Something Old, Earth Day!

Earth Day was celebrated recently! I was in the process of creating my new website at the time and as it unfolded, I’ve decided my image content should not only be my newest artwork, but I should include some old series as well. Old themes seem to resurface and the current dialogue today is “green”!

Several years ago I did a series of shaped paintings that included earth day imagery, and the theme was “caring for Mother Earth”. Abstracted figures in various poses (submissive to empowered) were displayed in various positions with the planet Earth. Sharp angles of color depicting wind, rain, ice, water, soil, grass, and leaves cut through the background, the figures, and the earth shape. Obviously man and Mother Nature are intertwined, with man’s level of responsibility to the planet implicit. Please see my PORTFOLIO, Shaped Paintings to view my Four Seasons series.

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Four Seasons, Winter

© 1993 Linda C. Everson, All Rights Reserved.

Mentors often influence my artwork. A master of modern art, Jasper Johns, did a series of paintings and prints called The Seasons.  Those works were instrumental in the fragmented backgrounds, aggressive angles, natural patterns, (rain, snow), triangles and circles (earth), and faceless figures in my own Four Seasons series. Heavy brushstrokes and surface tension are common equivalents as well.

The New York Times review of Jasper Johns’ paintings The Seasons said it best:

If  The Seasons does have central meaning, it may well be that catastrophes can be born, however awkwardly and painfully, and that a shattered self can be put together again. The potential of regenerative feeling, like the potential of painting itself, is ever present, if we know how to get through to it.

A wonderful book, Seven Master Printmakers, contains the prints, The Seasons by Jasper Johns, and discusses at length his creation of this series of prints. He worked and reworked the seasons theme in several different mediums and manifestations, with references to other great artists such as Picasso, Duchamp, and da Vinci.  

Arbor Day, Arborglyphs…

linda-bark1Arbor Day was celebrated recently and it makes me think of my father! He was always planting trees and bushes, and I remember neighbors saying that if he planted a broom, it would also grow. Arbor Day, which is usually celebrated on the last Friday in April, encourages the planting of trees.

I too have a penchant for trees, and they are a source of imagery for my artwork. ‘Arbor’ pertains to trees and a ‘glyph’ is ‘a symbol used for non-verbal communication’.

I began my series of Arborglyph monoprints back in 2002. I was photographing textures (natural scarring and peeling) on aspen tree bark, and decided to use those images in my printmaking endeavors. I took the negatives and enlarged them in the darkroom. To my delight, the images looked symbolic and resembled calligraphy or characters. I exposed the images to solarplates (photographic printmaking plates) and then printed them onto paper on an etching press. I began with 6″x 6″ solarplates, but quickly starting combining several solarplates with other printmaking techniques to create larger, more complex monoprints. I am still working on that series today. See my PORTFOLIO, Arborglyphs.

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Arborglyph: (1 symbol 3) I

© 2002 Linda C. Everson, All Rights Reserved.

Later, I heard an interesting discusssion about aspen carvings on Colorado Public Radio (KCFR). They were talking about Arborglyphs in the southwestern states.  Apparently, the name I was using for my monoprint series is also the name used for the graffiti carved into aspen trees by Basque and Hispanic shepherds while tending their animals from the early 1800’s – 1950’s. Because aspen trees do not have a long life span, documentation is currently being made of these older graffiti laden trees before they die and their legend disappears. Several articles have recently been written about these Arborglyph trees, and many people at art festivals have commented on certain trails to take to find these shepherd images.

Sometimes I photograph the man-made graffiti on the aspen trees, but generally I prefer the natural scarring and peeling. I’ve found that imagery provides more abstracted, symbolic images which tend to look more like calligraphy, and have a more mysterious overtone. I’ve created my own pictorial language of glyphs and actually have my own ‘invented language’.

I also incorporate the glyphs in my artwork into the title signature line on the monoprint.