Honor Our Fallen

A few weeks back on Mother's Day weekend, my boys indulged the #rockNrollsoul of this #mommaNtheburbs. On our Texas main-street town there is Bronson Rock, a biker-rocker tribute of burgers & beer to the American 'legend' Jim Bronson. (A modern version of the solitary cowboy wandering the American West. Riding a Harley Davidson Sportster in search for soul, on the "Long Lonesome Highway.")

For the upcoming Memorial Day, I'd like to tribute the hot mama muse I met that evening. Black leather, black braids, black boots, a "Thy will be done" tattoo, and a Harley Davidson vest emblem honoring her fallen Marine son. She shared a softness that superseded the "Sons of Anarchy" stereotype, while simultaneously smokin' the hot mama chic with the grace of a "Proud Mother." For this tribute I retrieved three works from my painting "archives."

"Hot Mama." 2010. 11x14. pencil & oil pastel. 

"Veteran:" 'In Flanders field the poppies blow - McCrae.' 2012. 11x14. Acrylics on Canvas.

I composed the work "Veteran" as a magnified representation of the poppy flower. Specifically in memorandum of veterans, as described in the poem; "In Flanders Fields."  I was also influenced by Georgia O'Keefe in painting a precise botanical close-up, with a gust of abstraction, and some war-blown passion. 

In Flanders Fields

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
the larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

-John McCrae (1872-1918)

 

"Emblem of Vigilance." Janelle Jensen Fritz. 2013. 16x20. Acrylics on canvas.

This work has been adapted from it's original debut. If you click on the link, you can scroll down to the draft version. In the first painting draft I depicted a Texas night sky, in which a large American flag flickered and illuminated the sky through the trees and shadows. In the first draft I used imagery references derived from The Gadsden Flag, and Metallica’s “Don’t Tread on Me”. I usually listen to music while painting, but only on rare occasions do I coalesce the music with the actual work, or imbed the lyrical context into the artwork itself. In this most recent revision I incorporated several lyrical associations. Inscribed on the back of the canvas is: 

"EMBLEM of VIGILANCE" 

"You've Got To Listen To My Words"

-In God We Trust

Or

"in nothing, we trust." 

  

"Sunny Days' at The Plaid Peacock

May 1st marks a momentous annual event here in Texas. Pool season opens. The sun is out, most days, and the water is freezing, but the rays of summer are on the horizon. Pool-time is fun, fleshy, and fruity. I must echo the Weepies as "I was made for sunny days, I made due with grey, but I didn't stay." Literally, on the Decadence-N-decay Art wall at The Plaid Peacock, I swapped out dark shades and black frames, for light hues with white frames. 

All in favor of "Sunny Days!?" This is my abstract expressionist landscape interpretation of summertime. Representations of camping, swimming, lounging, cloud gazing, hiking, gardening, and really, anything along the lines of, 
"Summertime...and the living's easy" -Sublime.

"Sunny Days." Janelle Jensen Fritz. 2012. 18x24. Acrylics on 98lb mix media paper

Fruit is a summertime staple, and our treat standard pool food. Pool-side also brings out the sweet & salty of the bare-it-all-bikini clad flesh feast. This seasons cravings begin with this bronzed-blushing-beauty. Perhaps the first pear-shape you will see this season, but certainly not the last.

"Blushing Pear." Janelle Jensen Fritz. 2012. 15x15. Acrylics & pencil on canvas, framed. $110

 

Props to 2 Punk Icons at the Met Gala 2013

Fashion has always been a guilty pleasure of mine. Some would term it a critical necessity to life and free expression. I've followed it as a slave, as a consumer, and more recently as one fascinated by the artistic evolution of the trends and the messages behind them. Slavery to trends are exhausting, but down right lucrative. In certain circles they can be the end-all of whether you are IT or OUT. That in itself is not insignificant. As long as you can discern the messages you are projecting and own them? Then I am a full-fledged proponent, and only think that the "fashion police" are justified in passing judgement or at least calling out those that are in fact, projecting hypocritical messages.

