I know I have done a lot of pieces that are themed around death, specifically Memento Mori themes, such as the above, “Only A Shadow” based upon “Our days on earth are like a shadow”  in 1 Chronicles 29:15, but also some art that is meant to not only reflect our physical mortality, but also our dead spiritual state separated from Christ as in Ephesians 2:5, “we were dead in our trespasses.”

I of course don’t feel like a morbid, macabre person, just that maybe I have some dark humor or interests in my art, but there is a theological rationale for this.

However, as an assemblage artist, my medium requires I use objects. Certainly I tackle other themes or ideas that don’t revolve around death and mortality, but I would rather not use only drawings or photos of some objects if I can access those objects.  Case in point, if I had used small paper cut outs of seahorses in the earrings below, they would lose their interest, their wonder, and as one enthusiastic patron told me, their “magic.”

Photo by Mickie Winters

I bring this up because recently someone inquired about where I sourced these objects.  I was concerned because 1) I didn’t know and 2) I didn’t care.  I mean I know where I got them, but I could not say if they were humanely raised and harvested (I mean they are still dead at a young age and I guess if I thought about it I would feel…yeah, no I am still not feeling bad).  But it did get me thinking, while I am not a vegetarian or vegan, I am not opposed to those lifestyles, and respect them from creation care perspective.  In moderation.

But art’s history is tied to the dead things.  I am not making that up.  If you consider the earliest cave paintings, which even if they don’t depict the animals the artist did kill or wanted to kill, the artists most certainly did hunt the animals depicted to feed themselves. The earliest extant archeological artifacts are art that were made in commemoration of or preparation for burials.  Mesopotamia, Egypt, Greece.

Surely, one might argue we are more enlightened then that.  But in the Renaissance Da Vinci and Michelangelo studied and dissected corpses to learn anatomy and prefect their drawings and paintings of the human form. New World cochineal beetles and Mediterranean sea snails were processed and ground up to make pigments for oil paints.

John James Audubon, celebrated painter, ornithologist, and naturalist is estimated to have killed 1,000’s of birds in his studies.  He hunted, collected and arranged the birds in the poses he needed to paint such beautiful life like images.  He discovered over 25 new species, painted them and killed them.

So the point of this rare diatribe?

Animals should not be inhumanely treated, not wastefully collected, but if my images use bones, bugs, specimens, etc. I am keeping in a long tradition of art making.

I have also started to ask or research the sources of the specimens I buy, for what’s worth.

10:56 pm

Steve Jobs died today.  It is sad to me.  I am very moved by his words at a 2005 Stanford Commencement.

It seemed appropriate in light of the title being Art and Death to post this here, Steve Jobs was an artist too.  ”Real artists ship”

Thank you Steve

It gets weird, in my life, office and art.  The subject matter, medium, and direction I choose to work in means I am picking up strange items; a shipment in the mail recently included coyote teeth and claws, miniature dried seahorses, snake ribs, pieces from an original 1935 edition of Monopoly, a facsimile of a 1928 $2 bill, and dental x-rays films.  It was a good day, at least to me. My poor wife often shivers at my collections. Though she seems supportive of the ideas I pursue, she always seems a bit concerned about being in the same room with my supplies.

But as funny (or not) as those issues are, I have been reflecting on some of the decisions I make about my art’s content.  The above image is from a Tarot card. As a Christian, I see much of the classic Rider-Waite deck steeped in Old and New Testament imagery and symbols.  It’s largely unknown to the public that the tarot decks originated from French, Spanish, and Italian playing cards, and were only later reinterpreted into mystic and occultic tools for divination in the late 18th century.  And while the images best known from Tarot are the reinterpretations by mystic Arthur Edward Waite and artist Pamela Colman Smith, they reference biblical material, symbolism and passages.

So as a visual artist, whose main work process is to take old images and objects and compose them together to form new pieces that often point in different direction than the original materials might themselves, what am I to do with these images?  What can I do?  What am I allowed to do? What should I avoid, detest, embrace, repent of and pursue?

