Within the many stories Ive read in research and portrayal of these interesting creatures I have seen examples of all kinds of Shinigami and their interpretations. Some state that these creatures are based on the Shinto, Buddhist and Hindu mix of their deities of the after life. They combined in time with the European influence of the classic 'Soul Reaper' image during the Sengoku Era where all of these cultural elements were in contact and mixing.


The first time really that the term is recorded is in the Italian Opera titled "Crispino e la Comare" which in turn was based on a German fairy tale recorded by none other than the Brothers Grimm (Grimm Fairy Tales). To the best of recorded knowledge this was the first time that Japanese term was actually used.


The threads of consistency that run through each of these tales are what I based my own creative concept on. The Shinigami are 'strong souls' some of which who once were human and others still that represent forces of nature even plants and animals. They are eternal creatures whose wold is made of 'Reiki' or 'spirit energy'. Each of the Shinigami's powers and authorities are contingent with their divine assignment. Some serve as guardians and advisers while others are warriors and punishers.


The work "Aki" literally means "autumn" I thought this image appropriate as we view life as a spring and summer season in our minds and death as winter as in the "dead of winter" it is a seasonal symbolic trine I wanted to create in this initial piece. Autumnal existence symbolically is where the spirit of things escape their physical, they rest or save their young and leave for the return in the spring. As the first piece I wanted the viewer to in some way be part of the separation into this middle where the physical and spiritual though mixed are becoming more separately defined.

To capture true fall colors in their richness I chose for my raw material all those which carried with it the essence of fall. Cinnamon, Mustard, Jewel Weed and a favorite hue Cayenne Pepper.


The stain from Cayenne Pepper I make takes 48 to 72 hours mixing the dried spice carefully with vinegar and water just enough to saturate the whole mix but still keep the color rich and potent. Too much and it will make the stain runny and weak as second bag tea.


If it isn't done properly, and the saturation is not complete, micro dust in the powder will escape into the air with each stroke of the brush playing complete havoc with one's eyes and sinuses. But when done correctly the treatment is quite worth it. As depicted in the photo's to the left. The final color is a rich fall iron oxide red ox stain in coppery hues. The effect is simply brilliant and after painting several of the fall leaves in the piece went on to add it to the figure's hair and robe.

The image is a fall spirit. A female figure was used as the Earth spirit which is often synonymous with mother nature. She stirs a freshly barren forest with her wooden staff winding fall leaves in the movement to dance. Set in symbolic twilight blue as fall is the proverbial sunset and twilight of the year. The piece captures movement in swirling dynamic air energy. I love the quirk in illustration styles of the 1960's - 1970's. The men and women who did classic comix like "Conan" and "the Warlord" were brilliant innovative artists. They used intense imagery and the physical dynamic in defining a movement that became inspiration for many of today's artists. Though I still wanted the piece to be a finger print of my own creativity this is kind of an homage to them. Still you can see the influence in the direction in which the piece went. The assembly as it is with the element of human, animal and plant in a specific season of time is intended for the viewer to attach a symbolic personal value to the painting as a whole.


Adding to the fall spirit is a pheasant in flight. They are actually very dedicated birds having up to three mates at the same time to which it he serves as a loyal protector. Those who possess a pheasant as a totem use it for the wisdom to know when and when not to express their powers of attraction. Spiritually, it is a symbol of intense love and deep attraction. It provides in nature the ability for its bearers to tap into a personal power to be more productive and creative while utilising their own personal passions to motivate.

"Shinigami Aki" 20 inches by 16 inches on 100% cotton ph balanced canvas mounted on tea soaked pine painted with mixed natural medium. Click the image for further details, click the "price" there for pricing and availability.

Thank you all for taking the time to read and for the love. I hope you enjoy it.

Feel free to ask questions in reference to the other eight pieces in this series and stay tuned. More entries on this series soon. You don't need to be an art ninja to know what you like, you don't need a doctorate in art to see if something is beautiful.