As this is an "art blog", and I'm a self-proclaimed "fashion aficionado", then it only seems appropriate for me to weigh in on the annual Met Gala. The annual who's who bash of  the Metropolitan Museum of Art. Especially as this years theme was "Punk: Chaos to Couture". If that is not "decay to decadence", I don't know what is.

Instead of thrashing the cacophony of hypocrites, I'm going to give props to two punk revolutionaries that I have a soft spot for, and tell you WHY, regardless of what the critics are saying, they stayed true to their creeds.

First, Vivienne Westwood. For those unacquainted? She is the designer lauded as the "cornerstone, style-wise, of the whole punk movement in London." -Many on that red carpet (Marc Jacobs included . Basically? She got stripped of her fashion statement. Which was:

"Her jewelry: A laminated photo of the Wikileaks revolutionary Bradley Manning, attached by safety pins to her pastel robes."

She was given her 15 seconds in the limelight and then shuffled through. What she did have a chance to articulate, before she was cutoff was: 

 "When I did punk all those years ago, [it was about the same thing]: Justice and [trying to] have a better world,” she explained. “I've got different methods nowadays." -the Cut

Nowadays, whenever I hear of Vivienne Westwood, it is difficult not to get nostalgically reminiscent and a bit self depreciating. As I did at one point, own, hot pink Vivienne Westwood leggings. Which I wore to the SLC Hard Rock Cafe in head to toe Cindy Lauper get-up in college. Why I didn't keep those gems? That is a life mystery. I'm on the prowl for pics. I should have know that Vivienne Westwood & hot-pink was keep-worthy. Fourteen years and could've, should've, would've, especially this year, when Anna Wintour Vogue's editor-in-chief, the Met gala medium wore hot-pink Chanel, and said "its the color that symbolizes the punk movement."Oh well, I'll get over it, I do have the hot pink skinny jeans my 2-year-old gave me for Christmas.

The second accreditation goes to one of my personal favorite punk icons. Debbie Harry (aka. Blondie). Apparently she was hosted by Tommy Hilfiger. He is the quintessential All-American designer with an affinity for the nautical-look, so really this makes a whole lot of sense. I figure she was paying homage as she was a nautical-look proponent back in the day. For the Met gala they all appropriately hard-rocked Hilfiger's version of leather & metal. So, in summation, even when "The Tide is High", with floods of wannabe's and wishy-washy attempts that pegged more "chaos than couture." It was encouraging to see that at least the front-running ladies of punk, "aren't the kind of girls that give up just like that."

"The F-Bomb Week"

"The F-Bomb Week", Acrylics on Canvas, polyurethane, 16*20, Janelle Jensen Fritz

Note: In this post I'm not attempting to play politically (although art is sometimes just that), instead my aim was to capture and project the historical events in the U.S. during the week of April 15th-20th, 2013 through the painting medium. If you are highly sensitive to the actual usage of the f-bomb, then I advise you not click on the adjoining link (F-Bomb), even if it does give an exhaustive chronological assessment of the weeks horrors. 

When a string of unrelated tragedy's occur it's never a great sign. When sequential bombs, blood, and floods just pile higher and deeper as the week rolls out, we approximate 'blue ruin' proportions. The good news is that when you add the colors red (indicative of love), and yellow (representative of Light, loyalty, and energy) you restore a balance that can build up from the ruins. The hope is reconstituting the future to contain the primary elements of joy, peace, and prosperity. 

In the painting "The F-Bomb Week", the viewer confronts two sides of a brownstone building (classical Bostonian architecture.). The left window of the painting depicts the caged in darkness that exists in this world, which often erupts in an explosion of insolvency.  In the right window the force of Light exudes concentrically, thus illuminating and generating connotations of love, life, and liberty. I conjoined the primary colors in the window of Light in a symbolic representation of one of our favorite All-American pleasures...ice-cream. Specifically a personal nostalgic favorite, "Superman Ice-cream", which is red, yellow, & blue. Ice-cream symbolically depicts many facets of the "good", & the prosperous in life. Despite the many explosive and destructive events of the F-Bomb Week, we saw many rise to "Superman" heights in order to rally for righteousness. 