Harold Best in Unceasing Worship writes that a believer artist is free in Christ to create, explore and make art.  His incredibly insightful writing has informed and served as a back drop to how I think through this issue.  I will quote him at length, because I can’t improve how he said it…

Christian artists have true artistic freedom, not on the basis of something as simplistic as right, wrong and so called artistic license, but on the basis of intent and direction.  Here’s what I mean.  Christian artists first of all understand that making art is indistinguishable from worshiping Jesus. In this sense, their art joins up and is made common with everything else in their daily round for which they are responsible as continuous outpourers (the term Best developed to describe the idea of a living sacrifice).  Their art may be their specialty, and its quality may be—should be—of the highest, but it has no greater standing before God than an honestly prepared income tax return.

Furthermore, artistic intent and direction are fully known only to God through Christ, while content is known both to God and to people.  This does not mean that Christian artists must limit themselves to so-called Christian content, especially the all too prevalent kind that is little more than spiritualized gingerbread. It means that every aspect of life is open to aesthetic inquiry, both as to the sinfulness of sin and the grandeur of holy living. Thus, to the Christian artists there are no off-limits subjects even though there are off-limits intentions and directions…Thus, no person has a right to lay an accusing hand, even if it means that artists, along with Christ, may be accused of consorting with sinners, gluttons and winebibbers.

Artistic freedom, however, is not artistic license. There is a twofold danger in what I have said in the preceding paragraph. First unwise or giddy Christian artists will be tempted to take up the badge of artistic freedom in itself (a much flawed and idolatrous badge) instead of being thrust forward in the freedom that is in Christ alone.  Also the public, especially the theologically pinched-up kind, will confuse artistic content and the artist’s intent and arbitrarily accept or reject both art and artist on that ground. Ultimately the artist must stand before Christ and answer for every artistic action taken.

So, the uniformed public be damned, I can use the images I want to!  Right? Maybe, but what this passage sets before me is not just an affirmation of our liberty, but also the wise counsel to consider my heart attitudes, my intentions.

My intentions were easy to ascertain in this regard.  I concluded that my interest in a few of these pieces was simply aesthetic, but by and large I wanted to make some pieces I felt confident would sell, because the images have a certain currency in particular audiences. Maybe I should be more ashamed of that admission, but it is just a fact of my heart.

Also instructive to me was my own review of the New Testament passages regarding witchcraft or divination. Reading the book of Acts, it is Apostles “4″ Occult “0″.  Jesus in his ministry among the Jews in Palestine never really confronts the issue, but as his disciples fan out in to the larger Gentile world, idolatry and witchcraft are constantly encountered.  And of the four times it is encountered in the book of Acts, money and power are linked to it.  The other two mentions are that witchcraft is a work of the flesh and that outside the heavenly city are those who practice magic. Not the company I want to keep.

So here I was, intending to make pieces that included occultic related images for the sole purpose of making money.

And so rather than push through the growing conviction and do what I want because I am “free” I sought counsel from mature, fellow believer artists and creatives, to open my heart and life.  And while the safety of their advice confirmed my sense of conviction, I was also blessed and encouraged to continue, setting my sight less on the commercial opportunities I saw and more on developing at my art.

And that is how in this instance my faith, artistic liberty, scriptures and community work to inform, direct, counsel and set direction for my artmaking, and more importantly how I live all my life.

Started leaving these around town today, in honor of the Day of the Dead coming up in a few days.  They are Corona and Dos Equis bottle caps made into little pins with marigolds and skulls or tombstones.  The text on skulls are obituaries.  The Day of the Dead holiday is more a celebratory and commemorative holiday, honoring and remembering the dead but it is still a kind of memento mori and I like the colors. Not sure if I will do more each year but it was fun to try something new.

Finished this piece recently, part of work for an upcoming small show, more of an arts and craft fair.  It is a concept I happened upon while making a gift for my brother in law for Christmas.  I wrote about the small jar filled with grass and a cutout of a phrenology head drawing,

“The first little jar has the phrenology head you like, sorry I don’t have a spare one I can part with right now, but if I did, you would have it.  But the image is powerful to me because it is a great example of humanity’s attempts to understand ourselves, our behaviors and our souls.  It is a scientific attempt but it ultimately fails.  The jar contains withered grass and a pinch of dust; both from a graveyard, reminders of our mortality and that there is a terminal limit on searching for self knowledge.”

