Friday, July 12, 2013

A year's worth of work.


“Talent and all that for the most part is nothing but hogwash. Any schoolboy with a little aptitude might very well draw better than I perhaps; but what he most often lacks is the tough yearning for realization, the teeth-grinding obstinacy and saying: even though I know I’m not capable of it, I’m still going to do it.”         — M.C. Escher

Another year of graduate school came and went in a flurry of activity. Waking before the sun to catch the subway to the city, standing in front of an easel for six hours at a time, riding the subway back to the East Bay in the humid heat of the late afternoon or walking home through a drizzle of fog and mist (depending on the time of year), spending hours late into the night focused on a computer screen or a piece of paper, then dropping into bed only to repeat the next day... with such full days, the time flew by. After all the stress, all the striving to improve, all the comparison and critiques, I'm shocked by how much I produced in such a short amount of time. There's nothing like constant deadlines to make you realize how much you really are capable of. What I'm sharing here is the best of the work I did during my second year. 

During the fall semester I took a class called Situation and Environment, an oil painting class. I had never painted with oils before (or really painted very much at all), and it proved to be a very challenging and exasperating experience. I spent many hours utterly frustrated and defeated. By the end of the class though, I felt like I was finally getting the hang of it. Below is my third oil painting ever, the final painting for the class- it's based on a screen shot from the movie Australia. 

This photo of the painting doesn't quite do it justice...
Situation and Environment.  A painting of my lovely friend, musician Ayla Nereo.
Situation and Environment. 
I also took an Anatomy class, which I thoroughly enjoyed. That kind of academic left brain engagement is something I've always been engaged by. I loved learning the names and mechanics of all the muscles and bones, and I really appreciated the visual understanding of the human body that the knowledge of anatomy began to afford me. My favorite assignment for that class was the skeletal and muscle overlays we did for two master drawings. It was an incredibly challenging assignment for me, but learning to visualize the interior of a person and to realize how well the masters knew their anatomy was so educating. I'm happy to say that I'll be the teaching assistant for this class in the fall!

Skeletal overlay of a master drawing.
Muscle overlay of a master drawing.
Michelangelo's original drawing.
Skeleton overlay of a master drawing.
Muscle overlay of a master drawing.
Raphael's original drawing.
Master copy of Leonardo Da Vinci's Leda and the Swan, for Anatomy.
Da Vinci's origial.
Master copy of Da Vinci's drawing of Michelangelo's David, for Anatomy.
Da Vinci's original.
Master copy of Michelangelo's Medusa, for Anatomy.
Michelangelo's original.
"Ardor," for Anatomy. The assignment was to draw a life-size rib cage and pelvis in any medium and style. I was lucky enough to get this piece accepted into the Academy's Fall Show.
At the Fall Show.

"Pollination," the final assignment for Anatomy. The assignment was to draw a full figure nude in any style and medium. This piece made it into the Academy's Spring Show- I was honored to be featured amongst so many amazing artists.
On the streets of downtown San Francisco- a banner announcing the show!
Drawing from a live model, Anatomy.
Drawing from a live model, Anatomy.
Drawing from a live model, Anatomy.

Drawing from a live model, Anatomy.

Drawing from a live model, Anatomy.

In the midst of all the work I've been doing for school, I've been trying to get in the habit of sketching more. Becoming skilled in anything seems to be all about practice and exploration, and a sketchbook is a place for both. My Head Drawing teacher from my first year told us that drawing in a sketchbook is the same to an artist as doing pushups is for an athlete.

From my sketchbook.
Sketchbook.
Sketchbook.
My Clothed Figure Drawing class was also really enjoyable. We learned about the different folds that clothing makes, how fabric reacts to the stretch and pull of the body in action, and how to simplify the often chaotic expression of fabric and form into its most essential details in order to tell a story most effectively.