We can continue the pursuit to "get back to the basics" and rebuild. Just as the primary colors signify love, hope, and peace. We can each hone in on our individual circles of influence and extend attributes and attitudes to perpetuate each of these daily basics. Consistent explosions of "light" are often less dramatic than bombs, but the influence is often more substantial.

"The F-Bomb Week" close-up. Superman Ice-cream.

"The F-Bomb Week", Janelle Jensen Fritz, Acrylics on Canvas glazed with polyurethane

ARTIST NOTE: This work was an exercise in the practice of blending together concepts of street art/graffiti art, and comic book illustrative styles, in a traditional paint-on-canvas method. Extensive layers were compiled, including intermittent sanding, weathering, and scraping to expose underlying paint layers. Several layers of polyurethane were applied over-top the acrylic layers in order to give the 'windows' a glassy appearance.

When it rains...

FOR ME:

In lieu of the popular idiom "April showers bring May flowers", I'd like to pay homage to this ring-in for spring with a bit more cloudy, but no-less bright perception. This one is drenched deep in American pop-culture advertising from early last century. Currently propped on my desk is a ceramic tile (trivet) that my mother gifted to me on my recent trip home. Actually, I noticed it shoved away in some forgotten "miscellaneous"  drawer, and rescued it with permission. It is a trivet of the 1968 Morton Salt Umbrella Girl with the slogan "when it rains it pours". Something about the truth in the message without being over-the-top pessimistic combined with the brilliant color combination, and classic nostalgia, just brings a smile to my face.

"When it rains it pours". 1968 Morton Salt Umbrella Girl is the top right trivet. Available at Morton memorabilia

FOR YOU:

When it rains in life, after a spectacularly heavy storm, we are sometimes blessed with a trajectory of color. Merriam-Webster defines the rainbow as :
an arc or circle that exhibits in concentric bands the colors of the spectrum and that is formed opposite the sun by the refraction and reflection of the sun's rays in raindrops, spray, or mist.

In artistic and scientific circles the rainbow has been a highly focused phenomenon for centuries, in both color theory and optics. For centuries philosophers such as Aristotle, Leonardo DiVinci, Goethe, and Newton each conjectured and corroborated the mystery of the rainbow. 

In religious and mythological histories the rainbow holds cultural significance and its stories and legends vary worldwide by region. Although, one correlation that is widely consistent in myth and religion seems to be the origination of the rainbow with either a holy or demonic association. An image of ethereal ephemeral significance. 

 Artists in historical and modern times, have used the rainbow to depict peace and brilliancy, dreams and wishes, faithfulness and covenant, and a divine path. I'm sure we can all list off the top of our heads, pop-culture references, lyrics, and the like that utilize the rainbow thematically. 

In my own life, the double rainbow, is an image that holds a special significance in my marriage. This personal application draws on more than just the widespread evocation of the rainbows promise, commitment, and covenant. During a double rainbow there is the dark or unlit area between the two bows.This unlit area that separates the two bows is called Alexanders Band. Other factors that occur during a double rainbow include the secondary rainbows color sequence being a reverse from the primary bow. Dependent on the angles it is likely that the sky outside the bow will be brightened. 

This is figuratively a simile for marital dynamics. Dark unlit areas between the two reversed spectrum's? YES. Only when the angles are aligned in exactness then the space outside the two entities can be brightened and illuminated? YES. But, that is the hope of marriage,  that despite the darkness that exists in both of you, together, you can create a space outside yourselves which is enlightened. The probability of observing a rainbow is determined by the bunching of light rays at the minimum deviation that is close to the rainbow angle. 

