A new large format painting is born out of my studio!

After more than a month of intensive work in my studio spending more than 8 hours a day painting, It is time to get back to blogging. It is easy to get burned out when you spend about 12 hours a day every day of the week in the same spot painting large and medium sized oil paintings. I can recall dreaming of paint and seeing paint everywhere. It is also necessary to stand back once in a while, contemplate what has been done so far and take note of the work . At the moment I have completed a good amount of paintings and drawings for my upcoming solo show titled "Era Dorada" (Golden Age in Spanish). This body of work explores the relationship between mythology, religion and the corporate colonialist project mostly known as Globalization. Here I shall talk briefly about one of the paintings that deals with all of these issues. The title of the work is Deuscovery Miento

 Deuscovery Miento  Oil on canvas 50" x 38" 2010 by artist Patrick McGrath Muñiz

As the title suggests, the work is inspired in the miscalled "discovery" of the new world by European explorers in the fifteenth century.  One can call a discovery when something  unseen by the rest of humanity is first found by one human or one human civilization. If we are to call a "discovery" the famous event occurred in 1492 with the arrival of Christopher Columbus in  Guahani (modern San Salvador island)  we must then assume that there were no other inhabitants in these islands or that these were not humans. In any case the perpetuated myth has been created in order to glorify the conquerors and colonizers agenda over the native peoples of the Americas. We grow up learning these myths in school. In order to know the truth, It is necessary then to unlearn what we are conveniently taught.

Detail of Deuscovery Miento: Christopher Columbus carrying a banner the reads: "Putocracia Imperare"

History has become manipulated pieces of information used to indoctrinate and turn us into happy submissive consumers and believers of the status quo. As an artist I look through history books for inspiration but I also find mythology reappearing though the past as well as in current world events. I start seeing patterns and similarities between what has happened before and what is happening today. What we call globalization today is nothing more than an extension of colonialism conducted by large transnational corporations. What used to be another culture's ancient religion, today we call mythology and by doing so we invalidate  it. In the end everything tends to move in one direction: Globalization or control over the globe.

 Detail of Deuscovery Miento: a Group of colonizers

In this painting I have reinterpreted the arrival of the European explorers to the Americas by incorporating pop culture elements that refer to our own time. Some of the characters are better known than others but they all say something about the theme of conquest and colonization either by means of religion or consumer media propaganda. The colonizing forces have been placed on the right side of the composition while the colonized natives are found at the left side. Both sides are comprised of characters and icons from different times and culture but share common traits either as colonizers or victims of colonization.

Detail of Deuscovery Miento: The meeting point between colonizers and natives

Above a detail of the meeting point between these two groups, the natives offer gifts , that include precious stones, their idols, natural resources and the Earth itself. The colonizers have brought their own gifts to exchange as well. These include, plastic junk from the consumer culture fast, food, a tv set and a dollar bill offered by Columbus.

Detail of Deuscovery Miento: Gifts from the natives

I have included indigenous, African and Latin American men and women to represent the people vulnerable to colonization. The three main gifts they hold represent three stolen elements from Africa and the Americas: Land, represented by the Earth, Natural resources, represented by the bowl of precious stones and Culture, represented with the Taino Cemi or religious idol. The latter also stands for polytheist religions a people's history and cultural diversity.

Detail of bottom part of Deuscovery Miento: Predella

On this piece I have implemented a monochromatic trompe l'oil frame. Trompe l'oil is a painting technique that creates the illusion of a three-dimensional object that stands out of the canvas, in this case an illusory frame which containts a predella. The predella is a mini-narrative of paintings or sculptures located at the bottom of an altarpiece that complete the story of the main piece above. Here I have represented the world with a globe that reads "Universal". This serves as both a reminder of how much we are influenced by Hollywood films and at the same time how conquerors and corporations presume to posses the "universal" gospel of truth which gives them the right to own the world. On the left side an oil rig, a maritime power symbol of corporations and on the right side a 15th century European caravel, a maritime power symbol of colonialism.

