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“Duality” ~ art journal pages by Michelle Fairchild |
Consider these stanzas from the ballad Scarborough Fair for yourself:
Parsley, sage, rosemary and thyme
Between the salt water and the sea strand
Else she’ll be a true love of mine
Tell her to plow it with just a goat’s horn
Parsley, sage, rosemary and thyme
And sow it all over with one grain of corn
Else she’ll be a true love of mine
And her daughter’s forever possessions of mine
Last week a friend also sent me an email that read: “This guy is freakin awesome! (do the close up thing these are A-MAZING) you have to check it out!! you’re the only friend I have that will like this ( i think) “) Had to share!” A link to the web site of an artist by the name of Thomas Kuebler was included ~ http://www.tskuebler.com
After visiting the site this was my response: “Freakin’ awesome is a great way to describe the art. I agree wholeheartedly that he is a genius. Wow! It is actually especially cool that he chooses unusual subjects, those that look different, perhaps ugly and even scary. So much attention is given to conventional beauty. So much art focuses on classical beauty.”
Here is a sculpture called Drink with the Devil and a description of the piece by the artist:
“Liquid courage he calls it, the power to do the things you’re afraid to try and to say the things you’ve been wanting to say. And, when you sing you sound like an angel to your own ears. Let the warmth rush in and slowly turn control of your will over to him. Enjoy it, because tomorrow you’ll need him again. In fact, you may find that once you’ve swallowed him, your courage turns to fear and you can’t live without him.”
Below is another art piece called Madame Orba. Here is her description: “The second child of a traveling gypsy dancer, Maleva bore evidence from birth of an affliction. This aberration was the result of her mother’s indiscretion with a gypsy witch’s husband. As a child, Maleva’s deformity was hidden with veil, but the gypsy witch’s curse could not be abated. Maleva was burdened with the power to delve into even the darkest of souls and was forced to speak their truths. As she grew older, Maleva traveled with her trib as ‘Madame Orba, the All Knowing.’ From village to village, townsfold deemed her a novelty freak until the wretched among them were exposed to the masses. No, the skeletons never stayed in the closets when Madam Orba set up her tent. All mysteries, lies and dirty little secrets saw the light of day by the time the tribe pulled up stakes and rolled off to the next town.”
When you think about the shadow and the dark side what thoughts or feelings rise up within you?
What about duality? Do you sense any duality within yourself?
If yes, does it create conflict within you or have you learned to accept or entwine the light and dark within yourself?
What about unresolvable dilemmas? Have you experienced the tug-of-war of wanting two opposite things at the same time?
Examples:
Commitment or freedom?
Playing it safe or taking risks?
Controlling or surrendering?
Other things to do in an exploration of duality, the shadow and the dark side:
Explore the art of Frida Kahlo, who also was not afraid to depict the macabre in life. In fact, one interesting story about Frida goes like this according to Wikipedia ~ “Clare Booth Luce, an ardent admirer of Mexican artist Frida Kahlo, almost immediately commissioned Kahlo to paint a “recuerdo” (remembrance) portrait of their deceased mutual friend, so that in Kahlo’s words: ‘her life must not be forgotten’. Luce understood a recuerdo to be an idealized memorial portrait and was doubtless expecting a conventional over-the-fireplace portrait for her $400. After being shown in March in Paris, the completed painting arrived in August 1939: Luce claims she was so shocked by the unwrapped painting that she ‘almost passed out.’ What Kahlo created was a graphic, narrative ‘retablo’, detailing every step of Hale’s suicide. It depicts Hale standing on the balcony, falling to her death while also lying on the bloody pavement below. Luce was so offended that she seriously considered destroying it; but instead she had sculptor Noguchi paint out the part of the legend that bore Luce’s name. Luce simply left the work crated up in the care of Frank Crowninshield, only to be presented with it again decades later, when Crowninshield’s heirs discovered it in storage. She donated it anonymously to the Phoenix Art Museum, where it was eventually outed as a Luce donation. The museum retains ownership, although the painting is frequently on tour in exhibitions of Kahlo’s works.