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Copyright © 2005-2010 henry mitchell
Copyright for all artwork shown on this site
resides with the artists.
http://dawntreestudio.com
http://henrymitchellsculptor.com
http://earth-sign.com
Copyright © 2005-2010 henry mitchell
Copyright for all artwork shown on this site
resides with the artists.
Saturday 27 February 2010- A book came in the mail yesterday, which I probably wouldn't have been prepared to receive at any earlier point on my journey.
For reasons best known to the author, I put off any serious reading of it until today. Through the day, I have been living with this book, and suffering and rejoicing with the lives within it, and have been reminded that our souls' traverse across this strange timescape we inhabit, though often lonely, is never solitary. We are not the first to come this way, and we will not be the last. We have fellow travelers on our sojourn away from home, which, at the end, we discover is also our journey back. If you don't read Reg Darling's book, you will no doubt find your way all by yourself; but your way will lonelier, without this traveler's voice.
For reasons best known to the author, I put off any serious reading of it until today. Through the day, I have been living with this book, and suffering and rejoicing with the lives within it, and have been reminded that our souls' traverse across this strange timescape we inhabit, though often lonely, is never solitary. We are not the first to come this way, and we will not be the last. We have fellow travelers on our sojourn away from home, which, at the end, we discover is also our journey back. If you don't read Reg Darling's book, you will no doubt find your way all by yourself; but your way will lonelier, without this traveler's voice.
Sunday 28 February 2010- A painting can never convey the immediacy of a photograph. By the nature of it's becoming, a painting implies a certain distance from the subject, in time as well as in space. When painting a portrait, for example, even if the artist is in the presence of the sitter, in the instant required for the eye to move from subject to ground, the artist is painting what is remembered.
Tuesday 2 March 2010- Once in a great while, I have opportunity to spend some time with real artists (above) who have not yet forgotten what it is about.
I don't know who to credit for the photograph, which was sent to me by Barbara Yarbrough at First Baptist Church, Greenville SC.
Tuesday 2 March 2010- Once in a great while, I have opportunity to spend some time with real artists (above) who have not yet forgotten what it is about.
I don't know who to credit for the photograph, which was sent to me by Barbara Yarbrough at First Baptist Church, Greenville SC.
Wednesday 3 March 2010- Whenever I put on my public face, either through my work, or in person, I'm always am anxious about having met everybody's expectations until I see the reviews. This (left) is the best press I've received in years.
It has taken me fifty years to get to this point, but now, having finally secured a minimal livelihood, I am able to give away all the money I earn from my work, less expenses. I'm not ready yet, however, to set myself up as a charitable foundation. Then I would have to answer to a board of directors, who might want to tell me what to make, and where to send the money.
My current project involves an attempt to paint a face I see almost nightly lately in a recurring dream. My visitor never speaks, only watches, until I move off into another dream or wake. The face is none I've know in my waking life, but seems to know me, is unsettlingly familiar. Below is one of the paintings I've been working on about this visitor, as it has evolved. When I wake, the visage, like most things seen in dreams, rapidly fades, but as I paint, she begins to come back.
I did no preliminary sketches for any of the paintings in this portrait series, but began painting directly on the panels. I don't really begin to see her until I start painting. Until then, she is just a vague memory of a dream.
I have a feeling that if I can ever recognize her, she will tell me what she wants of me.
It has taken me fifty years to get to this point, but now, having finally secured a minimal livelihood, I am able to give away all the money I earn from my work, less expenses. I'm not ready yet, however, to set myself up as a charitable foundation. Then I would have to answer to a board of directors, who might want to tell me what to make, and where to send the money.
My current project involves an attempt to paint a face I see almost nightly lately in a recurring dream. My visitor never speaks, only watches, until I move off into another dream or wake. The face is none I've know in my waking life, but seems to know me, is unsettlingly familiar. Below is one of the paintings I've been working on about this visitor, as it has evolved. When I wake, the visage, like most things seen in dreams, rapidly fades, but as I paint, she begins to come back.
I did no preliminary sketches for any of the paintings in this portrait series, but began painting directly on the panels. I don't really begin to see her until I start painting. Until then, she is just a vague memory of a dream.
I have a feeling that if I can ever recognize her, she will tell me what she wants of me.
