Clyde in the Luxor Onion Fields Painting. 

I had such fun with my photographer extraordinaire and good friend Bela Dornon. He took many "artist" shots of me that I want to use for my idea of a new art business website. He asked me to bring some paint brushes and several paintings to use as props. I'll be sharing more of the photos at some point.

One of the paintings that I brought was one that I did of a beautiful onion field that we passed on the way to the Valley of the Kings in Egypt. The onion flowers all looked like little versions of swirly galaxies. I thought to myself that when I got home I had to keep my memory of it alive so I could do it justice in a painting.

Bela's eyes sparkled when he saw this painting. I recognized his expression as one of those creative aha moments before something wonderful and inspiring is created. I watched Bela at his computer and I was mesmerized at his finesse. Before I knew it, he had submerged me in the middle of that Luxor onion field. It was as if Bela transported me back into that place and time. Thanks Bela!

Commissioned Piece (Two 4' x 6' Oil on Canvasses)

 

There was the backdrop of usual coffee shop noise, but I focused on Frank. My questions were met with eloquent answers and the future paintings germinated in my mind.

Colors of rust, black and yellow ochre, masculine movement, positive and bold. Optimistic!!!

"I'm maintaining my stride." "Getting on with life." "Not whispy and not pastel." 

The conversation distilled in my mind for several weeks before the texture was added. There, caught in the ripples of fluid, tactile lines, the images emerged. The first layers told me what to do--at least how to start this heartfelt piece.

Today there was a satisfied smile as Frank met his described vision for the first time. 

Defiantly Being Me

Play

by  Clyde Yoshida

A crazy world.

I’m in a noble profession,

that is plagued without integrity.

It pulls me in directions, this way and that way

as I sink into a sea of gray,

a fathom below the forthright air. 

It is dark and tenuous 

with prismatic, changing light

that distorts the truth.

The shark patrols to take my heart,

to consume my mind 

and chill the flesh.

Escape, elusive above and in my head, 

the source of light and air tempts 

my lungs and persistent longing

to chart my own course.

A murky silhouette spans the ceiling 

above the distant, lucid surface.

It is a bridge that links the fragile heart 

from despair- from my missing smile 

to the laughter and inner optimist.

That joy makes me recognizable

and signals my arrival like 

gulls above the tide.

The sea shall not take me.

My spirit will not walk the plank or mutiny me.

The icy, sunken shipyard will never be my home.

I will out-swim the greedy whirlpool 

spiraling to absorb my pure, unsalted soul, 

to claim me as wreckage set adrift with no mind of its own.

But I will scrape together these bones

to resurrect the heart and brain.

A half century devoted to obedience

I lament like childhood lost.

The rest of life is thrown to me

like a life preserver

tethered to awesome powers

to restore someone I recognize,

starting with the smile, 

my smile. 

Durga the Invincible (Oil on Canvas)

Come to the 10th Avenue Theater and Arts Center on October 2, from 6 pm to 8pm. The location is 930, 10th Ave. downtown. Works by Gerald Montoya, Barbara Gothard, Jordan Saia, Theresa K. Wear and Timothy Bruehl will be showcased.

Durga is also known as a warrior and protector. Known also as the mother of Ganesha, the Elephant God, Durga shares the characteristic of restrained strength and power. This is a particularly admirable quality in a time when abuse of power has been condemned worldwide by oppressed citizens.

In a strange grouping of Durga with accompanying cat and stone guard, I imagined Durga with her usual weaponry. Her hands symbolize the human quality of reaching out, communicating and consoling. I'm also reminded of the Peaceable Kingdom series of paintings by

Edward Hicks. His message in those paintings were that differences could be overcome and that peace could prevail.

Monster

Monster- (Oil on Canvas, 14" x 18")

Ray at Night tonight! (@University and Ray Street). Ray street is one street east of 30th. If you can attend tonight, it is a casual and fun evening that starts at 6 pm and ends at 11 pm. It is a great venue to see a variety of art and also great for people watching. Look for our booth.

