Stations of the Cross Project

Back in November of 2016, I bid on a commission at a cathedral, calling for an exploration of the Stations of the Cross. It has been a number of years since I created a series of works based on a biblical theme (I tend to do this every few years or so) and I wanted to at least feel out the idea a bit.

While I did not get the commission, I have continued to develop the work from the proposal. Below are a bunch of the pieces in progress. Each is made on an iPad Pro using an Apple Pencil in the ProCreate App. What I’ve done in these works is dovetail my own research of Eastern and Western Mandala forms into an exploration of Giandomenico Tiepolo‘s Via Crucis from San Polo in Venice (Click through here to see examples of his works).

Here are 6 of the 14 images, in progress:

img_1448Stations of the Cross #6 – Veronica Wipes the Face of Jesus. Digital painting, 2016-2017.

img_1446Stations of the Cross #5 – Simon Helps Jesus Carry the Cross. Digital painting, 2016-2017.

img_1445Stations of the Cross #13 – Jesus Removed From the Cross and His Body Returned to Mary. Digital painting, 2016-2017.

img_1444Stations of the Cross #12 – Jesus Dies on the Cross. Digital painting, 2016-2017.

img_1447Stations of the Cross #1 – Jesus Sentenced to Death. Digital painting, 2016-2017.

img_1443Stations of the Cross #14 – Entombment of Christ. Digital painting, 2016-2017.

By investigating the color and composition of Tiepolo’s work without reproducing the details, I hope to draw out the relationship these works have with the tradition of contemplative spiritual works the world over. It is also humbling to realize that the source paintings were made when Tiepolo was around 20 years old. I see these as his MFA Thesis work, definitive proof of his mastery.

Having visited these paintings in person – more than 10 years ago – I still recall how astounding they were. Not as large as Tintoretto. Not as graceful as Bellini. Not as mystical as Piero de Cosimo. Not as abstract as Uccello.  But they hold their own as an expression of an artist growing into this own power and getting ready to pivot into his own realms of glory.

My aim for my versions of the Via Crucis paintings is to print them in large format (potentially to scale with their Tiepolo counterparts) then paint back into them, further developing the color and compositional shaping.

David and Patch

David-and-Patch2014David and Patch (Professor David Oliver’s Mandala). Acrylic and gold on panel, 30 by 30 inches, 2014. Click the image for enlargement.

Professor David Oliver is an amazing person. He is a husband, father, and grandfather. He is a professor and mentor. He is passionate about life and justice and hope. He is dying.

Diagnosed with Stage IV nasopharyngeal carcinoma in 2011, he knew his days were limited. An expert on aging who had built a long career in Gerontology and understanding end-of-life issues, David knew that he could apply all he’d studied, learned, and implemented to his cancer. In the years since the diagnosis he has produced a series of videos that detail his cancer journey on his blog, written a book on demystifying death, and won awards (along with this wife) for work on improving end-of-life care.

David’s story is certainly inspirational (you can read more at The Huffington Post here), but it also has a personal angle for me. David was my mother-in-law’s mentor nearly 40 years ago when she was a student at the College of the Ozarks and he was a professor there. Over the years they have continued to have a warm relationship, and mom was dramatically influenced by David’s character and understanding. As providence would have it, his career journey led him to the University of Missouri. When I arrived to teach here in 2007 he was an early advocate for me, meeting with me and encouraging me. The mentor came full circle in impacting our family.

I knew I wanted to make a portrait of him for my Becoming the Student series, but I didn’t want to impose, figuring he had better things to do with his remaining days than pose for me. But when he emailed me one day last month to talk to me about a lecture I’d recently given, I ventured to ask about making his portrait. He said that he probably only had a matter of weeks left, and that we’d have to act fast, but that he’d be happy to be a part of it. The next morning I was sitting in his living room making the painting you see above.

Photo Dec 20, 2 01 44 PMDavid and I pose with the portrait in progress, November 2014.

While I worked on the portrait we had a great conversation about education, travel, teaching, and family. After, while I worked to add in the mandala structure, we exchanged emails which added to our dialogue. Here are just a few nuggets from our time together:

On travel:

“Travel is the greatest education.” David has been to hundreds of major cities around the world over the decades, but has spent time in Istanbul, Barcelona, Copenhagen, among others, in the last few years. His eyes twinkle and voice grows excited while recounting past travels through Europe and Asia with family.

On experiencing cancer:

“I can’t tell you what cancer feels like, but I can tell you about how the treatments feel. I chose the non-aggressive path.” David had to make big choices about the sort of care he would undertake to fight his cancer. Though he has had rounds of chemotherapy and surgery, he chose to limit them both. Ultimately he went with palliative and hospice care over more forceful options. “My voice is my life” he told me, so he decided not to have surgeries that would have resulted in a loss of his ability to speak.