From Clothed Figure Drawing class.  He's doing a crossword puzzle :)
Clothed Figure Drawing.
Clothed Figure.
Moving on to spring semester, I took an incredibly challenging class called Perspective for Illustrators. The class used to be called Drawing from the Imagination, because of the fact that you're not allowed to use any reference for the class and everything has to come from your imagination, but I think they changed the name because it sounded too easy and fun. In reality, it was the most mathematical and logical class I've taken at the Academy, focusing on perspective rules, creating buildings and street views and even drawing people from different perspectives. We also learned things like how to plot shadows from the sun and from artificial light sources in our drawings and how to accurately create reflections. The class taught you almost everything you would need in order to create a convincing visual world from your imagination, without using reference. I was definitely out of my element in this class, and I really struggled with it. I did, however, learn an incredible amount that I hope to put into practice for the rest of my career. I'm not going to share too much of what I did in that class, but hopefully will be able to post some things later on that show what I learned.
For a fight scene for Perspective for Illustrators.
Perspective for Illustrators.
Perspective for Illustrators. Three point perspective view of a person.
Perspective for Illustrators. Two point vertical perspective view of a person.
Perspective for Illustrators. This is an example of the kind of grids, rules, and measurements involved in this class.
During spring semester I also began my first foray into combining my traditional pen and ink style with digital medium in a Digital Painting class. We focused mostly on learning to use a program called Corel Painter, but also spent some time learning some neat tricks in Photoshop. A lot of the students in the class are primarily digital artists, and I was one of the only ones using traditional mediums along with digital. In the future I'd like to experiment with delving into the digital realm further, but for the meantime I really enjoyed blending the two styles.

"Guardian," from Digital Painting class. Pen and ink and digital.
My attempt at a Japanese style landscape for Digital Painting. Entirely digital.
I already posted this one,  but thought I would share again. "The Gift of Grief," pen and ink and digital.
"Mandala," for Digital Painting. Pen and ink and digital. Look for this one coming out as a fabric pattern and as stickers soon!
My favorite class of the spring was Children's Book Illustration. After practically having an emotional breakdown at the beginning of the semester because of struggling to find a style and a voice, I stumbled upon paper cutting as a technique. My teacher for the class was incredibly helpful and encouraging to me as I dove into this new medium, and once I figured out the mechanics of it, I really enjoyed the unique style and bold graphic look that paper cutting affords. The images below are for a story I'm working on about a little golden fox who lives in a vast forest, and goes on a search of a true friend. They are made entirely out of layers of intricately cut sheets of different colored pieces of paper, with subtle embellishments with colored pencil.  
For Children's Book Illustration class. This would be the decorative end papers at the beginning and end of a children's book.
For Children's Book Illustration. The little golden fox exploring the forest.
For Children's Book Illustration. The little fox out at night, with a river full of fish and a sky full of birds.
For Children's Book Illustration. A territorial porcupine!
For Children's Book Illustration. The little fox gazing at the moon, wishing for a friend. 
For Children's Book Illustration. The last illustration of the book- the fox has found a friend. "Goodnight!"
So there you have it- a year's worth of art. There were literally stacks of drawing pads full of less successful pieces that went into the recycling, so for every piece you see here there were at least five times as many drawings that no one will ever see- drawings that I struggled over to no avail, sketches that failed miserably, and ideas that fell flat. It's a painstaking process, creating art... at least for me. There are days when I have no question about the purpose of my path, and others when I am clouded and weighed with doubt. But like M. C. Escher said in his aforementioned quote, I have the "tough yearning for realization, the teeth-grinding obstinacy" that drives me (in an often maddening way) to keep pushing myself towards a more honest, skillful, expressive, and raw image, an image that speaks of things both meaningful and important, that opens others to see and feel, and that offers praise to this unutterably beautiful world that we have the gift and capacity to drink in with our eyes. 

Thanks for looking!

