Medieval Macabre and Font Research

I was trying to concentrate only on church arcade sculptural imagery from the Romanesque Period which depicts scenes of hell and the torture of humans who lead an "immoral" or impious life. This imagery was a prime instructional tool of the medieval period to lead people away from paganism and oddly enough away from the fanciful mythology of the Roman and Greek culture.

I found quite a bit of Medieval imagery, but not specifically from the Romanesque arcades. I'm looking for that high contrast stone work just jam packed with people getting tortured. I'm going to draw a small set. I'm mountiing it on foamcore and driving my new HDSLR (fingers crossed I get it tomorrow after I get paid...) through the scenery for the opening shot of the short film I previously mentioned working on, which is tentatively called Lisolette and Gregory.

I am also looking at text from Medieval manuscripts and attempting to create writing in the visual aspects of this work which looks as if it says something but the characters will not actually mean anything. I'm very interested in the use of written and verbal language in art, as language is both beautiful and practical for communication but highly inefficient in some aspects. Language, while noble in its attempt, can never describe certain personal experiences. This is a thought I've mulled over lately which was inspired by recent discussions about Buddhism.

I will continue paring down the visual research until I find the exact period I'm looking for, and the imagery I know exists... I remember from art history, eight years ago. Surely I remember correctly...

Pictures of The Floating World

Works of Kitagawa Utamaro:

Works of Katsushika Hokusai:

 

 

Objectless

Shunga, or "spring" art, initially held lower class popular appeal in 7th and 8th century Japanese culture until it became suddenly fashionable in 19th century Europe and imported massively by Dutch merchants. Namely, Kitagawa Utamaro's ukiyo-e, or "pictures of the floating world," were in high demand. With a delicate eroticism and a sense of melancholy, his works rendered the inherent sadness in a life of pleasure seeking and the act of love.

For me there was a spirituality to the muted ethereal quality of these pillow book illuminations. There was a sweetness and uncharacteristic sense of permanence to these renderings of the sex act. In Objectless, I borrowed from the naturalistic interiors and landscapes of Japanese imagery for the three inked illuminations. In each depiction, however, the male identity is either obscured by flora or intentionally draped in concealment by the female figure.

The fish were a personal symbol for sexuality as I find their wide, lifeless eyes and chaotic movement seductive and terrifying. There is no doubt a mystifying allure to the appearance of the fish.  A classic symbol of miracle, providence and magic, for me the fish is both beautiful and hideous. Spewing forth from the inguen of the erotically posed female nude beneath, the arched bodies of the koi-like vertebrates are both fluid and spastic where they are caught in motion, either swimming the depths in harmony with their watery nature, or squirming, panicked and purged from their safe place. They mimic the meaningless gestural language connecting the pieces of the illuminated story.

Both submissive and aggressive, sprung on her knees, the figure beneath the romantic illuminations is consumed in her half-formed fantasies and objectless desire, isolated beneath a soft translucent fabric sheet, her saddened identity, still as yet, half-formed.

Pillow Book Illuminations I

I chose not to render the other person in the sex act since the work is about wanting an object, and not having one. I am looking at a lot of Shunga specifically and intend to finish 3 more little square illuminations such as this one to attach to the larger work with the fish. 

 I think fish are a wonderful symbol for sexuality because they are free, fluid, frightening, beautiful, and squirmy when you take them out of their safe place. The following picture is a bit disturbing and funny, but I think I'm not the only person who is getting the sexy fish vibe going on. As for the picture, here is where it came from. 

Shunga and Kama Sutra Art

The above and below are some visual considerations I'm taking with my work. There is such a sense of spirituality in many of these ancient erotic art works, I don't think I'm alone in feeling there is a religious or spiritual component to the sex act. This theme, I like so many before me, am exploring in my current art work.

Totally Fixated

Enneagram Type Two (the Helper)
with
Enneagram Type Three (the Achiever)

What Each Type Brings to the Relationship

Both Enneagram Twos and Threes are driven by their feelings and emotional needs-although this is not always apparent in the case of Threes. Both are also driven by their need for attention and the desire to be loved-although this is not always apparent in the case of Twos. But for these reasons, both are oriented toward people and toward activities that will place them in the spotlight. This makes the Two/Three couple one of the most interpersonally attractive and impactful pairings possible. Individually and collectively, they are outgoing, sociable, high-spirited, charming, and often physically attractive. Both know how to make a favorable impression on people and to win them over. Each type brings energy, personal and social ambition, the ability to communicate with people and to make others feel like they are the center of attention. Both know how to get people to like them and to rally support to achieve their goals. Twos in particular bring a more personal, individual focus to their interactions with others. They are thoughtful and follow up exchanges with genuine kindness and compassion. Threes bring flexibility, charm, practicality, and a goal-oriented vision for ways the couple can improve. Twos like to feel proud of their loved ones, and Threes want to make their partner proud.

There is also a particular way that this pairing works as a team: Twos like to put the spotlight on others, and Threes like to be in the spotlight. Twos like to be the power behind the throne, and Threes can be happy being the point person for the couple. As long as healthy Threes appreciate the lavish attention of the Two, this arrangement can work well. In a sense, this is almost an ideal political couple—socially adept, energetic, virtually radiating charm and self-confidence, inviting others (by their manner and attractiveness) to join them in some way. Twos and Threes can be dazzling—a couple so widely admired and socially gifted that they become icons for their social sphere and time.