35th Entry - "The String Quartet Series of 2011"

This series was directly inspired by the work of Philadelphia based Composer Jeffery Cotton and his body of work. His artistry is a combination of surprise and harmony which is ultimately quite literally haunting. It leaves a deep and unforgettable impression that lingers - an impression that one memorizes in its intrinsic folds - like a person can recall the smell of coconut from memory or the taste of a very tart lemon but a layered small eternity more intense, what better a source of inspiration to an impressionist painter. You can see him and sample listen to some of his work here http://www.jefferycotton.net/info.asp?pb=26&pg=1

The more I worked on the pieces the scope of the project changed. I chose to create a string quartet series for a few reasons - a person can be uncomplicated and still be complex. Though I don't believe I am one of those people (yet) I still know they exist, that said I believe we are all equally made up of four basic parts - the mind, the body, the soul and the being as a whole (the sum of its parts which form a piece indicative of its own nature separate from yet intimately if sometimes unconsciously attached to each of its composition).

In a string quartet there are traditionally four instruments and a quartet piece is played in four movements so that symbolically twice applied brought a depth to the artwork. Also, each of the instruments used in a traditional string quartet were created in the 16th century which of course is four times four - the end result is four or four references to the value in kinds of 'four' in the each piece within the series - anyway I digress, it seemed to fit perfectly. Using this as a foundation to the inspiration of Composer Jeffery Cotton's music I was able to carry the influence throughout four individual pieces.

I have an affinity for string instruments. They are a symbol of fire signs astrologically and being a fire sign I'm naturally drawn to their sound. Anyway, for this set of work I wanted to break into something different that was unique to the series, as the composer's work is unique. I knew that Jeff Cotton uses geometrical shapes which manifest in his compositions lyrically and I wanted it different and special while still being identifiably mine. In short, I had been experimenting with artwork similar to that found in graphic novels so adding that as a spin I began to create.



"The First Violin"
(you can click the image for dimensions, details and availability)


The Violin as it was developed in the 16th century were hand made from cruder string instruments. During that time period they were regarded as the instrument for lower classes, being used mostly in folk and family gatherings. It would be about a century later that more composers would use them in their work. Within the melodic creature called the string quartet it is traditionally the lead, it sets the tone of the piece playing the melody. As performed by the Cypress String Quartet in Jefferey Cotton's String Quartet #1:Overture, he is easy to see (click to hear a snip) http://bit.ly/mg7fmp a leader, his notes a statement the movement deliberate and focused though intense near to wildly passionate.



The color red mentally tells people on a subconscious level to pay attention or note detail. On that same level it draws a halting attention in a capacity that draws them to see what is next. The color was chosen for this reason. This hue of red was acquired through the use of raspberry extract combined with rose essence and cinnamon (with a few other things) in an oil resin. Once the cotton canvas was treated to take the color it went on in two layer resulting in a thickness of tint and hues. Striations within the canvas were managed by the use of feather tips from one of the many robins that live in the area. The opening movement is traditionally swift and energetic which reminded me of these birds and I wanted to somehow incorporate that in this piece.


Using the feather tips to carry each line into its geometrical shape allowed me to do that, the technique is very easy and there are several resources on the Internet which can teach you. The trick is not to saturate the feather and simply use the very outside lip of the tips. Going beyond that or allowing the feather to soak up too much of the coloring tincture will create blobs and smudges. If this begins to happen simply use a fresh feather. In an area like the northeastern part of New York I am in there are several just lying around outdoors but they are also for sale at most dollar stores.


The applications of geometrical shapes in the background are deliberate - a literal to the composer Cotton's own inspirations. Also being a symbol for the mind I needed to add the element of logice - if this then that, as an undertone to make the piece more well rounded. This ended up being my personal favorite from the series. As for the shapes, they too are layered like each instrument's place within a harmony but together they form 16 types of hidden images that I will not iterate. I hide images in each of my pieces as a way to reward those who are willing to look at them. This is consistent throughout the entire series.


"The Second Violin"
(click for painting details, dimensions and availability)


The second procession of music within each quartet is traditionally a bit slower. In lieu with the color symbols I used this concept in the piece. Green is the "what's next" a symbol of 'go'. It inspires activity and motion on a subconscious level to the viewer. The background is loose and free floating though also with its own hidden images that extend into the face of the piece. She is a violin as well, once a lower class instrument placed by wit and creativity into finer more intimate settings, refined composed but still as intense.