Monday, July 8, 2013


"Nothing ever really attacks us except our own confusion. Perhaps there is no solid obstacle except our own need to protect ourselves from being touched. maybe the only enemy is that we don’t like the way reality is now and therefore wish it would go away fast, but what we find as practitioners is that nothing ever goes away until it has taught us what we need to know. If we run a hundred miles an hour to the other end of the continent in order to get away from the obstacle, we find the very same problem waiting for us when we arrive. It just keeps returning with new names, forms, manifestations until we learn whatever it has to teach us about where we are separating ourselves from reality, how we are pulling back instead of opening up, closing down instead of allowing ourselves to experience fully whatever we encounter, without hesitating or retreating into ourselves.” 

-Pema Chodron

Sunday, June 9, 2013

I have come into this world to see this: 
the sword drop from men's hands even at the height 
of their arc of anger 
because we have finally realized 
there is just one flesh to wound. 

-Hafiz

Remembering.


"It is painful to cast off our own scales, and the dragons guarding the way are fierce. It requires the inspiration of angels; it requires diving into the ocean of tears."
-Jack Kornfield

Almost halfway through a year that has been both astonishingly nourishing and incredibly difficult, I've remembered many things. Through loss and change, I remembered the omnipresent uncertainty of our lives and the precious fragility of all that surrounds us. By losing things I never wanted to lose, I was reminded to keep a light grip and approach my life with curiosity and trust, to look deeper to see the blessings that lie beyond my often limited scope. I remembered how things that can seem terrifying at first can often bring great gifts, and that fundamentally there is nothing wrong with the way all things arise and then fall away. I softened, and then softened again, remembering that above all I want to be kind in this world, and the importance of keeping that motivation in the forefront of my mind.

The piece below is a collection of these thoughts, feelings, and experiences. Technically, it marks my first foray into mixing my traditional pen and ink style with digital medium. Thematically, it touches on the opening that takes place through the journey of grieving. When we truly descend into our pain and meet it with bravery, when we allow ourselves to be dismantled by grief, we can emerge as changed people- more authentic, more integrated, and above all, more kind. Once we have made friends with our own suffering, compassion for that of others naturally arises- and that is the gift of grief. 


Kindness
by Naomia Shihab Nye

Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.

Before you learn the tender gravity of kindness,
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.

Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.

Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and
     purchase bread,
only kindness that raises its head
from the crowd of the world to say
it is I you have been looking for,
and then goes with you every where
like a shadow or a friend.

Tuesday, April 23, 2013

Sunday, March 31, 2013

Easter, Ēostre, Fertility, and Death.

I woke up this morning to discover that it had rained during the night while I slept. Stepping outside to breathe in the sweet scent of morning and rain, I watched as the pillows of grey fog rolled across the sky, revealing a blue the color of a robin's egg beneath them. The newly blossoming jasmine flowers in my backyard added their fragrance to the air, mixing with the bright chatter of birds as they greeted the day. As the sun stripped the sky of clouds and warmed my face, the morning felt quintessentially spring-like.

Today just happens to be Easter, a day that celebrates resurrection. In pre-Christian pagan tradition, feasts were held during this time of year to celebrate the goddess Ēostre, who became the namesake for the Easter holiday. It was a time to celebrate fertility, revitalization and revival, and the return of life that occurs during spring. In other words, resurrection.

In honor of the roots of this holiday, I'd like to share a piece titled "Pollination," a pen and ink drawing I completed during the winter. As is often the case with my work, I didn't realize the full meaning of this piece until it was complete. It began as a reworking of Leonardo Da Vinci's "Leda and the Swan," a theme that has been visited over and over by many artists since antiquity. It deals with a Greek myth in which a beautiful woman named Leda is seduced by Zeus in the form of a swan. He impregnates her, and she lays two eggs, from which her children hatch (one of the children grows up to be Helen of Troy- an interesting side fact). 
Leonardo da Vinci
Paul Prosper Tillier
Paul C ézzane
Peter Paul Rubens
By the time I was done with the piece, I realized that it was about much more than Leda and the Swan. I saw that it had become a piece about fertility, sex, and death- the life cycle. The piece, beginning at the top, shows a halo chain of DNA encircling a baby as it passes through the pelvis of it's mother, entering the world. In the center is a robust female form, exuding sexuality and standing as the portal through which all life passes. Flowers burst forth on either side of her as pollinating insects and birds flock towards them (I didn't realize the fact that I had included "the birds and the bees" until long after completing this drawing- humorous.) The jellyfish that frame her seemed quite phallic once I had stepped back from the drawing, with subtle hints of female anatomy in the languid folds of their tentacles. Two swan skeletons flank the female figure, giving a nod to the Leda myth. Below her lies a bed of skulls and flowers, representing the death and decay, a return to the Earth, the completion of the life cycle. From conception to decomposition. 