On the far right side of the composition we find two characters embracing in the background. They are representations of Hades, the ancient Greek god of the underworld and riches, and a Corporate Ceo. Next to them I have included Cerberus , the tricephalus guadian canine of the underworld. It makes sense to think of a god of the underworld to be the god of riches also ,as gold, silver and other precious minerals come from mines and black gold (oil) comes from under the earth as well. As it seems, corporations have made a deal with Hades, or Pluto as the ancient Romans would have called this deity. In Christianity the figure that most resembles this archetype is the devil but Hades holds a function that the traditional devil does not seem to posses or at least not that often and this is to be the lord of money. Christianity as with other current religions limits the spirit world into two realms: good and evil. There seems to be very little space for gray neutral gods in their view. On the other hand the ancient pagans viewed a world filled with gods and deities that were neither good or bad, they just served their own interests just like corporations do today. Reason why I find the pagan gods to be perfect metaphors for the corporate world.

Upper right detail of the painting Deuscovery Miento

On the four corners of this work I have painted four female figures that function as allegories to the four most influential mass media today: The tv and big screen media, the internet, printed press and radio. They read in Spanish: "Creo lo que leo, Creo lo que veo, Creo lo que encuentro y Creo lo que oigo". Translated in English this would be: "I believe what I read, I believe what I watch, I believe what I find and I believe what I hear". Media plays a vital role on the way we understand history and current world events so they make up the four cardinal directions of our senses as this painting suggests.

 

 In conclusion the work inplies its message with its title: Deuscovery Miento. "Deus" meaning god in Latin, "covery" a play between "discovery" and "cover" implies a "cover-up". The letter "Y" in Spanish means "and". Miento is the word in Spanish for "lie" So as the epigraph above the work reads: "Novisimo et Acuratisimo Deus Cover y Miento Global "  (Newest and most accurate  divine cover up and lies around the globe) . 

All text and images on this blog entry is copyrighted material© by the artist and author Patrick McGrath Muñiz

Painting Religion and Mythology in a Global Age

Mythological and religious themes have a long history in the tradition of painting. If one studies the art of the Renaissance for instance, examples of these are quite numerous given the spirit of the time. Artists of that period viewed classical and religious themes in the light of humanistic principles that characterized their time. They represented mythological stories and Biblical narratives in ways that made these relevant to their own experience in place and time. It is not uncommon to see paintings by Raphael or Titian where Roman soldiers in a Passion of Christ scene are represented as Italian soldiers of their own time. In mythological scenes, someone like Botticelli would paint Venus and the graces as women who were considered at the time in Florence to be the most beautiful.  

"Birth of Venus" 

Tempera on canvas by Italian artist Sandro Boticelli 

To find out more about this artist visit:

en.wikipedia.org/wiki/Sandro_Botticelli

So how would an artist today re-interpret old mythological and Christian narratives in the terms of their own time and experience? First of all Christian themes are well known in contemporary western culture to the point that they almost become "cliche". Christian imagery is much more recognizable  than most images from mythology. While Christian Icons have been spread out to the masses, Mythological scenes are mostly found around intellectual circles who enjoy good literature and art. And when mythology leaks out to the general public it does so in the most distorted forms, in films like Disney's Hercules or Clash of the Titans.  When mythological stories are manipulated and distorted we do not suspect a hidden agenda but just lame entertainment. When Christian icons become manipulated and distorted in some way it seems to be done by an artist and with a specific purpose or agenda usually related to the Pop art movement.

 Michael Jackson portrait by American artist David LeChapelle

To see more of this artist work visit

http://www.lachapellestudio.com/

 Last Supper by American artist Ron English

To see more of this artist work visit:

http://www.popaganda.com/blog1.php

From the angels to the Last Supper, contemporary artists have often appropriated and imbued these well known icons with new interpretations and personal meaning. These artworks can question the assumed religious establishment and prevalent beliefs in our society. They can also serve as a reminders of  old celebrations, practices and stories that need to be retold in contemporary terms. These artistic interpretations can make us aware of the value we place upon mass media, consumer objects and the way we experience pop culture day to day.

"Variantes para una crucifixión"
oil on wood by Guatemalan artist Alfredo Garcia Gill

To see more of this artist work visit:

www.artintheamericas.com

 

But what about myths? Even though popularized in film, literature and art, myths seem to belong to a different realm. We do not treat myth in the same way we treat religion. For religion there is a reverence or irreverence  that people choose or not choose to have. Its almost like taboo and it happens with politics.as well. People either keep quite to stay safe or take sides and become passionate about  certain issues. In any case the subject of religion  in art  can become troublesome and uncomfortable to most. This does not seem to be the case with myths. Myths are different. Ancient religions that believed in the existence of many gods are now treated as mythology because no one, except for Neopagans and other New Age sects  truly believes in them.

