Time Passes; Love Endures

I enjoy looking at the original art that some of present company put up for viewing here. I do not think that I have been oppressive in putting up samples of the Resident Artist, Susan Creamer Joy’s work. In fact, I think I have only done it once before. Her specialty, as I have come to describe it, is portraits of joyous old people.

I noticed a hard turn by her in the composition of this one. Over time I have warmed to it considerably. Actually, this painting is not here on the farm currently. It is either hanging in a gallery to the southeast in a somewhat snooty, private college town or it is hanging in the city in The Vineria wine shop, José Miguel Reyes proprietor. José is a Venezuelan by birth and is no better than a common drug dealer from my perspective. I have told him as much to his face. I shall tell you more about José Miguel Reyes, our personal certified sommelier, some other time.

“Time Passes; Love Endures.” There was a time when I would have considered that proposition to be laughable, treacly nonsense.  My thinking has evolved. I now believe that we are called upon to act out our lives as if that proposition were true, whether or not it is in fact. I credit the pernicious influence of the Resident Artist for this evolution in my thinking.

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Comment by Boanerges on February 27, 2017 at 4:14pm

Thanks, BrassMan, for putting up a piece of Susan's remarkable art. I've always liked it, and I wish she'd post more herself.

And, yes, I agree -- love endures. For Red and me, it's plus 35 years and counting. I still call her the girl with the sunset hair; she still calls me a thug.

Comment by Jonathan Wolfman on February 27, 2017 at 4:33pm

she really is terrific

Comment by greenheron on February 27, 2017 at 4:50pm

That is a beautiful painting. Things I like, in no particular order:

1. how she painted the frame and it became part of the painting.

2. the checkers on the glove

3. how she painted every single hair on the sitter

4. the surreal light. The sitter is lit as if it's eleven in the morning yet he's backed by a starry night sky.

Has she painted you yet? The fat sleepy dogs? Post more if you're comfy. I get it if you're not. I don't post much current work here, probably for the same reasons as Susan. Tell her we said hi!

Comment by Ron Powell on February 27, 2017 at 5:42pm

As an avid intermediate player, I couldn't help but notice the quote spelled out in scrabble letters.

What I find particularly interesting is what I interpret as the subject is showing us a baby picture that I presume to be of himself indicating that he was born some time after the family photos on the wall were taken. 

Demonstrating the passage of time through generations in his own family.

I presume too much, I'm sure.

 

 

Comment by alsoknownas on February 27, 2017 at 5:58pm

Stephen,

Most interesting.

If you accept the 'friend' request I'll send you a short note in PM about the concept here. It's more than I would reveal out front but directly related.

Comment by Ron Powell on February 27, 2017 at 7:46pm

The other central element of the quote hence the painting....the dagger into the sacred heart, is Mother Mary's heart...

It's at the center of the painting but  barely noticeable.

......the dagger represents the weapon of choice of an assassin since it can be concealed/hidden and quiet. as such, it inflicted much more than a stab wound, it represents betrayal since if someone gets close enough to you to stab you in the heart with a knife, they are probably a friend who is betraying you (a judas perhaps?)....

so it is the heart of great pain, betrayal, mortally wounded, heart broken over a (lost)love (eternal) etc........

Again I presume to much and search too deeply for meaning that to the 'trained' eye is much more obvious and more simply articulated.

In my view, any piece of work that causes contemplation, controversy, and conversation is great art...

Thanks for sharing this. 

Comment by Julie Johnson on February 28, 2017 at 4:35am

Anything, and everything the resident artist does is only amazing to me.  I can see why it took you a moment to warm up to it though.  It is haunting.

That guy, the sommelier, I bet there is some stories there, just the look of his face in a picture...Don't tell him I said this, but he's not the most handsome fellow I've ever seen. 

Comment by JMac1949 Today on February 28, 2017 at 6:29am

Good stuff, we do what we can and hope for the best.  Sometimes we're disappointed.

Comment by Foolish Monkey on February 28, 2017 at 6:46am

This is a meaty painting - lots to think about.  It's beautifully done, and I particularly like that it speaks to it's subject very personally with little clues but also it's about the life cycle - from birth to old age.  and the three panels.  tight work.  I admire that because it's not overdone.  but it's very rich.  good stuff! 

Comment by Stephen Brassawe on February 28, 2017 at 9:29am

Boanerges, wonderful tribute to your own marriage, you thug. (I was much entertained by that.)

Thank you for visiting, Jonathan. Needless to say, I agree with you.

Yes, greenheron, she always paints the frames, a touch I like. Some things about this that might not be apparent from my photograph. She routinely fastened panels onto the main canvass with pop rivets. You can see three of them here. Also, that is a real monocle and chain that she somehow fastened securely to the painting. As a result the painting partakes somewhat of an installation--"off the wall" as Calvin Tomkins said of some of Robert Rauschenberg's works. And you should not be at all reticent about putting up more samples of your own work, you scamp.

That is exactly the way I interpret the images in the painting, too, Ron. But I never ask artists what their images mean. Usually, the artist himself or herself is the least reliable source of information about what he or she has painted. And as for your other comment, she is obviously heavily into Catholic iconography as can also be seen in the other painting that I put up some time ago. She cannot help herself. She was educated by nuns, some whom I believe were problematic influences on her.

That has already been done, a/k/a.

Oh, Terry, your observation about your own work is bullshit. I was sincere when I said I roundly enjoyed the last two you put up. Stop that.

I shall try to herd Susan here to read your comment, foolish, but that is somewhat like trying to herd a cat.

Let us just say this about sommelier, Julie. He does not photograph well. He is actually a delightful, gentle soul. Susan was a bit upset at me for likening him to a common drug dealer . . . but she laughed in spite of herself. All I meant to imply is that his product is uniformly more than just good, which can cause problems for me unless I am constantly alert.

As always, JMac, thank you for stopping by.

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