Karamu Festivities began after researching festivals and rituals in different parts of the world both modern and ancient. It became evident how rituals and festivities serve to unite us as human beings no matter the country. It seems we all love a party!
What first impresses us about “Equus I” is the beauty and simplicity of the linework. The artist who created this “Circus Horse” demonstrated his competence and mastery of pigment application and line making the viewer’s eye travel around the amply shaped horse. Using a well known technique of incomplete lines he allows the viewer’s eye to fill in the missing lines.
The Silent Ones tells the story of the Keeper of the Breath. The Hopi myth states “a stranger came among the people, when a great whirlwind came and blew all the vegetation from the surface of the Earth and all the water from its courses. He told them he was the keeper of the breath. The whirlwind and the air which men breathe come from this keeper’s mouth” (Mallery). The concentric circle motifs (solstice markers) mark the event. The snake, which symbolizes changes in the cycle of life, returns the land to its previous ample bounty of sheep and water.
According to author P. Garlake of The Hunter’s Vision, women figures are denoted by larger, plumber bodies, large buttocks and deeply curved backsides, and stacked up breasts. Women in these societies were the gatherers and could be denoted wearing skins, tasseled aprons, carrying babies or long sticks. Women often dug for roots, water and gathered food. Women would usually set out in smaller groups to do their chores. This is one such representation.
Describes the annual migration of giraffes and wild animals across the Serengeti plains of Africa. The more obscure symbols and shadow shapes represent some of the hazards involved in this trek. The bottom figure is the casual observer – “us”. This figure observes and asks what impulse sets this migration in motion and stands in awe of this unique spectacle. This printmaking paper was moistened and crushed to create the lines and ridges of its surface. Textured rice paper was then applied and melded to the printmaking paper.
Relates to who holds power in the realm of the beasts. The shamanic figure on the left represents that power. The Bubalus with its robust stature and 90 cm horns may appear formidable but it is no match for this Lord who quietly subdues a female kudu. Hunting parties cannot themselves manage to shackle the beast. This is a huge engraving of a Bubalus from Messak, Libya. The bubalus, which became extinct about 5,00 years ago, is thought to have been a relative of the American buffalo.The bottom figure is a a profile of a kudu antelope in Tanzania.
Has a mystical quality to it accentuated by the lower left figure which seems to rise upwards. Many African petroglyphs convey hunting scenes where a shaman blesses the hunt or a figure rises up when in a trance. This is my personal interpretation of an African shaman in a trance. He foretells the taking down of a powerful beast which requires the help of many a skilled warrior. He tells them that following the path of the giraffe and jackal will bring them to the creature where it will eventually meet its demise.
Initiation Rites’s title gives the focus of this painting. While in South Africa I read about the initiation rites that are common for young Xhosa boys to prove their manhood. Apart from circumcision, the initiates also endure a two week period of seclusion as they enter adulthood. In the Bapedi tribe of South Africa initiation is considered necessary for the individual to be regarded as a full member of the tribe. Some initiations can take about 3-4 months to complete.
The story of the Stars, Moon and Sun was a totally intuitive and experimental painting that went totally right! It was my first time working with printmaking paper and rice paper. I had no idea what to expect so with a playful frame of mind I began by adhering the rice paper to the printmaking paper. I applied the paint to the sides of the paper with a brush then continued to use a palette knife for the first time.
The theme of this painting has to do with a shaman imparting age-old knowledge regarding agricultural and animal husbandry to a peasant. This printmaking paper was covered with earthy toned acrylic colors then spread with a credit card. Before the paint was dry I spritzed the surface water resulting in an interesting mottled surface. The figures were deliberately painted with white paint as to accentuate their ghostly quality. One of my personal favorites!
Please enjoy these paintings of cave wall petroglyphs created by BC artist Teyjah McAren. These pieces include acrylics on paper as well as works of highly texturized, wall-sized images of prehistoric animals and people created with acrylic gels. Explore a realm of mystery and symbolism. Take a journey through time and places unknown. Visit Teyjah’s video blog for much more information about her art.
Discover prehistoric animals and people through cave wall paintings and petroglyphs. These works of art are steeped in the mythology and symbolism of the ancient people such as the Anasazi in the American Southwest and the People of the Eland and San Bushmen of Africa.
As Teyjah experiences emotions walking among the caves and canyons of these mysterious lands, she paints what she feels. She is interested in symbols, rock art, and cave petroglyphs of the American Southwest. Exploring Chaco Canyon, Bandelier, Mesa Verde, and Canyon de Chelly, she was struck by the solitude and mystery of these places. Her feelings were only enhanced as she later discovered parallels in the rocky terrain of South Africa and of the signs that the indigenous cultures had left behind in the stone.
One of the more enjoyable techniques I do is what I call “Rock of Ages”. I take pleasure in recreating the feel of ore veins we often find on rock …