The second violin in a musical quartet serves as an accompaniment to the first violin, sharing in the melody, yes, but adding fine detail creating depth through harmonies and soft complexities woven into the movements of that musical dance. I did not intend for her to be a woman but the piece painted itself - as sometimes they do (creative types will be able to identify with this), and so here she is. Clever and complimentary, both in the back and foreground just a touch mysterious. Intuitive to the movement of the first violin and iterating each expression with deeper meaning. Like the body will most times do what the mind suggests and at others wont listen at all lol. I believe as a mate she went well as the body symbol.


"The Cello"
(you can click this image to see details on the piece, its dimensions and availability)


The Cello, also developed in the 16th century came about in Italy as an attempt to reach the lower notes that a violin could not do. Its intent within the quartet is to support the other instruments and allow them to shine while he himself is the phonetic foundation (not to be confused with the melody).

I wanted to use the color blue, which inspires imagination and creativity within the subconscious. Staying with the idea, like a tired parent supporting their playing children, that the Cello supports the lot. The soul is enduring, it can be weary but stong at the same time. I used a slightly resting position to the head, not bowing because that would be inattentive, but lax and eyes that wear low on the brow but still show an acute awareness. I suppressed the background latticework by using pastel and talcum which was hydrated with olive oil, this made it malleable providing a lulling effect in texture and hues. I wanted to depict a quiet strength, which would insinuate a longer limb and taller stature to add to the overall impression. Keeping in tune with the rest of the series this piece also has its own set of hidden images buried in lines and tints that span the painting.


"The Viola"
(you can click the image to see details on the painting including pricing, dimensions and availability)


The fourth and last procession of the quartet's performance is classically the climax. The image on the canvas has turned direction and is closer to the frame as if almost to exit the stage save a glance over at the participant, its viewer It incorporates all three colors within it's works - red, green and blue and in being of its own nature has one of it's own. It is the expression of all three combined to create a complete and separate being.

Here the architecture as seen in the others has moved into the background and wider, broader strokes of pitch and charcoal for looser associations of braided squares, triangles, circles and helices. The viola meets a range between that of the violin and the cello, it is the missing piece and the joining part. Sometimes it will use melodic counter points to the first violin creating deeper tones and a richer experience. All four instruments allow the listener to experience a richer melody and any one could accomplish alone. Though without each part the composition would not be whole. The number four appears in this piece several times to kind of allow for a visual disclosure to what else might be there.


Well, there it is. I really appreciate your reading and am grateful for your interest so thank you to all of my loyal darlings. I honestly do hope you like them because I had so much fun creating them to be enjoyed. I am equally as grateful for the brilliant talent of Composer Jefferey Cotton and his amazing body of work which provided the inspiration of this labor of love. I find it amazing how creativity, in any medium or 'language' if you will, seems to connect in ways across the senses. I person can almost hear the color blue in a musical composition or smell the color red in a perfectly cooked fine meal. It never ceases to amaze me and that's why I love my life of art.


More later,


pgp

34th Entry - "Anagram" 2011

Often I am asked as an artist, what inspires me - the truth is most anything can inspire me, where I am fixated is the concept behind the desire to create the piece - I will see something in everyday life that simply stands out, yes, but it isn't always an object its more a theory or societal norm or attitude almost and once it gets my attention it is all I can see until the piece is done. At that level of contemplation the piece will usually take care of itself, it just "makes sense" and it's painted.

For example, I have often noticed that no matter what roles we play in life, son/daughter to mother/father or boss or child or friend or enemy we are still completely us - no matter what section we portray to fulfill that role we are complete within ourselves and carry each role like a living filing cabinet of lives tapping into each file when needed (or sometimes not needed), when appropriate (or not always appropriate at all). We are who we are, better at some roles than others but variations upon the same theme with an underlying constant like saying "tap" or "pat" the letters are the same just in different placement.