With these sentiments in mind, I share a 2 piece work of mine *creatively* entitled: DOUBLE RAINBOW

"Double Rainbow: primary", Janelle Jensen Fritz, 2010 Colored Charcoal Pastels

"Double Rainbow: secondary", Janelle Jensen Fritz, 2010 Colored Charcoal Pastels

EASTER SUNDAY via Modern Artists

Despite the vast history of religious artwork which documents the history of this Christian holiday, I wanted to depict the chronological events surrounding the Easter celebration using modern artwork. I appreciate, applaud, and admire Leonardo Di Vinci, Rafael, Caravaggio, Bellini, and Rembrandt, I just needed a little fresher expression of these truths conveyed through art. 
 
Note: I have cited & linked all works to the original artists, museums, or private collectors. I have no purpose in sharing these images other than relating these events in testament of their occurrence.

The Last Supper, J. Kirk Richards, 2000

Following the Last Supper Christ gave his apostles what is referred to as the New Commandment: 

" Little children, yet a little while I am with you. Ye shall seek me: and as I said unto the Jews, Whither I go, ye cannot come; so now I say to you.  A new commandment I give unto you, That ye love one another; as I have loved you, that ye also love one another. By this shall all men know that ye are my disciples, if ye have love one to another." 
-John 13:33-35

Christ in the Garden of Olives, Paul Gauguin, 1889

"The Savior's sacrifice required inexhaustible stamina in order to bear the consequences of our sins and weather the temptations of the Evil One." 
-"The Infinite Atonement", Tad. R. Callister, pg. 129

               "Sacrificial Rights", Janelle Jensen Fritz, 2000 Includes an attachment of "The Lord Jesus Christ", Del Parsons, 1983  

During a time of unfamiliar and uncertain solitude this widely distributed picture of Christ (The Lord Jesus Christ, Del Parson, 1983) made its way onto the nail of this 3-dimensional painting/collage I completed in 2000, in an abstract representation of the atonement. It served as a makeshift frame one night as I needed a visual reminder of my friend and Savior Jesus Christ. Somehow the crude arrangement became a permanent fixture, in which I found symbolic comfort. 

Some may see this as a blasphemous correlation, but for some reason every time my rock-n-roll soul hears the song "Seek & Destroy" by Metallica, I always think of Christ. I don't think I have ever fully understood why. It plays as an anthem carrying one away from evil to me. This quote in "The Infinite Atonement" illuminated some of the reasons why this song would be set as a soundtrack in my heart for the atonement:

"Part of the Savior's atoning quest must have included an element of conquering, an offensive struggle of sorts. There was a need to rescue and deliver souls from "the chains of hell" (Alma 12:11) This part of the battle may have necessitated an invasion of Satan's turf, perhaps even an intrepid trespass into the dark abyss of the Devil's Domain. 
The Savior's redemption was a one-man rescue mission to deliver the prisoners of all ages from death and hell, of which Satan was the ever-so-vigilant guard. Tennyson's description of "The Light Brigade" may bear some similiarities to the Savior's battle on Gethsemane:

Cannon to right of them,

Cannon to left of them,

Cannon in front of them

Volley'd and thunder'd;

Storm'd at with shot and shell, 

Boldy they rode and well,

Into the jaws of Death, 

Into the mouth of hell. "

- "The Infinite Atonement", Tad R. Callister, pg 129-130

 

White Crucifixion, Marc Chagall, 1938

 After betrayl, abuse, and the judgement of a hearing where he was abused throughout the interrogation, he was brought to a political trial. A criminal was released in his stead, and  Jesus Christ was turned over to the Roman soldiers for crucifixion. In Matthew 27, Holy Bible, KJV it relays the torture, and mockery that ensued. Resulting in his crucifixion on Golgotha, between two thieves. 

