A friend sent me NASA’s earth art book and immediately, I started scribbling down place names for no other reasons than these: They are arresting names; and I wonder what goes on there. What do these places look like up close? Who lives there and how do they live in and treat these places and spaces? Are there open spaces for me to go wandering about in and exploring?
Ever since I arrived in the Bay Area, I have a renewed appreciation for open spaces that I have not felt since my childhood and my later adult sojurn in Jamaica. Just as importantly, this appreciation informs and colors my art. When I looked at the NASA pictures I thought once again, how cheeky, trying to create something, anything, when nature has already done it and done it so well. Here I am, getting ready to re-work my “the vees in picasso” sketches that I did last spring. I know not where the inspiration came from nor why it came from those particular sketches. All I know is I have a clear vision and I am going to move it from inside my head and out onto my canvas. But damned if one of the NASA shots isn’t an almost exact replica of what is in my mind’s eye! Even the coloration and texture (hence the use of modeling clay on the canvas) are the same as what I envisioned.
I just got through experimenting with a light modeling clay and a golden bronze acrylic paint that I have been reluctant to use. The experiment was tedious and it took me a long time to master that paint. I tried working with this bronze before and it hadn’t been tactile. In fact, the wretched thing was and still is, a very heavy paint. It does not rest easily on the canvas. This is the same paint that I worked with in the “David at Yosemite” painting. Turns out this paint is truly a bitch to work with and not simply because the David painting was a difficult subject.
I finally finished this new experiment in bronze painting. It has turned into a painting called, Little Fairy Castles in the Cow Pasture (or Childhood at Belvedere Estate). When I finished it I thought, “That was really difficult but I’m ready to work on my “vee” painting. Now along comes NASA with its “Earth-observing environmental satellites in orbit around the planet”, to show me that it has already been done! They have all conspired to outdo me, NASA, Earth, Nature and those dim-witted satellites that never did anything except spin about in the skies. They never lifted paintbrushes nor tried to coax heavy bronze paint onto canvas! Adding to my chagrin, the NASA picture, shown at the top of this post, is of the desert outside of the United States that I have my eyes on. Yes, it is of the Namib area that I wrote about in an earlier article, the same Namib desert that I invited my Yosemite painting man to visit with me so we could photograph, paint and sand-board there. Sand-boarding and sand-sledding in Swakopmund, Namibia, was another of our Urban Daddy Magazine discoveries. But that is another story.
Here now are some of the place names from NASA’s earth as art book that stirred my imagination:
Painted Desert, USA
Desolation Canyon, USA
Lake Disappointment, Australia (childhood fairy tales and river myths come to mind)
Parana River Delta, Argentina (this conjures up images of piranha fish)
Anti-Atlas Mountains, Morocco (what does it even mean to be “anti” in a place name?)
Carbonate Sand Dunes, Atlantic Ocean (how do you even have dunes in the ocean??)
Ribbon Lakes, Russia
The following are not place names but oh, the conjuring up my mind does just thinking of these titles: gravity waves, ice waves, phytoplankton bloom, and Wadi Branches, Jordan (is this a geographical feature or a place-name?).