Tonight I will be participating by showing one of the pieces that will be in a group show at the 10th Avenue Theater and Arts Center (10th and Broadway, downtown), starting with a reception on October 2 starting at 6pm. The reception coincides with the sold out opening night of the play, 26 Miles in the same building. The shows are great. For now, come on out to Ray Street.

There is a monster in all of us. The trick is to try to understand the motives behind the monster's actions. There are complexities in trying to understand these individuals and institutions. I found my mind drifting through space as I painted in the details of the monster psyche in this painting. Perhaps I'm intrigued because I still want to believe that there is a morsel of goodness in everyone.

Still, we have extreme examples of true monsters in our lives. Where is the morsel of good in them? Are they completely at fault for who they have become? Is it my point of view that needs to change? The beauty of fractals show us that there is still order in chaos, but does that mean that there is still hope that our monsters can transform? I'm not sure. All I can do is try to protect the ones I love from perceived monsters in my life. And... I can try to paint them.

The Sacred Cycle

The Sacred Cycle, ( Oil on Wood Panel, 20" x 24")

I always seem to have several themes going at the same time. The Sacred Cycle is obviously related to the other paintings in this blog: Twilight Dream and The Mystery of Angkor Wat. I like the spiritual feel to the theme of these paintings. 

Books that were influential to this theme are: The Alphabet Vs. The Goddess, by Leonard Shlain and The Power of Myth by Joseph Campbell and Bill Moyers. Although these books discuss ideas created by humans: literacy, war and understanding our place in the universe, I like to imagine the sacredness of nature. What spiritual ideas are present even in humankind's absence? Are there ideas without human existence? 

Representing the thinking of a human-less spiritual order tinkers with my thinking. There is a simplicity involved. It feels like a new language, even though the language of art has been a textless endeavor for me. What I think would be important in our absence are the cycles of the sun and the connectedness of living things and their environment. 

I feel like I'm expressing myself as the Lascaux cave painters did more than 17,000 years ago! There was magic in their paintings. They look magical and these ancient tribes did believe that creating animals in great numbers in picture form would increase the herds for the hunt. Today, the magic needed is not necessarily for the hunt, but for the prevention of extinction. 

Although the manmade world is depicted in the painting The Mystery of Angkor Wat, the story is of human evacuation and the natural order reclaiming the land.

Recovery

Recovery (Oil on Canvas, 30" x 40")

Firstly, I hope that you all will be able to attend the 10th Ave. Theater and Arts Center  fall show during the month of October. I will post details about the show soon, including invitations to attend the opening. 

"Recovery" has a lot of meaning attached to it. In creating this piece I couldn't help but explore the most general definition of recovery: being resilient to change. However, "re"covery implies that there is a return to some norm or familiar characteristic. Or does recovery mean to rescue one's sanity? Thus, in exploring the most general definition, I still encountered a lot of nuance.

I let the process of this painting help me to clarify this exploration. Some of the answers that came to me are that recovery is a return to bliss. Recovery is a continuum of life's ups and downs, the "getting back up and starting again." Recent world tribulations would prove that there are hardships and extremes in life that I thanks God that I have never had to face. 

My personal daily purpose is to be in touch with every moment, to see the colors of life, and to feel free to explore what stimulates my curiosity. I fear stagnation, so I prize my growth. Embracing the people that I love and being open to new relationships is a magical and wondrous part of my life that I use as my measure of comfort and contentment. I'm happy to report that I have been blessed to reside in the blissful side of the spectrum and to be in the mental state to realize it!

Three Monks

Three Monks, (Oil on Wood Panel, 14" x 14")

In Asia we saw monks in prayer. Not too unusual right? It's also common to see monks traveling in groups. Several times we saw a line up of perhaps a dozen monks waiting outside a home or restaurant. Curious about this, we watched from afar as the resident came out with a large bowl of rice for the monks. The community seems to be responsible for taking care of its local monks.

One day as we walked through the city of Phnom Penh, we happened to walk behind three monks. I'm trying to remember if it was windy that day, for in my mind's eye, the spectacle was a blur of saffron-golden hue. My painting captures the sight as a spontaneous monk dance. Dancing monks? A bit more unusual right? It seems that I exercised my artist's license making them appear to be doing the Watusi. After hiking up Cowles Mountain, I've learned that you can approach a monk and strike up a conversation. I always thought that I should not bother them, thinking that they are in a constant state of prayer. Say hello to the next monk that you happen to see.

