You are an artist-in-residence. Now, what?
The last time I was a resident at A.I.R Vallauris in 2008, I left a box of materials. This time I decided not to take any materials with me and to just make use of what was in the box and whatever I foun in the street.
I have two notions about how to use my time. One, is to experiment, respond to the moment and not plan everything out. The other is to look at Goya’s paintings and see if there is a way to distill their essence into something abstract. I didn’t think that I would do these two things together.
When I open the box, I have plenty of paint, some brushes, and several pieces of 300 lb Fabriano watercolor paper. But what really excites me, is the box itself. It sat in a dry shed for eight years. The cardboard is soft and no longer has much structural strength. One side is white. I tear off one of the flaps and start painting.
Goya’s Dog on Cardboard, 4 inches x 2 inches, oil on cardboard, 2016
Goya on My Mind
Since Goya is already on my mind, I start by loosely painting one of his portraits with black ink. I switch to oil paint and the soft cardboard yields under my brush. The un-even torn edges make a beautiful deckle* around the piece. As I paint Goya’s, “The Dog” I like how the creases in the cardboard interact with the image.
All the pieces are small, averaging 4 inches by 2 inches. In the end, I branch out to include the back of a tuna box and a crushed can that I found in a parking lot.
*deckle edge paper—a type of paper with rough edges
Leslie Parke, “Goya on Garbage: Maja on the Can”, oil on soda can, 2.5 inches x 5 inches, 2016
Leslie Parke, “Goya on Garbage: Dona Tadea Arias de Enriquez on Tuna Box”, 6 inches x 4 inches, oil on cardboard, 2016
Leslie Parke, “Goya on Garbage: The Countess of El Carpio on Cardboard”, 4 inches x 2 inches, oil on cardboard, 2016
Leslie Parke, “Goya on Garbage: Arsensio Julia on Cardboard”, 2 inches x 2 inches, oil on cardboard, 2016
Leslie Parke, “Goya on Garbage: Goya’s Countess on Cardboard”, 3 inches x 2 inches, ink on cardboard, 2016
Leslie Parke, “Goya on Garbage: Portrait of the Countess of Chincon on Cardboard”, 3 inches x 2 inches, oil on cardboard, 2016
Goya, “The Sleep of Reason”
Last night I dreamed that I was attacked by bats. Of course it made me think of this etching by Goya.
I looked up its meaning in Wikipedia:
The Sleep of Reason Produces Monsters (Spanish: El sueño de la razón produce monstruos) is an etching by the Spanish painter and printmaker Francisco Goya. Created between 1797 and 1799, it is the 43rd of 80 etchings making up the suite of satires Los Caprichos. Goya imagines himself asleep amidst his drawing tools, his reason dulled by slumber and bedeviled by creatures that prowl in the dark. The work includes owls that may be symbols of folly and bats symbolizing ignorance.
The full epigraph for capricho No. 43 reads; “Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
OK, I’m ready. Time to get to the studio.