I had not set out to demonstrate anything really, just wanted to incorporate in a small place, the phrenology head image and had learned it’s background as an example of 19th century pseudoscience (however self serving that term is for the modern science establishment) and it’s ernest but misguided attempt to understand ourselves.   But the piece came together and I was very happy with it.  But the image has stuck with me and I have made a few small pieces like it.

I assembled this piece and love it’s simplicity.

I heard also last week of a a man I know of, a young man with a wife and small child and a promising start as a filmmaker, diagnosed with cancer.

It stops me in my tracks and I have been moved to pray for him and he has been on my thoughts through this week.

It seems wrong to make art that seems playful about the idea about our own mortality but it also does focus our attention to the truth that we are mere vapors, our lives short and unpredictable, this man and his family have laid hold of this truth and have come out with the greatest treasure, resting in Christ for their lives and sharing that hope with all they know.

So while it gave me pause to be making this kind of art I take courage that it’s ultimate aim is to point to our need to be prepared for eternity and trust in Christ

I intended to finish up my exploration of the imagery of art of dying by passing out these pins I had made of a pressed flower and obituary page on these hand cut and stamped coffin shapped business cards.  The pins took far longer than expected, so here they are, ready to be launched into coffee shops and other places I frequent hopefully to be found by unsuspecting folks going about their day.

It’s a lot to ask of any creative endeavor to “make a people think” so I will send these off with a prayer to just help folks pause and possibly just be blessed by a gift. 

I have written as much as I think I will for now about the art of the dying but this site has several expressions of the imagery of fading flowers, wilting grass and flying time.  There are a couple of  bigger pieces and while I continue to be fascinated by the works of Holbien the younger and his Dance of the Dead wood cuts and other such works of art, and while I have some more ideas along the same path I am pretty excited about exploring what’s before me, “Family Curse” and expect to spend a good amount of time working on that theme, as well as some other projects in the coming months. 

I hope to revisit the art of dying themes next fall for Day of the Dead, but for now this is where I rest from this series.

Below is basically the letter I wrote for my brother in law, a great kid, still in High School who really inspired me this last week by his desire to give gifts for his family, earning and spending his own money to get gifts, real gifts, for his family, and his new brothers in law.

A little about this gift…

It is a portion of a letter tray, used for holding type, I love trying to figure out how to design and create in small spaces and it allows for there to be more than one thing being said at a time…like our lives, but we are also beyond compartmentalizing ourselves.

Left bottom 

Your initials, mine too, and I was glad to share the few letters I had to make you a gift.

The first little jar has the phrenology head you like, sorry I don’t have a spare one I can part with right now, but if I did, you would have it.  But the image is powerful to me because it is a great example of humanity’s attempts to understand ourselves, our behaviors and our souls.  It is a scientific attempt but it ultimately fails.  The jar contains withered grass and a pinch of dust; both from a graveyard, reminders of our mortality and that there is a terminal limit on searching for self knowledge.

Left top

You are one of the few people I talk with who both enjoys political discussion and also sees limits to our system the way it is.  I did a piece called “Neither Ballots NOR Bullets,” you saw it and this little piece is based upon it.  Christianity and the Bible are above politics though they have political relevance, Jesus didn’t come to setup a political system or support a political party.  The bullet I found in a parking lot and the Rockefeller campaign “pin” is from either his 1960, 64 or 68 presidential bid and it is the kind of “pin” that you would fold the back over the top of your shirt pocket to clasp it.  I had Goldwater too, but thought you’d appreciate the Rockefeller pin more; money, moderate social stances, fiscally sounds, etc.

Right bottom

Key holes to me represent mystery, we don’t know everything, nor can we…it’s not wrong to ask questions as long as you can handle not everything has an answer or more accurately we may not understand the answer. 

“The secret things belong to the LORD our God, but the things revealed belong to us and to our sons forever, that we may observe all the words of this law.”

Light bulb, because you are very bright, as in, intelligent, but the bulb also must be connected to the source to shed light to others. We are at our best when connected to the source,  and we also, despite our understanding and intelligence must also be ok being next to mystery.