"Pollination," copyright Marisa Aragón Ware.
It seemed like an appropriate piece to share on a day like today, a holiday devoted to the persistence of life and the ever cycling wheel of birth and death. I'm reminded of how fleeting and precious this human life is... I think I'll get off the computer and go play in the sunshine. 

“And still, after all this time, 
the Sun has never said to the Earth,
   "You owe me."

Look what happens with love like that.
It lights up the sky.” 

-Rumi

Wednesday, March 20, 2013

Happy Spring!

William Adolphe Bouguerau's The Return of Spring
Spring

Somewhere
a black bear
has just risen from sleep
and is staring


down the mountain.
All night
in the brisk and shallow restlessness
of early spring


I think of her,
her four black fists
flicking the gravel,
her tongue


like a red fire
touching the grass,
the cold water.
There is only one question:


how to love this world.
I think of her
rising
like a black and leafy ledge


to sharpen her claws against
the silence
of the trees.
Whatever else


my life is
with its poems
and its music
and its cities,


it is also this dazzling darkness
coming
down the mountain,
breathing and tasting;


all day I think of her –
her white teeth,
her wordlessness,
her perfect love.

~ Mary Oliver ~





Thursday, February 28, 2013

Falling apart.

I've sat down to write this post numerous times, my struggle to craft it and finish it pointing something out to me. It seems that, for me at least, the experiences in life which are most crucial to write about, the ones that call out for it the most, are also the ones which often stubbornly defy the reins of words.

In January, my world changed, in so many ways. In that completely synchronistic way that spawned the old adage, "when it rains it pours," a storm of difficult circumstances manifested in my life, knocking me down, challenging me, breaking me, and setting flame to so many carefully constructed buttresses in my life.

Luckily, I've experienced this before. I've come to learn that when everything goes wrong, when I feel the most vulnerable and devastated, is also when I'm the most ripe for transformation, growth, and change. The way I like to think of it is like a forest fire- during the conflagration of flames, the heat is painful, the destruction scary and saddening. But afterwards- there's so much space- space that can either be felt as frightening emptiness, or as liberating vastness. And from the charred earth and the ground made fertile by ashes, newness begins to stir. As contemporary author Mark Helprin writes, "Sometimes a storm rises and flattens the reeds to open the world to the sky."


Me as a reed, being flattened. A moment of surrender.
It was a sad month, very much so. I cried and wept and mourned fiercely; I became a priestess of tears. I watched as, with almost methodical accuracy, the ground beneath my feet was pulled away, my reference points removed. With more than just a little bit of awe, I observed as one of the most important relationships in my life ended abruptly, as travel plans that I had wholeheartedly been anticipating for half a year were canceled at the last minute, and as I learned of small yet painful deceptions and betrayal. I observed as illusions were shattered, as my grandmother died, as my own mortality was reflected to me with furious splendor. I surrendered as a nagging injury finally won over my willpower, putting me out of climbing for an undetermined amount of time, and then hundreds of dollars worth of sentimentally significant climbing gear was stolen from my car. The ground kept falling away. I dealt with the very real possibility of a major illness. I looked impermanence, death, and the fragility of human life directly in the face. Sometimes I couldn't muster the bravery to do so, and I had to run and hide. Other times I stayed in the fire, shaky and scared, until the flames released me. All within the brief span of a month.

