Giving Meaning to my Art

Hi there, everyone.

It’s been one hell of a year so far.

I’m not talking about the ‘Rona, the fires, the hurricanes, the end of the world.

I’m sticking to art, with which I’ve been obsessed for many years, but none so much as this one. While the world has been busy destroying itself, I’ve been locked away in my house, making a mess of things.

So today I want to share with you five of my favorite pieces. And with each piece, I want to talk about how it came into being and what the painting means to me.

It’s true…for some of the things I create, I don’t assign any specific meaning or purpose. I paint them as experiments, as challenges, or sometimes simply to keep my brush busy as I wait for true inspiration to strike me.

But for these five I’m sharing today, I really felt them. To me, these five are anything but meaningless. They define the last year of my life.

So then…

Let’s begin…


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Painting # 1 – The Unheaven

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It was a dark and stormy night. No really, it was. I’d just finished a long week of painting huge, complex pieces, and frankly I was worn out. You know that place your mind goes when you’ve hit a creative wall? Or really, a wall of any kind? Yeah. That’s where I was at. I was tired. I was dead.

The plan?

To take a few days off, regroup, and come back to the canvas with a refreshed sense of inspiration.

But it’s funny how the universe works. Sometimes, while wandering the shadowed realm between exhaustion and furious self-examination, we stumble upon rare moments of insight. It happened to me that night. The windows and doors to my little house were wide-open, and the sounds of the night pouring in. My young son was fast asleep, and I, weary and wanting to rest, wandered blearily to my painting cabinet.

It was then a question struck me. What if…all our preconceptions set aside…the idea of Heaven isn’t what we think? What if Heaven is not what we want it to be? What if, instead of angels and sunshine, feasts and Valkyries, the afterlife is something else entirely?

Out came the reds, the bronzes, the blacks, the golds, and the muted ivories. Within a few hours, well past midnight, I’d manifested an alternate view of Heaven. It was a lonely place. A place of eternal waiting. A place in which the souls of the departed rested alone, longing for the Heaven they’d been promised in life.

It might be that you look at this piece and see nothing so deep. You might see just a tree, some curtains, a stony floor, and a horseshoe crab-looking moon thing. That’s fine by me.

But personally, I dreamed of a place in the afterlife none of us would ever dare anticipate.

And so it was – The Unheaven.

 


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Painting # 2 – Grove of Many Moons

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It was the opposite of a dark and stormy night… 🙂

Long after finishing The Unheaven, I awoke on a pleasant summertime Saturday. Again, the windows were open and the air flowing in, but this time the sunshine was glorious, and the rain entirely absent. It was the kind of morning everyone enjoys, even me, the dark Bob Ross. (Credit to Twitter for the cute nickname.)

For Grove of Many Moons, I created a background of greens and blacks, empty but for a few distant trees. The process took several hours, many of which were me waiting for the acrylic layers to dry in the sun. While soaking up the warm air wafting into my kitchen, I started thinking about the many phases of life, the many places we go not physically, but in our minds. And I pondered how, even though we may wander far and wide of where we intended to go, we always tend to return home. Home being our personal center, our individual sanctuary of thought and imagination.

We move in phases, we humans. We roam in our dreams. We change even as we remain the same. Our roots are our bodies, but our minds are as free as the wind, as limitless as the night sky.

In a way, we’re like the moon.

I finished this one late at night the next Sunday, but the weather never changed. It stayed warm and glorious until I was done. And then the rain arrived.


 

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Painting # 3 – Furnace of the Fallen

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Now let’s get dark again.

People who know me know I’m not a political or religious human. At all. What goes on in the larger world largely generally doesn’t concern me. If we as a people are going to thrive, destroy ourselves, or something in-between, it’s ultimately not up to me (or any one person.) That’s not to say I don’t care, just that I acknowledge my smallness. Like Carl Sagan said of humanity on Earth, the pale blue dot… ‘That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives … on a mote of dust suspended in a sunbeam.’

But…

That said…

Not being involved doesn’t mean I don’t notice things. And naturally, how I express and process the workings of the larger world is done on canvas. With paints. Usually dark colors.

And so arrived Furnace of the Fallen. This piece is how, for at least the space of one weekend, I imagined our future. The great dark towers of our vast, powerful cities, hollowed out and left to decay in shadow. The fumes of our manufactured world, choking out the sun. The blues and greens of nature, muted and turned to metal.

You get the point.

I’m not always a nihilist, but when I am, I paint it.

🙂


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Painting # 4 – Moonbringer 

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What if we could close our eyes and go anywhere? Not just in our minds, but literally.

Where would you go?

What would you do?

Moonbringer came to life one evening when I was completely alone. My son was away, the music was softly playing (no midnight death metal-a-thon this time) and the ideas flowed like wine. I tried to think of a place I’d want to go, and of a means to get there. The idea of a portal and a fantastical forest immediately came to mind.

From the start, this large piece felt utterly fantastical. The color scheme, the twisty trees, the totems with runic writing…it all felt otherworldly. And on that night, otherworldly was exactly what I wanted.

Where would I go? Probably another planet.

What would I do? Probably wander the forest and look for food.

Of all the paintings from this year, Moonbringer was probably the one during whose creation I had the most fun. I really let my brush do as it willed. No rules. No structured plan. I really imagined myself leaping through the portal and into a world that hasn’t yet been discovered.


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Painting # 5 – Seizing Heaven

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What if every plant, tree, and blade of grass on earth reached not for the sun, but for something much higher?

This was the question I asked myself while creating one of my biggest ever pieces, Seizing Heaven. My state of mind on the morning I began work on it was focused. Typically, I’ll let the brush do what it wants, but with this painting I hunkered over the canvas for endless hours, obsessing over every detail, every pinprick of light, every shadow.

These trees aren’t just reaching for the light. They want to conquer it. Earthbound for millennia, they’re grasping skyward with glorious aim. They’re impeded by the wind, the clouds, and the sheer magnitude of the vast power for which they hunger.

But no matter. They, like so many living, breathing people, have a desire that is unquenchable.

The trees are us.

The great light in the sky? It’s the thing for which we all reach, whether a goal, a place, or a state of thought. It’s different for every one of us.

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Hopefully you enjoyed this sliver of insight. I don’t always feel deeper meaning when I touch brush to canvas, but sometimes I do…and it overtakes me until I finish.

Until next time…

J Edward Neill

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