 Crucifixion Detail, 1979, is a work that portrays the perspective from the vantage of those two thieves. About his work, artist Gary Lessord stated:
 The image centers on Christ alone with turbulence in the sky. The angle is from the viewpoint of the thieves on the sides of Jesus. It was painted this way so everyone who viewed Jesus' crucifixion would see Him as the thieves did on the cross. Opportunity is given to the viewer to either be convicted and call upon the love and grace of God's son to save them, as the one thief did, or choose to deny the reality of Christ's sacrifice on the cross and perish, as the other thief. The reality of the atoning blood is placed undeniably before people in visual simplicity. A picture is worth a thousand words and combined with the Word of God it is that much more effective." -Gary Lessord, artist note

Crucified Tree Form-the agony, Theyre Lee-Elliott, 1959. Methodist Collection Modern Christian Art.

The Stripping of Our Lord, Philip le Bas, 1962. Methodist Collection of Modern Christian Art .

Empty Tomb, He Qi, 2001

 An article entitled  Reflections of the Saviors Last Week provides the following insight to the Ressurection:

"All four Gospels begin the account of the Resurrection with the empty tomb. The angels’ query to the women, “Why seek ye the living among the dead?” (Luke 24:5) continues to be a question that confronts us today, for we must find the living Christ not just in the pages of history or even the scriptures but also through the Holy Spirit in our own lives.

 The miracle of the empty tomb and the subsequent appearances of the risen Lord stand as powerful reminders that the atoning mission of Jesus Christ was not limited to His suffering and death for our sins. As expressed by the Book of Mormon prophet Jacob, the goodness of God is manifest in His preparing a way to overcome the awful monsters of death and hell, which are physical and spiritual death (see 2 Nephi 9:10). Only by overcoming both of these obstacles through the Redemption and the Resurrection can God’s children truly become “one” with Him again". -LDS.org - Ensign Article - Reflections on the Savior’s Last Week

Christ Sketch, Ben Hammond , held in a private collection of artist J. Kirk Richards

 Art delivers a testimony of truth. Jesus Christ delivers. He delivers us, he delivers on his promises. Revelation 22:13, Christ testifies, "I am Alpha and Omega, the beginning and the end, the first and the last". We are all thieves of something in our own way. Just as the two thieves that hung beside Christ on Golgotha, at the end, our own thievery or blackness doesn't determine our vantage point to him. We do. When we ask, he will rescue even the thickest of thieves or blackest of sheep of his fold. 

Rescue of the Lost Lambs, Minerva Teichert

 

Take 5, Slow-Down, & Feel Smarter and Less Stressed

Sometimes it takes a literal slow-down to put life in perspective and frankly make it worth while to endure until bedtime. Since it is close to 5pm, and bedtime is no where near the horizon, though soccer practice & dinner are...my goal in sharing is not to put you to sleep, but to slow-down for a few moments and contemplate the basic beauties of the world, and your life. 

I caught this segment after elementary school running club yesterday, where I cheered & chased, but did not fit in a run. NPR blogger Adam Frank takes on an unpretentious voice with a quirk of humor to share his scientific insight into this much needed momentary slow-down. In How to See the World in a Grain of Sand he starts by saying: 


"More than two centuries ago, the great poet William Blake offered the world the most extraordinary of possibilities:

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
and eternity in an hour.

Yeah, that would be nice.
Unfortunately, most of us don't know how to hold eternity in the palm of our hands. In fact, most of us feel lucky if we can just hold it together until the end of the day. The problem, of course, is that mostly we've lost our minds. And I mean that literally. Our attention is endlessly lost in the endless blur of appointments, to-do lists, worry, concern and agitation that makes up modern life.
Sometimes, however, for the briefest moment, we do pick up a scent that there is something more going on than this daily round of survival. But those moments pass and waves of mundane urgency swallow us again. Tumbling through the chaos of our day-to-days, we wonder if Blake's vision of a broader, more expansive experience is nothing more than a poet's fancy. Can we really see the Universe in a grain of sand, even as we slog through traffic? Can we really hold infinity in our hands, even as we drop off the kids to violin practice?
The answer, I believe, is "yes."

Well instead of a grain of sand, I'm giving you a few moments of a video produced by my fabulous cousin, personal family photographer, the talented director Jacob Schwarz. It is a visual slow-down treat for an artist and anyone looking to be calmly captivated. Breath, & take 5.