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You are here: Home / The Spiritual in Art / Sleep Studies: Paintings Inspired by the Ex Voto

Sleep Studies: Paintings Inspired by the Ex Voto

July 6, 2007 by Iskra 1 Comment

 

Ex Voto for a Non Believer, Iskra
Ex Voto for a Non-Believer, © Iskra Johnson

Years ago I spent a month traveling in Mexico, where I picked up a very old ex voto painting on tin.  This traditional form of devotional painting shows the narrative of a spiritual or mortal crisis and its resolution.  On the earth, people pray, more often than not someone lies sick in bed, and in the heavens a saint floats, all ears to the prayer scrawled in Spanish across the picture plane.  The bed frame has always haunted me as an object of power in its own right.  Unlike the chair so often depicted by artists as a stand-in for human attitude and contemplation, the bed usually has no arms, and often neither foot nor head.  It sits unadorned, a naked platform on which to project our own memories, dramas and introspections.

This series of paintings started with the desire to experience the ex voto on my own terms and in my own culture.  I do not believe in the saints.  The only apparition that ever appeared in answer to my skyward yearnings was the GoodYear blimp, which revealed its private message to me in red neon in 1972: “Drink Coca Cola.”  I’ve been looking beyond to the rosy sunset for years, wondering.  I do not believe in the saints, but I do believe in their shape.  I have always found consolation in the forms of devotional art, as though even in cultures and belief systems foreign to my own the abstract language itself has meaning.

As I worked on these images the forms evolved back and forth between story, recognizable symbol and abstraction.  My working method starts with careful sketching of composition, stencils and color study, and then I throw up my hands and go with whatever the painting seems to be asking me to do.  All of these images are original paintings created with printing ink applied directly to paper without a press.To see more in this series go to Sleep Studies.

Filed Under: The Spiritual in Art Tagged With: devotional art, ex voto, narrative art, spiritual in art

Comments

  1. laura Cruikshank says

    February 19, 2009 at 6:59 pm

    Wow, you take my breath away with your depth and understanding. Thank you for sharing your vision with the world.

    Reply

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I am getting ready to start a new photographic-bas I am getting ready to start a new photographic-based series that I’ll be working on for the next six months. A friend here on Instagram gave me these praying hands years and years ago. They are quietly gaudy, and awful and simultaneously completely wonderful. I see them every day when I wake up in a house that I will confess is filled with devotional objects. This image is composed of two photographs, the sculpture and a street kiosk. When I walk down the streets, I cannot resist documenting kiosks, particularly when they are empty. The shredded strange paint residues and the battered metal frames are just waiting to be re-purposed as though the entire street was my personal goodwill junk department. Or you could call it a library. My cross training for the series is reading Virginia Woolfs stream of consciousness, novel, Mrs. Dalloway. Virginia Woolf’s writing gives an artist permission to own their interior world. Of course, letting the exterior world in on the secret can be quite a task. That is, what studio time is for…
I am thankful today for the symmetries of friendsh I am thankful today for the symmetries of friendship, even when they are asymmetric; for the guidance of those in the temple, who have practiced for years and send us their notes and their breathing lessons; thankful for the leaf that my friend saved for me of all the leaves in her neighborhood and thankful to the man who came yesterday when my back had laid me flat to sweep and to blow, as he noted in his documentation, 95% of the leaves in my garden, into piles then compressed with military precision into small liftable bundles stacked like muffins under the eaves. Now we can look out at the spare empty spaces. Feel the freedom of silence and space between branches. Rest, as growth goes quiet and invisible in the best growing season of the year.

May your Thanksgiving be bright✨
Artist Reception at SAM Gallery tomorrow, Seattle Artist Reception at SAM Gallery tomorrow, Seattle Art Museum First Avenue level, 2-4! Hope to see you there for our group show celebrating 50 years(!) This piece is called Water Kimono, a reverie on the ever-changing patterns of light on water.
My Narnia My Narnia
Last night I tried to get through more than 20 min Last night I tried to get through more than 20 minutes of the Golden Bachelor. It was Pickleball-date afternoon. The Golden Bachelor, truly a lovely man to observe and listen to under normal circumstances delivered this line: “Pickleball is a regular part of my life. Any woman who is going to share my life must also share Pickleball.” 

God help us. I’ve never been able to hit a ball with a paddle or a sock or a bat or anything else. Combat sports, like music, are abstract. No matter how much I pre-visualize the zen moment, the ball somehow remains in the air unrelated to my weapon of choice. I want to see the next Golden Bachelor rewritten for painters. “He said, fingering the smear of cadmium on his eyebrow, “Painting is a very big part of my life, and any woman who marries me is going to have to live with Painting.” Will he also say “I hope she paints too?” And we’ll have a full time maid and cook? Or will he say “She must be able to bring me my pipe and my slipper at the end of the day. And take the dogs for long walks alone while I try to decide the color of the sky?”

Feel free to write the script below.
A time and memory experiment. Photography captures A time and memory experiment. Photography captures a moment in light. You put the moment away for 30 years, lose the album several times, and then it resurfaces, the old analog print in perfect form. What happens if the small print is then scanned and enlarged? And revisited as the half-forgotten? This image from Koyasan was printed small in the first run and did not look like much of anything. On 17 x 22 it is lovely, and at full size of 24 x 36 it is something else altogether. Unlike enlargements of digital photographs analog images are simply soft, without the artifacts of pixel interpolation. How curious that what was originally 4x6 looks best at least 400% larger.

Photography is such a powerful tool to explore memory and what it means to forget and remember. The idea that we must live authentically in the “Now” (or that there IS a “now” unfiltered by the past) is perplexing for a meaning seeker. I always have a memory, no matter how small and distant, crumpled in my back pocket. Perhaps like homeopathic tinctures the smaller the memory the more space it can fill.

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