I then thought that people will sometimes choose a role over who they are entirely - a person will choose to be a mother/father even with their spouse or a child around their friends. They surrender to the role rather than remind themselves that they are in fact so much greater. It usually doesn't work well or for long or at all. Its like a single tooth trying to eat an entire meal, it cant you need the whole head (should you not use your mind and attempt to eat something totally inedible).

Sometimes a person needs to be reminded they are greater then their parts, I know that as a son, a brother, a boss, a nephew and grand kid and all of the other things (some four lettered) that I can be I needed to be reminded of that. The idea then became that I wanted to figure out a way to do this on canvas. A small reminder in symbolic value a non conventional un-obtrusive way to make that statement. I loved the details of these simple everyday type items in the photograph above. The lines of the empty bottle, the detail of the lattice and braiding in the incense burner, the shape and colors of the leaves on the paper napkin. See - so the painting was inspired really by a concept, a thought that left it's "impression" on me, these objects as photographed above are secondary really.

I love hyacinth, the flowers are so abundant and they come back every year. They smell great too so when I am painting with them the whole place just fills with it. If a person takes a few blooms from each plant they can have more than enough and it wont kill the plant. In fact it will inspire the hibiscus to create even more flowers to make up for the ones its lost just to be sure it gets pollinated - which in turn means a stronger perfume from each plant.

Once the flowers are clean with a warm salt and water mix the canvas is then treated with a similar "tea" and some ground alumn then they are pressed one by one onto the desired area. Oxygen will darken the stain the longer it is exposed to air and a variety of other mixtures and plants can be used to alter the over all color, tint and effect. This piece has coffee, lemon and cinnamon in it to name a few others.

It isnt a quick and easy process, it takes time, with some percentage of trial and error. Once air hits the stain the oxidation process is literally ON and you cant un-do it. A specific application of a lacquer or counter agent will stop the process and seal the color as is. Thats how the paintings stay vibrant and fresh looking. Some protective sprays can be purchased with UV blocker (which I recommend) that prevents bleaching from exposure to the sun.

So with the concept in mind I decided to create a piece from two canvases that when joined together in one of four ways will make a different painting. The same images just in a different expressed portrayal. The title of the piece seemed appropriate.

"Anagram" by Patrick Gorman Pettis
17" x 17" on mounted cotton canvas
in natural mixed medium

Viewpoint One

In all of my paintings I place hidden images, I think of it as a "thanks for looking" to the people who actually take the time to see the work. There are near to one hundred faces in this piece some more obvious than others, four dragon flies, the word "love" and other things. I wont give away where they are but a hint is always fun. Here in Viewpoint One you can see a sitting angelic figure looking out onto a sea of lives opening in it's foreground.

"Anagram" Viewpoint Two

In center placement there is a Valkyrien face complete with winged helmet, and a mountain of lives in the back ground.

"Anagram" Viewpoint Three

In viewpoint three a pillar of braided souls takes center placement to two angel pylons which frame the work.

In a close up of viewpoint three you can see some of the detail. Natural coal was used to create shading. As mentioned earlier there are about one hundred faces in this painting, some obvious and others hidden.

"Anagram" Viewpoint Four

There are two angels with their back to the viewer with reaching out arms and wings hail a myriad of souls in front of them. I love the versatility of the piece and the way it turned out. I think its a great conversation starter.

Thank you all so much for reading this entry and for looking, I hope you enjoyed it.

More Later :)

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or if you would like to see additional works
simply click here

33rd entry - Castrato Series "CASTRATO SETTE"

There comes a time when a person has to reach beyond themselves, this is not an epic moment, sometimes its as small as getting the milk behind the cream in the fridge - its the choice to do so, to try, to make the effort and do something to make your smallest wishes come true that makes the start, and that makes the difference - not the act, the mind, attitude and spirit behind it each time we blink, every time we open our eyes or listen with our ears

it is beyond our senses and intentions, it is how we feel
and what we do about it.

Would it be beautiful for us or ugly? It is a choice and an attitude toward the action.