Blue Zebra

Blue Zebra, (Oil on canvas, 30" x 30")

A new zebra painting. Let's hear it for zebras! This is another look at the subject. I posted a more defiant zebra on an earlier post, so this commentary continues the zebra saga. Sorry for the mysterious and metaphoric way of conveying a current plight. It's the best I can do to communicate at this time. I promise to elaborate one day.

As the first zebra was defiantly peering out of its wood panel, this one is somber, looking for direction out of his canvas. He lives in a world of beautiful chaos. This zebra is resilient and can take in the confusion of not knowing and also the joy of the whir of change. Notice that he's taking on some orange---a chameleon in striped pajamas.

Time is a phenomenal teacher! Minor setbacks always lead to something better. In the meantime, watch out for lions! Stick together with your fellow zebras.

Ganesha, Remover of Obstacles

Ganesha, (Oil on Wood Panel, 18" x 24")

Ganesha is the elephant diety. Again I'm showing my growing fondness for elephants. I'm captivated by the story of Ganesha and how this diety came into existence with the head of an elephant and body of a man. 

I acknowledge the fact that elephants can be  fierce competitors---their sheer mass, a sneeze from the trunk and probably a flick from their tail would cause me physical harm. However, I admire the strength and power behind the "beast" and the restraint from using its power to harm others. When I saw these magnificent animals on our trip to Cambodia, the posture and smile conveyed to me, "Yes, I could hurt you but my choice is to be gentle."

Jacob and the Angel

Jacob and the Angel, (24" x 30", Oil on Canvas)

My friend Jerral suggested that I paint a scene with Jacob and Esau. As I did my research for the painting, I realized that I was more intrigued with Jacob wrestling with the Angel. I liked that emotional content and the metaphor of wrestling with inner conflict or change.

I am also bemused by the idea of multi-faceted faces. The cubist style suits my pursuit of angularity and seeing something from many points of view. In the case of faces, I love to give hints of the alter ego and subconscious mind by depicting the multi-faceted face. This is how I envision myself often as I think through the complexity of each day. What should I do first? What do I think about that? What is the best way to do something?

Artists through time have illustrated the scene of Jacob and the Angel with a range of aggression to passion. I chose the passionate route.

Bridge In Battambang

Bridge in Battambang- Oil on Wood Panel, 12"x12")

We passed under several old and picturesque bridges like this one on a 7.5 hour-long trip across Lake Tonle Sap in Cambodia. Exhausted and fretting over a fast approaching downpour; we didn't fully appreciate the beauty of these bridges until we had time to settle into our hotel, dry off and take a stroll on the banks of the river when the sky finally cleared.

Looking back over my trip photos, I can't resist painting a bridge scene with a wonderful reflection.

Khmer Elephant

Khmer Elephant (Oil on Wood Panel, 8" x 10")

In many parts of the world Elephants seem to flourish in paintings and sculptures in civilizations most sacred sites. When you observe the gentle interaction these beings have with humans, you can't help but feel the contrast of benevolence and the enormity of these animals. 

The image of elephants fascinated me on our recent trip to Cambodia and Laos. I savored every elephant image that I saw. Real life, sculptures, paintings and souvenirs were captured in my digital camera for me to continue to admire... and to paint!

The Mystery of Angkor Wat

The Mystery of Angkor Wat- (Oil on Wood Panel, 24" x 24")

To behold the ruins of Angkor Wat from afar is more like an approach to a distant mountain range. 

Dawn's light began to reveal more and more of the details around us: carved stone, and arches crafted by Khmer architects long ago. Magical morning light can induce one's imagination in a place like this. The jungle had hidden these majestic temples for hundreds of years. 

The creation of the site, the meticulous craftsmanship and the disappearance of the inhabitants are still being investigated. I wanted to capture some of the energy and mystique of this amazing place.