Despite the difficulties, in retrospect, January was a beautiful and entirely beneficial month. I found myself reminded of what is most important, reinspired to live more devoutely and definitely more kindly. The gratitude I have for the people who showed up for me during this challenging time is limitless- I was so thoroughly cared for, held, comforted, and supported by my friends and family- I couldn't ask for more loving reinforcements.



I also have tremendous gratitude for being able to witness my grandmother passing. My last remaining grandparent, Freda Copperthwaite Ware, was 96 years old, and had voiced on numerous occasions that she was ready to go (she often repeated to me in her very manner-of-fact way that in her opinion, no one should live past 90). She had survived and outlived all of her siblings, one of her children, nearly all of her friends, and her husband (who had died almost three decades ago of a heart attack, next to Freda in bed, as she performed CPR on him until the paramedics arrived). She was tough, generous, opinionated and resilient.

I drove down to Los Angeles to say goodbye to her after learning that she had suffered a stroke and was fading. During the six hour drive, I told myself that I was prepared for what I was about to experience, that I didn't have expectations, that I would show up with curiosity, love, and awe. Upon arriving, I quickly realized that although I thought I had no expectations, I actually did. I expected her to be weak, to be foggy (I knew she was on morphine for the pain she was experiencing), and to not be able to move or speak very much. I had expected to sit by her bedside, quietly, in a measure of peace mixed with sadness. Although these things were true, it was completely different than I imagined. She was in incredible pain for the entire time I was with her. She was moaning, squeezing my hands with a strength that defied the weakened state she was in. Her suffering was so utter and intense that it baffled me, especially because there was nothing I could do to abate it. It felt to me like being in a storm.


Hands of two women, my grandmother and me, with 69 years of age difference between them. 
Freda was my father's mother, and although I feel like my features are a pretty consistent blend of my father's genetics with my mother's, I could see my bone structure and features so clearly in her face as she lay dying. I could see myself as an old woman, on my own death bed, letting go of everything that I had lived, seen, experienced, and been. In her face, I could see my own, as it will be someday, when every moment of my life has already been lived and all that lies before me is the ultimate unknown. When I'll have to let go of everything, everyone, all of it. This reflection was so stark that I couldn't look away. Overwhelmed with compassion for my grandmother, for her pain and her passing, overwhelmed with the impermanence of life, both hers and my own, sad yet elated by the power of what I was witnessing, I sat and watched her die. 


27 years.      96 years.
75 years.    6 years. 
95 years.    25 years.
"Come back to square one, just the minimum bare bones. Relaxing with the present moment, relaxing with hopelessness, relaxing with death, not resisting the fact that things ends, that things pass, that things have no lasting substance, that everything is changing all the time- that is the basic message."       -Pema Chodron

My grandmother has given me a lot throughout my life, but undoubtedly the greatest gift she gave me was the experience of being with her as she was dying. One of her final lucid moments was when I arrived to see her and the nurse told her that her granddaughter was there. She opened her eyes, and when she saw me, a light shone in her eyes as she managed to say my name a few times. I could tell how much pure joy it brought her that I was there, and this touched me indelibly. This was the last moment I shared with her where I felt like she was completely aware. It's possible that seeing me was the last entirely clear image of her very long life on this Earth. What an absolute honor for me. 

I wasn't there for her very final moments, but her daughter, my aunt Mary Ann, flew in from Hawaii just in time to help send her on her way.


Goodbye, Grandma Freda. You are loved, missed, and remembered. 
Leaving LA wrapped in the cloak of such a powerful experience, I drove in the opposite direction, towards the fog and old growth forests of Northern California. I stayed with a friend at his remote and utterly beautiful home surrounded by trees and mist. There, in the pristine serenity, I began to process what I had just witnessed and to reconnect with some integral parts of myself that have lain dormant for quite some time. While I was there, he took me to visit the Redwoods for the first time. Entering the primordial power of those forests, where life and decay share the space so symbiotically, felt like being washed clean. Again, I felt tremendous gratitude. 