Photo Dec 20, 3 41 55 PMAbove: the piece installed above the mantel at David’s home.

On the goals for palliative care and hospice:

“I want to be at Home, surrounded by Others, be Pain-free, and Engaged as long as I can be. That acronym spells HOPE. It’s pretty simple, and that’s the exit strategy. I want to be a role model for another way.” By entering hospice early and focusing on his HOPE model, David has been able to spend a lot of quality time with family and even go to events like basketball games for his beloved Mizzou Tigers.

On Patch:

“I’m a spectator in my own body – I call him Patch. But I’m thinking, feeling, acting, and taking advantage of every moment I’ve got left. I have millions of moments to experience, so I’ll let others worry about Patch. Patch is off doing his thing; the hospice team is taking care of him. I was able to let him go. I think people who continue to treat their body view themselves as one holistic entity… they’re not able to separate to understand what’s inward. There are many things in the body that are happening and you can’t stop them. But I am not my shortness of breath or anything else that may be happening to Patch. I’ll just let hospice patch him up.” Calling his physical body by the name Patch is a way for David to both embrace the care that body needs and reinforce the distinction between his identity and his body. That body is passing away, but David sees his inner life as separate from the vicissitudes forced upon his “shell” by cancer, medications, pain, and general breakdown. David has found a way to grasp his embodiment without seeing it as absolutely necessary to his personhood.

David-and-Patch2014_angleAbove: The portrait shown at an angle to show the change of reflected light in the gold leaf.

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My notes about this piece:

The most significant material I have used in this painting is gold leaf. Gold leaf is a traditional medium to suggest the divine and sacred. I also chose to build a complementary-colored mandala as the field upon which the portrait is embedded. Additionally, I centered the transition between David’s physical portrait and his inverse, transcendent manifestation around the Crown Chakra. The Crown Chakra is is associated with meaning and identity in the context of divine consciousness and enlightenment; the part of us that passes beyond this mortal coil. Surrounding that arena of transition and transformation are laurel leaves, traditional symbols of victory and attainment. This piece is meant to connect David’s personal associations (his name, his body, his visage) with broader, more universal conceptions of moving from one state to another – higher, entirely other – state. I combine Eastern conceptions encapsulated in the mandala with Western notions included in the idea of the memorial portrait. In some sense this is an apotheosis artwork (as an example, see The Apotheosis of Homer by Ingres).

The painting is meant to suggest that a binary group is being presented: David and Patch, bright gold and dark black, transformation and deterioration, transcendence and impermanence, immaterial and material, contemplation and dissolution, enlightenment and illusion, and the circle and the square… there are many others that could be named. These all speak to ancient alchemical oppositions.

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I am honored to be able to celebrate this humble and gentle man. Even in the last days and hours of his life he is encouraging, hopeful, loving, and inclusive. He has been given the great gift of applying his life-long study of aging and dying to his own direct experience, and he’s drawn others into it with joy. I’m so thankful I got to include David in my portrait series.

Thank you, David!

PS: And a thank you to Debbie, David’s wife! She crafted this beautiful handmade textile piece for my new son:

Photo Dec 20, 3 32 03 PM

Tondo Mandalas Find a Home in Texas

One of my former graduate students, Sloane Snure Paullus, lives in The Lone Star State and her family picked up a couple of my mandala tondos. Here’s the evidence:

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Check out that green JFK bust! Booom!

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I’m just honored to get to have my work in such close proximity to that chandelier, those lamps, and that rug! Nice interior design, Sloane!

Matt Ballou: RANGE – Reception at William Woods University

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My exhibition – Matt Ballou: RANGE – is still up at William Woods University until December 16, 2012. I hope you can go see it if you haven’t yet. Below are some photos of the space, both after the installation and during the reception. I want to thank everyone who came out – friends, students (graduate and undergrad, current and former), and colleagues – and especially Jennifer Sain for her help in making the exhibition happen. Special thanks to Jane Mudd for encouraging William Woods to host this show.

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Installation, back on November 12, 2012.

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Three panoramas of the installed work.

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Two of my all-time favorite works… Locus #77 and #78

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Beautiful angles and shapes during the reception…

At the reception I gave a brief impromptu talk that led into some interesting questions from the audience and my own musing on the work.

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Me during my talk – Photo by Kevin Larson.

Click here to download the talk and Q+A session (42 MB MP3 format, 50 minutes long).

Some notes about the talk:

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Photo of me at the talk – Photo by Eric Norby.

New Mandalas

I’ve created nearly 30 new mandalas in the last few weeks. Each is primarly oil or oil pastel on paper with colored pencil, crayon, or other mixed media added. Most are about 9 inches in diameter. Below are two of the group. Click for more detail.