Pagan high priestess offering a hand shake to a N.C. Bible Believer who refuses her peace gesture while shouting passages of the Bible. For more information on this incident visit:

http://www.religionnewsblog.com/4391/pagans-christians-collide-at-poteet-park

Not only do we refer to ancient religions with many gods as mythology but also other current polytheistic religions as well. Ever wondered why is Krishna and other Hindu deities are found in books on mythology? For a Hindu, Krishna is as real as Jesus. So why not consider Jesus part of mythology too? We can see mythology is a word with negative connotations that we use to distant ourselves from gods and  other divine entities we do not believe in  and negate as possible truths.

"Jesus Land" 

Oil on canvas by American artist Patrick McGrath Muñiz

to see more of my work visit
retabloarts.com

In our modern language we call  myths to anything that is a false story or anything that is not fact. I think this makes a tremendous injustice to the ancient myths of Rome, Greece, Egypt, Mesopotamia and Mesoamerica. Their stories explained natural phenomena and moral teachings with such beauty and wisdom that many of them have deeply influenced our own Judeo-Christian traditions to this day.  For example, the garden of Eden, the devil, the angels, Noah's  ark,  and  a crucified savior born from a virgin along with other stories from the Bible can be traced back to its ancient roots in Babylonian or Egyptian myths. In fact, many of the near eastern religions existing in ancient Rome before and by the time of early Christianity shared similar beliefs and rituals. These religions basically told the same Jesus story with a few variations.  "Mythological" figures such as Orpheus, Mithra, Adonis and Dionysus as well as others had much in common with our Christ including a birth from a virgin, miracles, crucifixion, resurrection and promise of salvation through their sacrifice.
As Saint Augustine once said:  "Whatever has been rightly said by the pagans, we must appropriate to our uses".    

2nd century amulet depicting the crucifixion of Greek god Dionysus to learn more about this and other similar myths I recommend watching the first part of the movie Zeitgeist at: http://www.zeitgeistmovie.com/        

 Mythology is very much present in our imagination as well as the way we experience the world today. Many of the stories and archetypes of heroes, villains and gods are still being projected onto celebrities, politicians and even forces in nature. There seems to be a  innate human need to find the divine or supernatural in the  world around us. From comic book heroes to the way we call our our planet, mother Earth, as if we were referring to the ancient Greek goddess Gaea., we not only anthropomorphize nature, we deify it.

"Gaia Altarpiece" Oil on canvas 48" x 48" By French American artist Elsie Russell To see more of the artist work visit: http://www.parnasse.com/erlist.htm      

Monotheistic and Patriarchal religions have repressed polytheistic tendencies in the past but  it has been unable to stop it from reemerging  specially since Neo-platonist  early Renaissance. In this global age that we live in, I cannot think of a better language than that of myths to describe whats happening all around us. If we use the term "myth" in the modern sense, we can say that live in an age of myths. There is the myth of "green corporations"  with their "green washing", the myth of  a "global village", the myth of "borderlines countries"  and the myth of a  illuminated populist leader that will save us all.  Today there are  many myths about beauty, culture, art, justice, war,  sex, food, energy and many other issues that consciously aware artists should address in their work. As a painter who is constantly adapting sacred Icons and symbols to reinterpret old stories in contemporary terms I find the world of myth infinite in sources for inspiration. That is the reason why I have decided to adapt and incorporate the language of myth into my new work and here is one example of what my new work is starting to look like. On my next blog i shall present and explain my current artist statement.

"Obamus, the Light Bringer"

Egg tempera and gold leaf on wood triptych 18" x 13" (2010) 

by artist Patrick McGrath Muñiz

To see more of my work visit my official website at:

www. retabloarts.com    

All text on this blog is  copyrighted material© by the artist and author Patrick McGrath Muñiz

The 7EVEN guiding principles of my art (part 2)

On my last blog entry I started a list of seven principles that guide my painting practices at my studio.  Ideas have been evolving and I must confess that I'm constantly revising myself in order to improve my teaching art philosophy. Some changes have been made to this septenary structure but It keeps evolving. For now I will explain these initial  guiding principles in order to avoid confusion. On future blog entries I shall keep redefining these. 

