Flashback Friday: Just Another Auden October, Harrow the house of the dead edition

This post originally appeared on at October 27, 2010 at 8:45 a.m.

Photographed by Mieke Willems.

Prohibit sharply the rehearsed response
And gradually correct the coward’s stance. …
Harrow the house of the dead; look shining at
New styles of architecture, a change of heart.

(W.H. Auden, “Petition.”)

Like that bird, for instance — do you think he woke up knowing he’d get to perch on a pert ass today? I expect not: I expect he thought it would be just another day, the same as all the others he has lived.

I guess what I’m suggesting is that, as Auden petitions, it is worthwhile to defy the lessons of experience, throw caution to the wind, and look with a hopeful heart for the unexpected and unpredictable new. How to completely go about doing that I am less certain of, but I know that it must be worth trying.

Auden October: Look shining at a change of heart

Photographed by Mieke Willems.

Prohibit sharply the rehearsed response
And gradually correct the coward’s stance. …
Harrow the house of the dead; look shining at
New styles of architecture, a change of heart.

(W.H. Auden, “Petition.”)

Like that bird, for instance — do you think he woke up knowing he’d get to perch on a pert ass today? I expect not: I expect he thought it would be just another day, the same as all the others he has lived.

I guess what I’m suggesting is that, as Auden petitions, it is worthwhile to defy the lessons of experience, throw caution to the wind, and look with a hopeful heart for the unexpected and unpredictable new. How to completely go about doing that I am less certain of, but I know that it must be worth trying.

Langston Hughes Month: “Songs”

“November Under Light.” Sam Haskins, November Girl (1966).

I sat there singing her
Songs in the dark.

She said,
“I do not understand
The words.”

I said,
“There are
No words.”

— Langston Hughes, “Songs.”

A beautiful and true sentiment.

Catherine Brooks’ Personal Mythologies: NSFW and beautiful

“The Phoenix and the Fruit.”

Extraordinary contemporary artist Catherine Brooks is based in Richmond, VA and I think she is rad.

“She traveled alone.”

My paintings are part of a story, a science fiction diary, rich in allegorical symbolism.

“Mirror Gaze.”

They are not self portraits, but instead physical manifestation of the lives within me.

“Waiting for Epimetheus.”

At a superficial blush, I think her paintings deal with imagery and conventional styles that are popular right now in the commercial world of art: lissome nymphs interacting with the natural world, an almost photo-realistic style, like a photograph or illustration recreated with oil paints, but I feel like that is, like I said a superficial comparison. The truth is that she really finds the darkness at the heart even of the popularity of those images, and more nakedly and skillfully tells the story behind them.

“Isabel’s Secret.”

The work has authority. I suppose maybe if you were to just striaghtforwardly describe her painting next to another, similar product on Etsy or something, telling only what you literally see vis-a-vis the subject matter and depiction, it could be accidentally mistaken for one of this genre of lesser and more wanly committed artistic storytellers, trendy but sort of twee, but that is not the case for me with Brooks.

“Wanderingbel.”

Besides her obvious superiority even of strictly mechanical talent — which gives her paintings a sophisticated weight lacking in some illustrations that deal with similar subjects and imagery — for me, there is more going on thematically in her compositions.

“The Gaze.”

I feel like if you look at her work, Brooks digs much deeper, like her work is a more authentic prototype than a lighter imitation, a more complete interpretation of an older and overarching theme.

“Reverent and revered.”

I am fascinated by the legends and tales that have been passed down through the rise and fall of empires and how they are weathered by oral tradition and cultural change.

“A Promise to Return.”

I work with my own personal mythology to reflect ideas on love, memory, and the inexplicable human talent for anthropomorphizing the cycles of life and all its manifestations. (via)

“Isabel and the Life Web.”

Adjusting to being Single and Living in Richmond is a bit of a roller coaster ride, but I’m pretty sure its more Tank Girl and less Hope Floats so it ain’t all bad. (blog)

Love Tank Girl. Sold.

“Driving Into the Sun.”

To discuss commissions or wholesale orders (or just to say howdy!) please drop me a line at: Robotroadkill [!at] gmail.com. (etsy)

“Half a second,” my favorite one.

I should first mention that all my analogies of life tend to be nature based, I was raised in an all female landscape business that was founded and run by my mother, for years we shared generations of stories over the tops of the flowers we cared for. Those ecosystems provided a framework and context to talk about the more complicated parts of life. That is where my imagery comes from. (interview)

I think it’s beautiful.

Sam Haskins Month, Day 6: Gill the art student, Girl Two

“Gill, the art student with ribbons in her hair.”

Click to see larger.

“…images from my book Five Girls. The model, photographer and in this case the Rolleiflex camera are all comfortably anchored flat on the floor.” (Sam’s blog, April 13, 2008)

All five of the models in Five Girls, like Sam, are from South Africa. That’s where he shot the book. I’ll see what else I can dig up on the girls.

Daily Batman: Sort of a Batgirl by Ray Caesar

“Sleeping by Day,” by fricking awesome artist Ray Caesar.