ABOVE: "Visitor 1" acrylic on panel 18 x 18 in. (work in progress)
Thursday 4 March 2010- As I pursued my dream visitor, the face kept retreating, until I recalled, finally, that in the dream, the face was not emerging out of darkness, but out of light. Once, I adjusted the background, the face began to clarify considerably. Then I realized almost immediately, that the background color was wrong. The light in the dream was the color of sunlight through leaves in spring. At that point, I set aside the portrait for awhile, and picked up an unfinished landscape, in order to explore greens for a spell.
In dreams, we see things as they are, but as soon as we bring these images into our waking, our conscious brain begins to alter and rearrange them to conform to our expectations of what fits in the world.
In dreams, we see things as they are, but as soon as we bring these images into our waking, our conscious brain begins to alter and rearrange them to conform to our expectations of what fits in the world.
LEFT:
"Spring Across the River" (Chattanooga)
16 x 16 in.
acrylic on canvas
BELOW:
"Conestee Village"
16 x 16 in.
acrylic on canvas
"Spring Across the River" (Chattanooga)
16 x 16 in.
acrylic on canvas
BELOW:
"Conestee Village"
16 x 16 in.
acrylic on canvas
Saturday 6 March 2010- Next week, I'll be moving my workspace back out to the yurts for another season. Let there be light! Let there be birdsongs, and the wind talking to me as I go about my day. As I work, let me eavesdrop on the conversations between leaves and air. This world is more real than any of us who think we own it.
Wednesday 10 March 2010- It is about time to do some carvings, I think. I can see them already. I can feel the tools in my hand. I can smell the fresh cut wood. It is time.
Wednesday 10 March 2010- It is about time to do some carvings, I think. I can see them already. I can feel the tools in my hand. I can smell the fresh cut wood. It is time.
LEFT:
"Santee"
acrylic on paper
28 x 16 in.
"Santee"
acrylic on paper
28 x 16 in.
Thursday 11 March 2010- Returning to figurative carving with traditional hand tools is like returning to one's home country after a far journey. These tools, that were my daily companions in labor for more than twenty years, fit as easily in the hand now as if I'd laid them aside yesterday. They question their old friend, "Where have you been? What took you so long?"
Friday 12 March 2010- Having made the decision that income from my work is not mine to keep, but belongs to the One who has called me as an artist, the next question was how should any funds that might materialize be used? The vision that has come is of a place apart, where people of faith in any tradition, who are called to be artists, may gather for times of renewal and deeping in the Spirit life. I'm not asking for your help; just saying this is what my art earnings will be set apart for. I am asking you to pray with me, that if this is God's will, it will be manifest in God's own time.
Friday 12 March 2010- Having made the decision that income from my work is not mine to keep, but belongs to the One who has called me as an artist, the next question was how should any funds that might materialize be used? The vision that has come is of a place apart, where people of faith in any tradition, who are called to be artists, may gather for times of renewal and deeping in the Spirit life. I'm not asking for your help; just saying this is what my art earnings will be set apart for. I am asking you to pray with me, that if this is God's will, it will be manifest in God's own time.
Saturday 13 March 2010- After struggling for weeks with the "Visitor" paintings, it occurred to me to try carving one. Immediately, I began to see the face more like she appeared in my dreams; forgotten details began to emerge with clarity. I realized then, what a distraction color had been to me. The dream was not about the colors, but the form. If I had begun with drawings, I would have likely seen all this immediately. Drawing is like carving on a plane, closer to sculpture. And I am not a painter; I am a sculptor who sometimes makes paintings. My best paintings are like drawings with colors.
Carving does not progress as quickly as painting, but I hope soon to have something to show you here. Then perhaps the words above will make more sense.
Monday 15 March 2010- The calendar says we still have a week of winter to go, but all signs are that spring has been here awhile already. Birds and plants and even old artists seem all enthralled by the new season. One more new beginning for us all. One more time around the Circle, turning in the Light. One more joyous blending in the Long Dance. All praise to the loving Maker, whose music shapes the dance, and to our Holy Brother, who dances with us, and to the embracing Spirit who guides our dancing! Praise and thanksgiving to our God, world without end!
Carving does not progress as quickly as painting, but I hope soon to have something to show you here. Then perhaps the words above will make more sense.
Monday 15 March 2010- The calendar says we still have a week of winter to go, but all signs are that spring has been here awhile already. Birds and plants and even old artists seem all enthralled by the new season. One more new beginning for us all. One more time around the Circle, turning in the Light. One more joyous blending in the Long Dance. All praise to the loving Maker, whose music shapes the dance, and to our Holy Brother, who dances with us, and to the embracing Spirit who guides our dancing! Praise and thanksgiving to our God, world without end!
