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A Thesis Exploring Honey and the Ecstatic
My father always told me when I was growing up, that every artist had some sort of trauma or was troubled and unusual in some way. I would always think to myself, being an adoring daughter, this must be true: Van Gogh cut off his ear and was crazy, Manet I confused with Van Gogh, so they were both crazy, and Dali was a man who thought clocks melted. Growing up I was always compelled to draw and recreate things, but never did I imagine myself an artist, I was too normal, I could never be. My father was a teacher and my mother stayed at home to raise my brothers and I, so when she passed away from brain cancer when I was 10, things were naturally different after that.
At the cremation service all I can remember is lots of people and their uncomfortable condolences that I didn't want to have to deal with. I knew I should appear somber, but I really wanted to go play with my cousins. I believe this is when I first became interested in and disgusted by the idea of surface.
I went to church for most of my grade school years, but I am neither religious nor Catholic. Raised Methodist, I became fascinated with the idea of religious objects and sacred images when I was exposed to them through my stepmother, who is Catholic. There is an intense ritual and sense of the ornate in a Catholic mass that is very beautiful and foreign to me. They are very interested in surface always going to church, always looking nice at church, having different saint pendants for different reasons, having a beautiful space to worship in. Not having a large amount of faith myself, I am jealous of those who do have faith because it is such a magical thing.
One can overcome anything if you just have faith in something.
I was first attracted to drawing and making art as a means to recreate interesting and beautiful things and people around me. If I was able to draw it with some semblance of realism, that particular thing somehow became mine.
I was initially afraid to paint because it was so historic and revered I knew I wouldn't be good at it, I was only good at drawing. Forced to start in a high school art class, I miraculously discovered that I, indeed, liked painting even more than drawing, and I had a natural affinity for color relationships.
Now, working towards a Bachelor of Fine Arts in Painting and Drawing, I have stopped drawing as a means of having possession of something more fully. I continue to create and paint because, for me, every new painting is a risk.
Painting is a very public medium,van cleef magic alhambra necklace replica, but still such a personal creation process, and it is a risk because my next painting could easily be awful, I never know.
With each risk I continue to take, I gain something, whether the result of that risk is a flop or a success. With each painting I enjoy working through the intense frustration in the middle that always happens, which suddenly lifts to a realization that what you have created is actually working,cartier clover necklace replica, grabbing people's attention and pulling them in.
Learning to work through this frustration has also allowed me to learn that creative inspiration isn't always a flash of brilliant insight; it takes hard work and research to find inspiration. I found mine by accident in my first painting of this series. Originally I was interested in the honey and skin combination because of the implications of time from the honey's slow progression down the face. However, when I showed the professors my resource images, they were intrigued by the serene submission of the expression.
There was a "piet" (representation of the Virgin Mary mourning over Jesus'
body) feeling to the image ("Piet"). This new take on what I was doing sent me off to do lots of research and change my direction. I looked at a lot of paintings featuring Christian saints and martyrs, interested in the similar poses and expressions on all of those portrayed. A lot of the paintings I looked at came from the Caravaggio school of painters during the very early Baroque period. These painters emphasized a new realism and exaggerated sense of light and shadow (Weller 1 25). I did not want to keep the icon in the typical format of small and devotional,van cleef necklace alhambra fake, however. By taking the iconic poses and blowing them into monumental scale it made the private images become suddenly public.
Through the process of making the paintings 1 4, I began to envision the honey as a sort of cosmic goo, a heavenly, sensual, and yet still bodily, substance that these women were being anointed with. There is a compelling submission to and enjoyment of this glowing substance that could really, potentially, suffocate them. I originally had no solid reason for a relationship between the honey and the religious references I was using except for the fact that I felt that there was one.
After more experiences of having honey covering my skin for reference material, I began to be aware of the obvious sensual side, but also the side of the sticky and uncomfortable. It was unpleasant being covered in honey.
