words that inspire

“It’s akin to style, what I’m talking about, but it isn’t style alone. It is the writer’s particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There’s plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.”

“I have a three-by-five [card] up there with this fragment of a sentence from a story by Chekhov: ‘…and suddenly everything became clear to him.’ I find these words filled with wonder and possibility. I love their simple clarity, and the hint of revelation that’s implied. There is mystery, too. What has been unclear before? Why is it just now becoming clear? What’s happened? Most of all–what now? There are consequences as a result of such sudden awakenings. I feel a sharp sense of relief–and anticipation.”

Substitute “artist” for “writer” and these words really resonate with me. They are written by Raymond Carver. Thanks to blogisisko for the link.

Wolf Cave

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Here’s an interesting find, not rock art this time, but archaeology. Susiluola or Wolf Cave is northern Europe’s oldest known human dwelling site. In most places the last ice age destroyed evidence from the warmer interglacial periods of previous ice ages. Wolf Cave is like a small pocket that succeeded in avoiding the destruction. Because of this the cave is an exceptionally valuable research site. In the sediment levels of Wolf Cave have been found evidence of human habitation that includes stone tools, stone chips left from the making of such tools and old hearth remains. These artefacts are estimated to be 120,000 years old, which means that Neanderthals must have dwelt in the cave prior to the last ice age.

Wolf Cave is located in western Finland. Study of the cave and surroundings is ongoing and causing a rewriting of the history of habitation in the Nordic countries. Though tourists cannot enter the cave, they can visit the Tourist Centre and view the exhibition showcasing Wolf Cave’s archaeology and the many artefacts that have been found there as well as Wolf Cave’s geology and the geological development of the area and its plant and animal life since the ice age. There is a 15-minute video presentation about excavations at Wolf Cave and a multimedia production that describes the role the ice age played in the development of the cave. Next time I’m in Finland….

a rubbing

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This is a rubbing I made of a wonderful image embedded in the cover of a book I found in the library a few days ago. Indian Rock Carvings of the Pacific Northwest by Edward Meade (1971) has numerous black and white photographs of petroglyphs made by the many First Nations peoples along the west coast from Oregon to British Columbia and Alaska. The above image was found on the west coast of Vancouver Island.

At Nootka are two human figures of a male and female. The unique features of these carvings is that the outline of the figures is achieved by double pecked lines, a technique found elsewhere only at one site, in Washington.

By the way, this is my 500th post and this blog is one year and nine months old today. Thanks to all my readers and new friends who’ve made the ride so fantastic, and inspire me to keep on going! Happy October!

Kiwi Stonehenge

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Checking through my old bookmarks, I came across an old BBC article about the opening last February of a Stonehenge in New Zealand.

“For millennia people have gazed in awe at Stonehenge, often totally unaware of how structures such as this were used. Stonehenge Aotearoa is not a replica of the ruin on Salisbury Plain in England. It is a complete and working structure designed and built for its precise location in the Wairarapa region of New Zealand. The henge stones, viewed from the centre, mark the daily rise and set positions of the sun, moon and bright stars. The henge also forms a Polynesian star compass marking the bearings taken by Polynesian sailors to and from Aotearoa.” – from the website for Stonehenge Aotearoa. Have a look at the dramatic pictures.

A must-see when we go to New Zealand one day with our Kiwi friends!

modern art

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a cultural institution

Yesterday I received this very interesting message (hyperlinks mine):

“I’m contacting you from the Saatchi Gallery, London to enquire about your website. Here at the gallery we are in the process of expanding the way information is linked to websites. I have been admiring your web page specifically your Marlene Dumas page and wondered if setting up a link onto our site which is a large information resource about Marlene Dumas including images, information, biography and text would be a beneficial addition to your website?”

Certainly I added the famous Saatchi Gallery’s fine page on Marlene Dumas to that blog entry. This morning another message tells me that my blog, specifically the Dumas entry, is on the Saatchi Gallery links page under “cultural institutions”! Have a look. And I have it on the top of my links list too.