And yes I know that sounds so complex, but really its simple and its easy to find where your true heart lies and where it tells the truth

there is a small exercise that anyone can do and it takes three minutes

step one) read this sentance

step two) close your eyes and count to ten forwards then backwards

step three) focus on the last number in your mind and open your eyes

look at yourself, how are you sitting, how are you feeling, how are you breathing

what is your frame

of mind

and where was your soul from 2 to 10 and back again?

what ails you and what are you grateful for? who can you help today? what have you done for yourself lately?

you see we detach from ourselves so easilly, and its so hard to learn something when you are simply "not there" - life has a way of conseuring us into a drone like syndrome where we simply fulfill our roles and do whats expected and that means we might be doing a good job or a bad job and its inter-related and definative and congested until some way or another it pops and we smoke cigarettes or use drugs or drink or fuck or become addicted to money or success or worse, other people

its not us but what we stick to ourselves

like bad chewing gum or a washing machine with an uneven load that needs sevety five more cents

its a half-measure

it doesnt do its job but its not broken

we've simply mis used it

we do the same thing to ourselves

we mis use us

misused

and although there is no cure there is a solution

it begins where the question began

with us

again folks this is simple, just read

In most of the culture of the Castrati (it would be the equivilent of the houses of vogue in the 20th century) there was an infamy a level of delinquincy which brought the voices of angels to a studdering halt. The question of the Diocyces was why cannot they simply be voices, well honey we are not machines we are more complex - if you want a plant, pot it - however mess with a man's horemones and you have hell on your hands.

Fact: in all of nature we are female based, men are rare - there are approximately one male baby born for every eight female babies born and in eight of those females are infertile and one in six men are gay or "homosexual" and this is not limited to our species, it happens in squirrels, dolphins, swans, ivy, lions, and just about every friggin thing thats on our planet that has a split sex differentum, the males of our species specifically are geared to procreate as much as possible and as quickly as probable, unfortunately having a male baby means twice as much work as a female because females have something called "intuition" that unless they're gay men are completely void of . . . i digress

CHAPTER VII: Venice 1819 " . . . . . . . where are you cortisan? I cannot find you, you seem like a woman but you are simply too large, too grand and I am afraid"

32nd Entry - The Castrato Series

There comes a time in each person's life when they wish they could simply reach out and touch god, but they cannot - as children we look to the sky and at the ground and wonder why. When presented to the solution "because" we are each challenged with the definition of our ownand at times that can become quite frustrating.

There are moments in our lives wherever we are when we look into the mirror and can barely recognise ourselves, and these are not monumental moments they go on and on within us in their own proclivity droning about like the hum of a cell phone set on vibrate. It is simply a need, to sing, to paint, to draw or caption or write or dance.

Alexander Scott once saw prints of my paintings and stated " Stop this train I want to go home tonight" and in the background to the left you can almost see a train. I digress - what is the real reason why we exist - this is the question

The answer is "because"

On Page 129 of Anne Rice's Book. "A Cry to Heaven" there is a single caption

"I do not know what saves me, I am a stranger to god and all of her incumbants - I am nature and a fierce voice to be recogned with"

31st Entry - The Castrato Series

"Castrato Cinque"

There comes a time in each person's life when they look at the people they know and wonder what if.

These are not epic moments, sometimes they last only a fraction of a second, the woman we know at the drug store, the child we know will become an adult, the parent we've only known as a child and not as a person - these moments are valid, they're human, and they happen all of the time within us.

"Castrato Cinque" was inspired by the ninth Chapter to Anne Rice's Book "A Cry to Heaven" - the lead character is simply looking into a mirror at his own reflection - however the moment he has is one of those what if moments - a heartbeat long, and he for a spit second wonders exactly how far he has gotten away from himself

what has he become

who is he when he is alone

and

does he exist outside of simply playing a role at all.

The painting is done on wool backed with a sulfur and aluminium mix combined with salt water,

dandelions were used to make a simple stain called "pressing" to form a background - when combined with honey and oxygen they turn blue or even black

If you look closely at the eye - the main focus dilutes into a church in the background - a reflection upon a reflection, there are five dragonflies in the piece and twenty seven faces.

There is a message here - can you find it?

more later