Driving into a sea of fog. 
After Northern California, I flew to Boulder to reconnect with my roots. The plane ride there was without exaggeration the most beautiful one I've ever been on- perfectly clear skies the entire way, flying over the bay, then desert, mountains, and plains. As the sun began to set, we were flying over a mountain range blanketed with snow. The vivid reds and oranges were reflected as a glowing purple by the snow covered peaks, and I swear I could see the curvature of the Earth. It seems so obvious to state that we're on a planet- everyone knows that- but to really feel it on a visceral level is so humbling and awe inspiring. I was enraptured the entire flight.


Leaving the Bay. 



While in Boulder, towards the end of January, I was sitting in a doctor's office, stunned. I had just been told by two specialist doctors that I most likely had a tumor that would require immediate surgery- only to be told hours later that I was in fact, completely fine and healthy. Later, when the whole ordeal was over, in the parking lot of the doctor's office, I slipped on a banana peel and fell. After everything that had happened that month, all the devastation and collapse, all of the overwhelming seriousness, to actually slip on a banana peal seemed so completely ridiculous, so preposterous, that for a moment, I could no longer take myself seriously. I remembered the humor of the human situation, that, along with the fragility and preciousness of life, frames our lives. It may sound strange, but this was a moment of deep release, of surrender to the changing circumstances of my life, and the beginning of healing. 

Still, I couldn't undo the effect that this experience had impressed upon me. In the few hours that I sat and waited for test results, believing that I had a tumor that would require my body to be cut open within the next few days, something within me shifted. My mother, a breast cancer survivor, perceived the change, and likened it to something akin to a loss of innocence. I think she may be right, and that even though it turned out that thankfully I am healthy, the innocence that I lost was one of thinking that that kind of thing could never happen to me. It shocked me to the core. Especially after witnessing my grandmother die and having the reflections brought on by that experience only a week or two prior. More so than ever, the reality of my impermanence, my fragility, and that of all those around me, became blazingly clear.

Later that day, it snowed, and I immersed myself in the quiet serenity of the mountains in white.


Oh how I've missed the snow.  
Blue skies from the top of Bear Peak the next day. Classic Boulder weather. 
Returning to Oakland, I managed to squeeze in some time for exploring the pockets of nature surrounding the Bay area. I'm always impressed by the array of the very California brand of beauty to be found around these parts. Starfish on jagged beach rocks, sunsets sinking beneath the level horizon of the ocean, eucalyptus trees with their cleansing scent, moss covered forests, and mushrooms peeking up through the detritus of leaves, bark and dirt... the myriad variety of appearance is mesmerizing. 



Velvety tree fungus.
So now another semester has started, and I'm back in the often abrasive rush of the city, thrown back into the frenetic rush of things. I'm still processing everything that took place in January, still nursing a broken heart and metabolizing my grief. Still a little shaky, still tender and raw. It's something I work with and confront every day, and this, I believe, makes me kinder and softer, while simultaneously giving me strength. 

I'm so utterly thankful. To be alive, to be healthy, to give and receive love. 

Sunset in Marin.

Love wants to reach out and manhandle us,
Break all our teacup talk of God.


If you had the courage and
Could give the Beloved His choice, some nights,
He would just drag you around the room
By your hair,
Ripping from your grip all those toys in the world
That bring you no joy.


Love sometimes gets tired of speaking sweetly
And wants to rip to shreds
All your erroneous notions of truth


That make you fight within yourself, dear one,
And with others,


Causing the world to weep
On too many fine days.


God wants to manhandle us,
Lock us inside of a tiny room with Himself
And practice His dropkick.


The Beloved sometimes wants
To do us a great favor:


Hold us upside down
And shake all the nonsense out.


But when we hear
He is in such a “playful drunken mood”
Most everyone I know
Quickly packs their bags and hightails it
Out of town.


- Hafiz 

Home.