Mother and Daughter

Mother and Daughter - Oil on Canvas (30" x 40")

This painting was inspired by the play, 26 Miles. The play, by Quiara Alegria Hudes and directed by Seema Sueko, will be performed by the Mo'olelo Performing Arts Company from September 29 - October 23 at the 10th Avenue Theater and Arts Center.

The arts center will also present an art show that will run for the duration of the play. Work from resident artists and four invited artists will be displayed in the center's gallery space. More information will be posted.

The shows have been impressive. Hopefully, you will be able to see the production and visit the gallery display before, after or during the intermission.

Smiling Face at Bayon

Smiling Face at Bayon- Oil on Wood Panel (8" x 8")

This is a single smiling spire. At the Bayon Temple complex in Cambodia, you would get a prism view of smiling faces. Everywhere you turn there are smiling faces. After the initial feeling of awe, I believe visitors to the temple leave with smiles on their own faces.

Goddess in Buddha's Garden

Goddess in Buddha's Garden
(8" X 8" Oil on Wood Panel with Silver Leaf)

Buddha Park, about 45 minutes into the beautiful countryside of Vientiene, Laos was the inspiration for this and probably many more paintings to come. The area, filled with frolicking chimeras, magical animals and Buddhas is an enchanting and sometimes eerie experience.

One Goddess in particular, the multi-armed Durga cast her spell on me. As a Goddess of protection, I also saw her as the divine representation of multi-tasking. I share a commonality with many artists who juggle one more thing into the busy pace of life: the need to create. This has been my way of understanding the things that I perceive and want to understand better. I take it in, but it must also come out as an approximation of my tearing apart and putting back together again mind's eye.

The Earthen Sphere of Heaven, Earth and Hell, Laos, 2011

A bizarre treatment for a macabre and wonderful presence in Buddha Park, Laos.

Inside this 3 story high construction, also known as the giant pumpkin, are spiral corridors and cement and clay spirits who make the darkest core their home.

The humid clearing in the forest encouraged moss and vine to grasp its shell, as if hell itself were reclaiming it for a devious purpose.

The Royal Palace, Cambodia

It was an amazing sky above the royal palace on July 17th, 2011. I brought up the color and enhanced the lighting to get the best out of the sky and delicious detail of the palace.

Loyalty (14" X 14" Oil on Wood Panel)
The presence of dogs and how they bond with people is such an extraordinary pairing. We had the opportunity to observe this universal relationship on our adventures in Cambodia and Laos this summer. One particular word comes to mind as I think about these wonderful beings: Loyalty.

Dogs Are Angels

Dogs Are Angels- Oil on wood panel with silver leaf. (14" x 14 ")

We are dog crazy. It is strange that we don't have our own mutt. We take frequent walks in our neighborhood and pretty much know every local dog by name.

We are lucky to dog sit Queen Dog every now and then, who will hopefully pose for me one day. She, like most of the dogs I ever had the chance to know, miraculously bring down my blood pressure and always make me smile. They are kindred spirits. 

Gia, a former pet of mine, was thought to be some kind of Shepherd mix. She had a lot of people fooled. When we got her a companion sister I realized that the companion was truly a dog and that Gia was a disturbed human in a dog outfit. I checked several times to find the zipper to find the little person inside. I realize now that Gia was an angel. At the pound where we found her, she was the only pup pushed up close to the front of her cage. All the other yapping hounds were either in the back of the cages or more amused with their toys or food. Gia had picked me as her human.

Play- Oil on wood panel with silver leaf (16"x 20")

Play (Underpainting)

The painting process for "Play" began with an underpainting that provided the underlying color and some texture for the final piece. Working geometrically, I quickly created a triangular composition as I imagined myself on the sea floor looking up to the surface.

The early stages of this painting helped me to imagine the silvery, fluid currents of schools of fish as they pass through the dolphins' world. 

I think I must have been influenced by my recent visits to Sea World. I'm mesmerized by the dolphins' sleek physique and the ease in which they glide and play in the water. I was pleasantly entertained as I played with the creation of this painting.