This has made my day. I can’t get the smile off my face and somewhere around my heart there’s a little flutter like a giggle! Another reason I love blogging.
 

Pekka Kivikäs

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As my readers know, I’m nuts about prehistoric art, particularly that of northern Europe. One site that I check periodically is Arkeo.net**, a Finnish portal for archaeology fans. Recently I spotted a notice about some new books (PDF) that have come out.

I’m particularly keen on the two books by Pekka Kivikäs. “Rocks, Landscapes and Rock Paintings”, written in both English and Finnish, is about Finland’s pictographs, based on his many years of research. The other book “Ruotsin Pyyntikulttuurin Kalliokuvat Suomalaisin Silmin” (Sweden’s Prehistoric Rock Paintings Through a Finn’s Eyes), is based on the author’s 12 years of visits to Swedish sites. I’ve been hoping to get my hands on some of his books which have gone out of print, so I’ve eagerly ordered these two new ones from Akateeminen Kirjakauppa, a major bookstore in Helsinki which takes online orders and credit card payment. I can hardly wait.

Kivikäs was the subject of a very early post I wrote when starting this blog. I’ll repeat this quote:

The art teacher Pekka Kivikäs has become well-known for his work as an active documenter and publisher of Finnish rock paintings… the book is aimed at the wide circle of readers interested in the ancient culture of Finno-Ugric regions…Kivikäs considers rock art the silent message of man from behind the thousands of years….

Rereading this now, I’m struck by “silent message”, considering that my current working print series is titled “Silent Messengers”!

In 1999, Kivikäs’ home city of Jyväskylä honoured him and his life’s work by establishing the Kivikäs Prehistoric Centre. It features his immense research material of mostly Finland’s prehistoric rock paintings and continues the work of research, documentation, education and tours to the rock art sites. If I had known of this centre when visiting Jyväskylä in 2000, I sure would have gone there. Next time.

Unfortunately the website is only in Finnish because there’s some interesting reading about the history of the place, but have a look at the photos. My Finnish readers may enjoy it. The Centre is located on a historic 1763 property in the newer Kuokkola Manor, which was built in 1904 for the Swedish-Finnish businessman Julius Johnson.

A bit off the subject, I found it fascinating that the Manor was designed by a woman architect who was a classmate of the famous Eliel Saarinen amongst others. Wivi Lönn (1872-1966) (PDF in English) was the first Finnish woman to start an architectural agency. She gained the qualifications of architect in the 1890s during an era when women were only allowed entry into construction education programmes by dispensation. She had a long and successful career despite some overshadowing by male colleagues. Her last creation was at the age of 78, and she died at the age of 94.

UPDATE: In the comments below, Blogisisko pointed to an article in English about women architects in Finland in the Early 20th Century**, in which Wivi Lönn is included. She’s also written a post about her, with some photos coming soon.

Virtual Finland** is a wonderful resource on everything about Finland and I read it frequently. This time I did not delve into it, as I was really focusing on Pekka Kivikäs. Funny how easily one gets off the subject, especially when one finds such an interesting tidbit.

**the Virtual Finland and Arkeo links no longer exist, I’m sad to note.

autumnal equinox

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Humans have followed the cycles of the Sun for millennia. Stone circles like this, dating back more than 3,000 years, are aligned to the Solstices and the Equinoxes. From The Electronic Sky.

Here I am taking a little break from working several hours on my images in PhotoShop, wishing I knew some of the more advanced techniques. Bit by bit over time, I’ve progressed in my learning, mostly by trying things out, reading books and the “Help” section and sometimes a few tips from those more knowledgeable.