Interested in this dichotomy, I began researching the accounts of ecstasy that Saint Theresa recorded, in which she revealed the intense pleasure yet also pain that is involved in communicating with God (Warma 510). I researched the historical use and symbolism of honey. Honey was the only known sweetener for many years in the world, and was used for many different things. It was a preservative and antimicrobial solution (Bishop 174). It has also been thought to extend life and health for many years (Ransome 187).
Revered for its useful qualities, honey was also highly prized as a religious offering in many cultures (Bishop 178). The most fascinating fact about honey is that many experts believe it to be the food that the mythical ambrosia, or food of the Gods, was drawn from (Ransome 135). The Mayans also had a similar use of honey, brewing a beverage from it called balche, which was then used to induce hallucinogenic states. These states allowed the Mayans to communicate with their deities (Bishop 184). These hallucinations are undoubtedly similar in nature to the ecstatic experiences of Saint Theresa.
I was trying to evoke with these paintings a beautiful submission to pain and discomfort that you find frequently in people of faith, like Saint Theresa.
I am interested in the idea that one can feel such excruciating pain yet the pleasure is even so much greater that you can't possibly wish it to end.
There also is an interesting sexual aspect of Saint Theresa's accounts. She refers to God piercing her through the heart, and the pleasure she describes is almost orgasmic in nature (Warma 509). In my later works I am becoming more interested in this sexual aspect of the pleasure and pain combination.
I have also been thinking about the space between two beings and what is it exactly that charges this in between. I hope to explore this further in my works to come.
My father's perception of an artist still stands clearly in my mind, that they must be crazy and disturbed. However, being a graduating art student on my way to becoming an artist, with both my ears still attached, I suppose I shall have to work my way towards rescinding that definition in my mind.
Bibliography Bishop, Holley. Robbing the Bees. New York: Free Press, 2005.
Ransome,van cleef & arpels necklace fake, Hilda M. The Sacred Bee. Boston and New York: Houghton Mifflin Company, 1937.
Warma, Susanne. "Ecstasy and Vision: Two Concepts Connected with Bernini's Teresa (in Notes and Documentation)". The Art Bulletin, Vol. 66, No. 3. (Sep., 1984), pp. 508 511.
My father always told me when I was growing up, that every artist had some sort of trauma or was troubled and unusual in some way. I would always think to myself, being an adoring daughter, this must be true: Van Gogh cut off his ear and was crazy, Manet I confused with Van Gogh, so they were both crazy, and Dali was a man who thought clocks melted. Growing up I was always compelled to draw and recreate things, but never did I imagine myself an artist, I was too normal, I could never be. My father was a teacher and my mother stayed at home to raise my brothers and I, so when she passed away from brain cancer when I was 10, things were naturally different after that.
At the cremation service all I can remember is lots of people and their uncomfortable condolences that I didn't want to have to deal with. I knew I should appear somber, but I really wanted to go play with my cousins. I believe this is when I first became interested in and disgusted by the idea of surface.
I went to church for most of my grade school years, but I am neither religious nor Catholic. Raised Methodist, I became fascinated with the idea of religious objects and sacred images when I was exposed to them through my stepmother, who is Catholic. There is an intense ritual and sense of the ornate in a Catholic mass that is very beautiful and foreign to me. They are very interested in surface always going to church, always looking nice at church, having different saint pendants for different reasons, having a beautiful space to worship in. Not having a large amount of faith myself, I am jealous of those who do have faith because it is such a magical thing.
One can overcome anything if you just have faith in something.
I was first attracted to drawing and making art as a means to recreate interesting and beautiful things and people around me. If I was able to draw it with some semblance of realism, that particular thing somehow became mine.
I was initially afraid to paint because it was so historic and revered I knew I wouldn't be good at it, I was only good at drawing. Forced to start in a high school art class, I miraculously discovered that I, indeed, liked painting even more than drawing, and I had a natural affinity for color relationships.
Now, working towards a Bachelor of Fine Arts in Painting and Drawing, I have stopped drawing as a means of having possession of something more fully. I continue to create and paint because, for me, every new painting is a risk.
Painting is a very public medium,van cleef magic alhambra necklace replica, but still such a personal creation process, and it is a risk because my next painting could easily be awful, I never know.