A Rare Fish

A Rare Fish

Phase 1 (underpainting)

 A Rare Fish- Oil on Wood Panel with Silver Leaf ( 18" x 24")

The process of painting "A Rare Fish" involves 4 distinct steps. In the first phase I apply a dry base, meaning that I do not mix additional oils or varnished that would impede the drying process. This first layer needs to dry completely before the next step.

In phase 2, additional shading is applied. In phase 3 (not shown), a contrasting paint color mixed with soft wax is added over the dried first layer. In phase 4, details are painted in and line work is scratched into the visible layer which reveals the contrasting color beneath. Lastly, silver leaf is applied to the painting and color adjustments are made to integrate the paint and silver leaf.

Phase 2 (shading)

Finished Painting

The Passing of Five Suns and Moons

The Passing of Five Suns and Moons- Oil on Wood Panel (16" x 20")

In this painting, I wanted to give a sense of the passing of time with the multiple suns and moons. The simple, curved lines of the polar bear and the rough texture gives a vibrancy to the painting. 

The basic outlines are meant to approximate the Lascaux cave paintings. The cave paintings were thought to have the magical potential to summon the herds to assure a plentiful hunt. In this case, the intended magic is to protect the polar bear population.

New Paintings in Progress

I'm training myself to continue to be as productive as possible with the new paintings. With the new process, I can't really pick up a blank primed panel and work "wet on wet". The new process involves thinking through the bottom layer of paint and letting it dry thoroughly until the second layer mixed with soft wax can be applied. Once the wax layer is applied, I can scratch, paint and work out the details of the piece. 

So now, paintings in their first state of drying are taking up the limited space in the kitchen and living room.  They are similar to the Sirens of Greek mythology in that the bright colors beckon attention, yet passing by the paintings in this state may bestow unwanted streaks of oil paint on clothing.

I have also been a perpetual work in progress, not solely in my world of creating artwork. Firstly, there is the marketing and social aspects of the art world that is necessary for the recognition that I want my art to have. Secondly, knowing that future art shows will allow me to eventually show the pieces prevents me from social isolation. Without the shows, where I am committed to participate, I run the risk of isolating myself to the kitchen where I paint in the comfort of my solitude. The actual painting process is a very isolating experience yet I am not at heart a hermit. 

Painting has also rescued me from almost certain mental breakdown, particularly this year. For me, nothing is worse than an idle mind with too much time to think and no creative project for the inner mind to work its cures. At some time during this blogging experience, I know I will not be as secretive about the circumstances that can plague me. Still, I also know the benefits of not dwelling on all the ugliness. Obsessing on the tragic is so toxic to the soul. 

Soon, blog world, I will be sharing more paintings. In two weeks there will be a 2 week recess as Dave and I have an adventure in Cambodia and Laos. I plan to capture as much visual material as possible to capture the memories and for use as possible source material for future paintings.

Blue Elephants-
Oil on wood panel with silver leaf (16" x 20")

A good friend of mine accompanied me to the zoo this afternoon after a meeting. We watched the keepers feed two bathing elephants romaine leaves and celery. The elephants' prehensile trunks so tenderly lifted the tender leaves from the surface of the water. I admire how such huge animals can be so gentle.  

Orchestration: Oil on wood panel (14" x 14") The macaw in this painting looks like he is orchestrating the heavens and earth below.

I kept the composition simple. There are few details to clutter the scene. The feeling of the piece brings to my mind the ideas of author, Margaret Wheatley who wrote, A Simpler Way and Leadership and the New Science. Sometimes we are our own worst enemy as we plan our lives and nothing seems to work out the way we want them to. Wheatley's books examine ways to organize our thinking and planning in ways that mimic quantum physics.

Although Wheatley's books are a good read, many people I know have discovered that there is a way of finding one's groove, being open to the twists and turns in life and somehow living a life that flows with the currents of everyday life. This painting represents having an eye to the world to live life in the groove.

Balance

Balance, from the recent past, was another painting from the Answers from the Universe series. I was experimenting with double-imagery here with the classic vase and faces/ negative positive profiles.