In art, things that seem quite complex are actually reasonably simple and easy to understand. When it comes to developing a preliminary sketch or study for a painting A thought it born, inspired by a world event, mythology, history or personal experience. I usually find connections between two different stories,  one from the present with one from the past. I draw the general forms and create a composition. Then I make studies of the different parts for this composition. I go to the specifics of it. It’s that simple. These first three steps make up the three first principles or "Trivium" that I have categorized as: thought,  general form and the study of its specific parts. This triadic process defines how mind moves matter and ideas are materialized on paper as preparatory sketches.

 Study of Vitruvian Man with Zodiac Wheel

by Patrick McGrath Muñiz 

  Within the septenary system there is a division between three and four. Three often represents matters of time and spirituality (The Holy Trinity, The past, Present and Future and other similar concepts). Four often represents matters of form, physicality and space (The four cardinal directions the four elements, the four humors and other concepts). This is the reason why I have divided "The 7EVEN guiding principles into two parts. The first three called the "Trivium" concern ideas and preliminary drawings and the last four  called the  "Quadrivium" deals with how I incorporate these drawings and ideas into a painting or finished work.

 The human head divided into three parts face and four parts head

Illustration provided by the artist and author Patrick McGrath Muñiz

Once I’m satisfied with the idea, the composition and its components I proceed to the next sequence of principles to be implemented. I am now ready to paint. The "Quadrivium" is a fourfold stage process of painting that not only illustrates the four parts of my painting practice, it also embodies the four seasons in nature, four cardinal directions and alchemical processes. I shall explain these relations in depth later on. The following remaining four principles are related closely to the process of materializing ideas and fixing them onto a surface as paint.

 

4.    THE PRINCIPLE OF SPATIAL RELATIONSHIPS

Preliminary drawing for "The Path" Charcoal on gray paper 18" x 24" by Patrick McGrath Muñiz (2008)

 Once all of the parts are solved and a composition is clear and concrete in my preliminary sketches or journal, I measure the elements in my composition; make the proper adjustments and placements in space. This is the part where I make sure everything is in proper proportion and perspective.  I apply the golden mean to my composition and make sure there is a good grade of symmetry, harmony and proportion between the parts. Of course this is more easily said than done and not always one can have it perfectly right but at least try and filter any defects as much as possible at this point. It is of vital importance that every component of the composition including the conceptual core is examined cautiously. All corrections are made as the drawing is not only completed but also transferred onto canvas or panel. This part is known as the "underdrawing". The "underdrawing" is like  a solid structure or inner skeleton that holds everything together.  I may reproduce my drawing accurately on a primed and toned panel or canvas by various means.  A projector, a grid system or transfer paper would do.

 Copy of a Rubens I made for a class I offered on Old Master techniques. Here I used a grid system to transfer my drawing  more accurately.

I like to compare this part of the process with the season of spring, love, air and youth. It is like falling in love and the first kiss. Everything feels new, pure and fresh. It is a very exciting part of the painting process and one of the most enjoyable moments in the birth of a work of art.  A defining element in my work is the sense of humanity, humor and personality in my characters. These qualities are fixed onto the picture at this part of the process. With the principle of spatial relationships I make sure all the parts of my composition live in harmony with each other before moving up to the next principle.

5. THE PRINCIPLE OF ILLUMINATION

The principle of illumination applied to the oil painting  on canvas titled "The Path"

At this stage I start shading and defining the drawn forms  by creating the illusion of the third dimension. It is very important to solve light and shade or value issues before going into color. This was practiced by most academic painters of the 19^th century French Academy. This part of the process is also called an "underpainting". It makes much sense to work on a monochromatic (with variations of a single color) "underpainting" because one is not distracted by many vivid colors that compete with each other for attention and often swallow the well rendered forms. It is better to solve one problem at a time so illumination comes with what is known as a “Grisaille”(French term for an "underpainting" executed with grays).

  "Grisaille" step completed for the oil painting on canvas titled "The Path"

If the "underdrawing" is to a painting what the skeleton is to the human body Then the "underpainting" must be to painting what the muscles are to the body.  With light, shade and the grays in between, the artist endows the drawing with a volumetric body.  By illuminating or lighting a drawing the artist crosses the threshold of linear drawing to  the world of painted forms. I can see the principle of illumination connected to the intense light of the of summer, strength, fire and maturity. When I work with grays I can meditate on the meaning of light and darkness. In my work I often present a visual dialogue between negative and positive forces in history, mythology, religion and politics. The predominant grays reveal that most things in life are not black or white but rather different gradations of either. 