This evening is the autumnal equinox, in the northern hemisphere, that is. Down Under it’s the vernal equinox. Our nights here are cool, but we’re having gorgeous sunny days. Only a few trees, suffering from drought, are changing colours yet in our balmy Canadian West Coast. I rather hope for a frost to bring out those brilliant colours, but not just yet! Often it comes too late, after the leaves have fallen. In my growing up years in Winnipeg, fall was my favourite time of the year, for after an early frost we’d have a glorious Indian Summer. I have wonderful memories of walking to school through crisp and colourful leaves. Here those leaves are rarely crisp!

Enjoy a look at Eric Weisstein’s World of Astronomy and especially the QuickTime movie illustrating the tilt of the Earth’s equatorial plane relative to the Sun which is responsible for the seasons.
Happy equinox! Now back to work.

Vaseaux Lake pictographs

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My own art work is keeping me preoccupied these days, especially with the exhibition coming up in November, so today I’m being a lazy blogger. May I point you to a link provided once again by reader Bill Knight in a recent comment.

Have a look at the pictographs of Vaseux Lake in the southern interior of British Columbia. They are beautiful examples of the rock paintings of the native peoples of these areas dating back about 1800 to 2000 years.

Best of all, I love what Bill wrote about his thoughts about ancient rock art:
I would like to edge closer to this mystery, communion and communication practice. To write upon the earth itself, that act is a focus for contemplation. It is to submit to the relative permanence of great stone mountains and bluffs, while facing how brief and transient a human life is. Painful perhaps, but sustaining as well.

I believe even contemporary stone sculpture carving disregards the rock’s age and connection to the great vast ages and spaces, favoring an involvement with distractions of process, illusion and conceit of design. Sculpture is worked out of quarry-stone with predictable and regular physical characteristics. The rock becomes stone; a material, a sort of plastic substance.

[…] There is an interesting difference, though between “rock” and “stone”. I had never heard of the term “rock art” before coming to your site.

Thank you, Bill, for expressing a feeling that I’ve long had about my strange attraction for rock art. (Oh, and the “rock art” term isn’t mine of course – it’s generally used by most people to speak about ancient petroglyphs, pictographs, petroforms, standing stones or megaliths, etc.)
(Edited Sept.22)

John Mawurndjul

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John Mawurndjul, Milmilngkan, September 2004
© Foto Erika Koch. From Museum Tinguely

Synchronicity strikes again! Just two days ago I wrote about rock art in Northern Australia. Now I’ve just finished looking at Art Daily’s post about an exhibition in Museum Tinguely in Basel, Switzerland of work by a contemporary indigenous artist from the same area, Western Arnhem Land in Northern Australia.

« rarrk » – John Mawurndjul : Journey through Time in Northern Australia is the first retrospective exhibition of this artist in a European art museum.

John Mawurndjul developed his own manner and mode of treating the traditional images. He gradually outgrew the motifs of Aboriginal iconography…. to treat it today with entirely new concepts and in a totally new form. His works are imposing by their large scale, and though the eucalyptus bark still furnishes the support for his paintings, the natural earth pigments – red and yellow ochre, pieces of natural chalk and charcoal – are now intentionally mixed with modern, soluble binding agents. The artist changes the pictorial content in a continuous process of transformation: using a cross-hatching technique (rarrk in Kuninjku).

John Mawurndjul’s artistic development… refutes the widespread prejudice in Europe that denies ‘Indigenous’ artists the right to a personified individuality and the capacity to innovate outside the boundaries of the authority of their community. He further demonstrates in his paintings that dealing actively with traditional sources can be a fruitful experience if one is capable of understanding tradition other than as an anonymous and inalterable corset.

The museum’s opening page is a nice introduction with its moving images of the show. The page about the exhibition is accompanied with photos, and amongst the several links is one to a press photo gallery where you can open full screen images of several examples of Mawurndjul’s work, as well as some examples by a few other indigenous artists selected for the accompanying historical survey. I admire today’s indigenous artists who have been able to meld their ancient traditions with personal interpretations, originality and vision. I’m also grateful that some art museums offer virtual exhibitions online for those of us unable to attend the real thing.