While painting large animals, I felt a shift. The animals were great vehicles for expressing big emotions, but I wanted a more direct connection to human experience.
Koumokuten, Guardian Deity, photo the artist
On a trip to Japan, I was thrilled by towering statues, their imposing forms crowned with fierce expressions.
The Protector in this photo is made of carved wood and is one of four guardian deities at the four points of the globe, defending the Buddha from the west.
Nio, Nara Japan, photo the artist
Nio were especially intruiging, paired guardians flanking entryways to temples and shrines, protecting those within from mal-intentioned intruders. Even the chicken wire meant to protect from birds barely dimmed the statues' powerful presence.
They work in pairs, one exerting active energy and the other exhibiting potential power.
To get a sense of the scale, here I am barely reaching the knees of the Nio.
I love how these figures occupy space: articulated muscles, jutting limbs, tightly bound topknots and loose ends unfurling into space. Their fierce attitudes and expressions drew me in.
Working on large canvases let me fully explore the gesture and movement of the Guardians.
Japanese Guardian 2, charcoal and oil paint on linen, 70”x46”, in process
I wanted to show these figures controlling the elements, and set out to create a swirling, moving background that was responsive to their stance.
Japanese Guardian, charcoal and oil paint on linen, 70”x46”
By placing the canvases next to each other as I worked, I was able to carry one painting's motion over to the next. I moved the canvases back and forth as I worked, aiming to have the pair work in either order.
Japanese Guardian 2, charcoal and oil paint on linen, 70”x46”
The blank surface of the ground is a counterpoint to the energy swirling above, and also acts as a stepping stone into the space of the painting.
There's just enough room to have them side by side in my studio.
Japanese Guardian 2, charcoal and oil paint on linen, 70”x46”