6. THE PRINCIPLE OF CHROMA (Color)

 Finished version of "The Path" Oil on canvas 18" x 24" by Patrick McGrath Muñiz (2008)

Once the "underpainting" or "grisalle" Is fully resolved and dry it is then time to unleash the wild living creature called color.  In Western painting traditional practices, line and drawing have often been associated with the methodic organizing and rational mind. With color it has been the opposite. Color is often seen as life, creation, and pure expression.  Unrestrained color can become chaos and ruin any painting as each color competes with each other and fight to take over the territory . Color is subjective and the perception of it may vary from person to person and culture to culture. If the drawing represents the skeleton, values represent the muscles then color must certainly represent the skin. Its outer appearance, its superficial look may be deceiving. It is like the label or wrapping of a consumer product concealing the true contents.  At the same time color can beautify and enhance the facade of any object. It mesmerizes the senses, sweetens or spices up anything to be blissfully consumed.  A mastery over this principle makes any artist into a master of illusions. 

"Who watches over us" Oil and gold leaf on canvas diptych 20" x 20" by Patrick McGrath Muñiz (2006)

The principles of color can be associated with the multicolored falling leaves of autumn and with water reflecting the color of the sky and a rainbow crossing over the horizon. Color can be applied heavily or thinly as veils of subtle semi-transparent color called “glazes”. I aim towards unity when I use color on my work, so when I apply a color on a specific part, I then spread some of that same color on other parts around that area. Color is emotional, subjective and poetic so imagination and personal associations play an important role in choosing the right palette for you. In my work color is limited and used with moderation. I do not trust color as much as I trust form. But as with anything else, it’s not a matter of how much  of it you apply but rather how well you apply it.

7. THE PRINCIPLE OF CONTEMPLATION

 With a simple painted ball I have illustrated the three previous principles  

With the Principle of spatial relationships I create an "underdrawing"

with the Principle of Illumination I create an "underpainting" or "grisaille"

and with the Principle of chroma I have added color

As we move on to the seventh principle, the painting or drawing in question should be completed. The principle of contemplation reenacts a part of the story of the creation In the book of Genesis when in the Seventh day of creation God decided it was time to rest. I find it highly rewarding to sit back after a long day of studio work and contemplate my creation. It is also a good time to analyze and study the work under proper light conditions. Sometimes I feel compelled to make a few touches here and there, add a detail, a glaze or darken an area. In any case, these changes are minimal as they are given at this point.   

Detail of "The Judgement" by Patrick McGrath Muñiz

As a basic rule, I will not photograph a painting or take it to a show unless I feel proud of the piece.  By contemplating the work for an hour of so I make sure the work has the right hues, with right elements in the right values and right relations with each other. The focal point of the composition is located at an interesting strategic point of the space and it is full of purpose and meaning. When everything seems right, I sign the work and consider it done. I like to think of this part of the process as old age, winter, earth, and history. It's related to the fact that I am moved by the past as much as by the present and the work itself becomes a part of history. The work I produce remits to the work of many of the old masters and it is to these and other ancient sources that I owe much of my inspiration.  

"The Judgement"  Oil and gold leaf on carved wood triptych 23" x 24" By Patrick McGrath Muñiz (2009)

I found this latin quote quite interesting and relevant to this last principle:

“respice, adspice, prospice" (Examine the past, examine the present, examine the future)

 

 Detail of "The Judgement" by Patrick McGrath Muñiz

This concludes the seven guiding principles to my art which I'm sure will be useful to other artists as well. They are an attempt to reconcile many different philosophical and art practices I have studied and followed throughout my life. As I have said before, ideas keep evolving and the more I study and research, the more sense these principles make. From the seven chakras, to the seven days of the week named after the pagan gods I find many interesting connections that have enriched my life and art with mystical implications and deeper meaning hidden behind every creative act in my studio. As I see it, painting is truly a ritualized magical practice that elevates the soul on a seven step ladder toward s the heavens. It is a reenactment of divine creation that brings us closer to God.

All material including text and images on this blog post is copyrighted material© by the artist and author Patrick McGrath Muñiz. This  material may not be reproduced by any means without the artist permission