With each risk I continue to take, I gain something, whether the result of that risk is a flop or a success. With each painting I enjoy working through the intense frustration in the middle that always happens, which suddenly lifts to a realization that what you have created is actually working,cartier clover necklace replica, grabbing people's attention and pulling them in.
Learning to work through this frustration has also allowed me to learn that creative inspiration isn't always a flash of brilliant insight; it takes hard work and research to find inspiration. I found mine by accident in my first painting of this series. Originally I was interested in the honey and skin combination because of the implications of time from the honey's slow progression down the face. However, when I showed the professors my resource images, they were intrigued by the serene submission of the expression.
There was a "piet" (representation of the Virgin Mary mourning over Jesus'
body) feeling to the image ("Piet"). This new take on what I was doing sent me off to do lots of research and change my direction. I looked at a lot of paintings featuring Christian saints and martyrs, interested in the similar poses and expressions on all of those portrayed. A lot of the paintings I looked at came from the Caravaggio school of painters during the very early Baroque period. These painters emphasized a new realism and exaggerated sense of light and shadow (Weller 1 25). I did not want to keep the icon in the typical format of small and devotional,van cleef necklace alhambra fake, however. By taking the iconic poses and blowing them into monumental scale it made the private images become suddenly public.
Through the process of making the paintings 1 4, I began to envision the honey as a sort of cosmic goo, a heavenly, sensual, and yet still bodily, substance that these women were being anointed with. There is a compelling submission to and enjoyment of this glowing substance that could really, potentially, suffocate them. I originally had no solid reason for a relationship between the honey and the religious references I was using except for the fact that I felt that there was one.
After more experiences of having honey covering my skin for reference material, I began to be aware of the obvious sensual side, but also the side of the sticky and uncomfortable. It was unpleasant being covered in honey.
Interested in this dichotomy, I began researching the accounts of ecstasy that Saint Theresa recorded, in which she revealed the intense pleasure yet also pain that is involved in communicating with God (Warma 510). I researched the historical use and symbolism of honey. Honey was the only known sweetener for many years in the world, and was used for many different things. It was a preservative and antimicrobial solution (Bishop 174). It has also been thought to extend life and health for many years (Ransome 187).
Revered for its useful qualities, honey was also highly prized as a religious offering in many cultures (Bishop 178). The most fascinating fact about honey is that many experts believe it to be the food that the mythical ambrosia, or food of the Gods, was drawn from (Ransome 135). The Mayans also had a similar use of honey, brewing a beverage from it called balche, which was then used to induce hallucinogenic states. These states allowed the Mayans to communicate with their deities (Bishop 184). These hallucinations are undoubtedly similar in nature to the ecstatic experiences of Saint Theresa.
I was trying to evoke with these paintings a beautiful submission to pain and discomfort that you find frequently in people of faith, like Saint Theresa.
I am interested in the idea that one can feel such excruciating pain yet the pleasure is even so much greater that you can't possibly wish it to end.
There also is an interesting sexual aspect of Saint Theresa's accounts. She refers to God piercing her through the heart, and the pleasure she describes is almost orgasmic in nature (Warma 509). In my later works I am becoming more interested in this sexual aspect of the pleasure and pain combination.
I have also been thinking about the space between two beings and what is it exactly that charges this in between. I hope to explore this further in my works to come.
My father's perception of an artist still stands clearly in my mind, that they must be crazy and disturbed. However, being a graduating art student on my way to becoming an artist, with both my ears still attached, I suppose I shall have to work my way towards rescinding that definition in my mind.
Bibliography Bishop, Holley. Robbing the Bees. New York: Free Press, 2005.
Ransome,van cleef & arpels necklace fake, Hilda M. The Sacred Bee. Boston and New York: Houghton Mifflin Company, 1937.
Warma, Susanne. "Ecstasy and Vision: Two Concepts Connected with Bernini's Teresa (in Notes and Documentation)". The Art Bulletin, Vol. 66, No. 3. (Sep., 1984), pp. 508 511.
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