This painting invited me into my new series in the controlled use of paint texture and the use of a central figure as an icon. This painting's focus on the central symbol, sparked the Emprismed Icon series. 

This painting speaks of balance- looking inward, but also being aware of one's environment. It is the painting that reveals the most about where I am at this point in time. I am aware, more than ever, about the balance of who I am and the life path that helps to define and shape me.

My peers will be able to relate to this more personal piece.

“This is a classic ambush site. Zebras need to be on their guard. Being in a herd causes problems. All the noise and movement creates confusion. Senses are swamped with information. Smell is of little use. The scent of lions is everywhere... Lions must rely on the advantage of surprise...  A lone zebra is an obvious target... The lioness is coming right up alongside... The panicking crowd makes the going slow and the lioness is quick to spot the opportunity.”

David Attenborough

We have stuck together to protect each other as zebra herds tend to do. Our senses have been fine-tuned to the predators who tend to seek the weakest in the herd as their next target.

We have lovingly cast the dear zebra as our mascot of loyalty, friendship and comfort. I will never look at zebra in the same way again after this year. They are noble creatures and have earned each and everyone one of their stripes!

Twilight Dream: 10" x 10" Oil on Wood Panel with gold/silver leaf. Magic and whimsy are also a big part of my paintings. I think my fascination with these characteristics is to preserve the child in me. Remember, "the cow jumped over the moon"?

I love the idea of a huge bovine doing this sort of a thing. Who wouldn't want to see that? Would it cause the sky to rain milk? Oh! thus the milky way!!!

These icons of bear, salmon and reindeer suggest to me feeling of wonder and love of life. I like the mystery of the central shape as well. The ancient cave painters were artists that believed in visualization. They depended on hunting and gathering from nature to survive. They believed that, "if we paint it, they will come." This belief in envisioning a healthy and plentiful natural environment is what this painting says to me.

The new 2011-2012 series is underway: Emprismed Icons

The two previous posts were intended to quickly bring you up to date to this current series entitled, Emprismed Icons. You can see that the use of gold and silver leaf continues. I'm also using a bit of metallic paint.

I'm now experimenting with the addition of wax to the oil painting medium. This process allows me to scratch away at the painted surface. (I also like the analogy of finding things beneath the surface.) I've admired this process in other local artists' work. The process allows me to employ fine detail lines in the paintings.

It is also possible to see again, my fondness for cubism and use of color. Am I still a colorist? I hope so. Although, you might also detect that I have expanded my use of darks and lights within the same painting. The extremes of values will add more drama to these pieces.

Mmmm, there is something about the cobalt blues that I really love, especially in controlled amounts. The series title is very compatible with my style and will also allow me to develop more technique. While the cubist in me is very happy with the "prism" portion of the title, the "icon" portion will help me with the subject matter. In this series, I will explore what meaning and subconscious feelings accompany particular subject matter.

These paintings (all oils on wood panels) were small part of series called, In Grandeur. I wanted to capture the feeling of our presence in expansive environments. To attempt this feeling, I had to re-define for myself that "in grandeur" is really a relative term. For the insect world, for instance, in grandeur has a whole other meaning. The grand nature of one's environment is subject to scale, value and the moment at hand. For the bee, the hive can be a grand locale. How is this different from a bee's life out in the expanse of nature as they collect their pollen? 

I also started to include the use of gold/silver leaf in this series. The metallic feature added more depth to the painting due to its reflective properties. 

Add caption

This painting preceded the Answers from the Universe series. This 30" x 30" oil painting was from a series of about a dozen painting that were visuals to songs that I wrote and produced.

Although I have an appreciation for many art styles and movements, the use of bright colors are probably the more prominent feature of all my work. In art school, my painting teacher called me a colorist. When I asked her what this meant, she said to me, "You tend not to over-mix and muddy your colors. Don't lose that?"

I've continued to be a colorist and have tried to incorporate styles from the past. In the case of this painting, cubism is the dominant style. I think that you might see the continuing influence of cubism in many of my painting, even if it it is used very subtly at times. It is my way of thinking of the many facets  of a particular idea. I believe in weighing and adjusting my thinking of the world as I hear others' points of view.