by
fillière
Categories: UncategorizedTags: Art, Beauty, Creativity, Culture, Image, Life, Photography, Poem, Poetry, Reality, Writing
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A Light Adrift
Tag: Beauty
Mythos 2
Collage: Scissor / snip /
cut / slash one’s way, hold, bold,
tentative lay, paste without haste
something new find, sway the mind
from abstraction to abstraction.
Lines Drawn
Story of an art piece.
Bell Figure
(Somewhere in a northern clime it is snowing and a bell tolls)
The metallic heart
of a care-free child bell-tongues night snow,
resonates / hums / remembers itself
in out-flowing liquid rings, like water remembering
the knife of a dead man’s dive,
an agony, mindless, unnamed.
Though the playful bell tongue tolls ecstasy
melancholy rings the inner ear.
The childlike tongue / heart chimes
and rhymes joy upon the knife-edged night
; upon the knife-edged night a metal-tongued heart
hammers and hums, hammers and hums
: hammers and hums a lyric song
hammers and nails a requiem.
Tale of a Handmaid
Very early in her writing career it was obvious that Margaret Atwood didn’t write from any predisposition to themes even mildly mawkish. Nor were they romantic, sentimental, or nostalgic.
That, along with the titles of her early works, inclined me to think of her as an incomparably fearless and ruthless author with the truths of her tale-telling.
I made this drawing about 1980, quite before the printing of her ferocious “The Handmaid’s Tale”, and by which time she had gathered around her a clutch of early distinguished titles that would secure her place amongst Canadian and international authors.
River Warrior 2
This is the same face as in my sculpture, River Warrior, posted July 24, and of previous photo, Tcup of Edges, and makes an interesting compare / contrast of the end results of quite different modes of perception and creativity.
Studio Figure, Male
This figure was drawn in a great rush of strokes of white oil pastel on white paper, with the notion to deliberately obstruct and interfere with “good drawing” from not being able to visually track where the marks were landing.
The drawing was then tilted almost upright and a fat makeup brush was loaded with dark powdered pigment then lightly brushed downward over the absorbent oil pastel for this smashing result. Less than ten minutes, start to finish. It’s a Fillière. Gorgeous also for female studio figures, a technique I invented for myself about forty years ago to loosen up my drawing style. Curiously, it proved to be a great way to increase drawing confidence and at the same time weed out preciousness of approach.
Juliette At 5
A grand-niece of mine drawn in pencil two years ago as one of twelve faces I produced for a Brad/Maxine Rowsell Family group portrait.
fillière 