Right top

Family Curse Jar

You are the first to receive or even see this piece (besides my close confidant, your sister).  I am working on a new piece that is about curses, and family curses, but it isn’t about our immediate or even distant ancestors, it is about Adam and Eve and their fall and the curse we all bear now.  It is based upon hoo doo (African American folk religion/magic)  of the mojo bags and conjure men and women)  So the jar collects symbols of the curses…cursed earth, from the graveyard, snake skin, tears/sweat from child labor and hard work, thorns and thistles from a ground no longer easy to work, a “nation bag,” used by women in Memphis to allure and dominate men, symbol of Eve’s struggle and fig leaf stamps, exiled from the garden in our nakedness…­

“Remember you will die” 

Like a broken record, the Preacher in the book of Ecclesiastics repeats the phrase “under the sun” over and over as he contemplates the human condition.  His earthly perspective and questions and experiential basis for answering predates and anticipates the Greek philosophical tradition by almost 500 years.  Here is a man seeking to understand life below a heavenly perspective and seek what is the best way we should live…and the answer is in recognition that we will die. 

Rich, poor, wise, foolish, sinner and saint, we will all die.

Just as in Plato’s dialogues, where Socrates stated that philosophy is about preparing to die, learning how to live in light of our own mortality, the Preacher calls us to consider how we should live.

However in the midst of this grim perspective, in the context of God’s wisdom we see what our great blessing is during all the days of our lives.  Ecc 9:7-9 stands out to me, “Eat..with happiness, drink…with a cheerful heart.  God has already approved your works…Enjoy life with the woman you love all the days of your fleeting life…”

Influenced by Biblical texts such as the Book of Ecclesiastes and historical events such as the Black Plague and the 100 Years War, the people of late medival Europe were constantly facing death and remined to be prepared for it.

As with my exploration of other elements of the art of dying, this piece doesn’t offer a solution or even suggest morality is the key.  Of course it doesn’t also suggest a childish “seize the day” impulse in the face the our own mortality. I simply hoped to create pieces that would remind us that we are in fact mortal, we will die, as I think we are prone to forget or deny that ugly, lonely truth.

I started this piece in August, after finishing the Memento Mori devotion cover, and it draws on much of the same imagery and symbolism.  It was also began just as I started to look into the Art of Dying and Dance Macabre movements in Europe. It is mostly how I envisioned it but I considered many directions along the way and ultimately I am not as satisfied with it as I would have been had I finished it in September. Having created a few other pieces that I have learned from and been stretched by, this piece feels very direct, making an obvious statement, at least it feels that way to me, and because of that it isn’t as engaging to me, but I thought I would share in honesty rather than hide it away.

“All flesh is grass, and all its loveliness is like the flower of the field…The grass withers, the flower fades, but the word of our God stands forever.”

More imagery exploring the art of dying, these pressed flowers and obituaries were actually the inspiration for the giving tins. 

Visually, I have found the obituaries a striking and linear background to the organic and fragile pressed wild flowers. 

 The theme and text are taken from Isaiah

So I was really excited about the Day of the Dead exhibit at 21C, I just didn’t realize what I expected to see was last year’s exhibit!  I don’t remember how I even found the webpage, but I never realized the exhibit was located in the past exhibits section of the site.  So I did not actually see the past event.

At first I was disappointed about the outdoor installation for the current exhibit, Going Home, but I got over it quickly as this is an amazing work, featuring over 10,000 hand cut butterflies designed with Day of the Dead colors and images.  The monarch butterflies these paper ones portray migrate between the US and Mexico and so it was a fitting image for remembering the 14 Mexican immigrants, the “Yuma 14,” who died crossing the Arizona desert. 

The full description and story of Going Home is here. 

I had to go back today to get pictures that would at least attempt to do this installation some justice.  Hope you get a chance to go downto 7th and Main to catch a glance.

“All flesh is grass, and all its loveliness is like the flower of the field…The grass withers, the flower fades, but the word of our God stands forever.”

For this image in my exploration of  the art of dying, I wanted to focus on the flowers that fade.  Not only is it an image used in memento mori art but even traditional painted still lifes (formerly called vanitas) relate the wilting flower to the frailty of our passing glory. 

I discovered a pressed rose in an old Bible I picked up at a Goodwill store.  What could be a more striking example of the vanity of our lives? 

A forgotten rose from an unknown funeral in an unmarked Bible. 

And so the flower fades.  Our lives pass.

 The theme and text are taken from Isaiah. The tins consist of flowers picked from fields, old obituaries and headstones inside the tins, copied from shapes in local cemeteries.