Wednesday, June 10, 2015

"Many Rivers"

This post duplicates the presentation of my work in my online exhibition with Galerie Cerulean, which ran on the website gallery until April 20, 2015 (and remains in the Archive section).

In other news, I have 12 pieces on view currently at Drawing Rooms, 180 Grand Street, in Jersey City, NJ. The show is entitled "Little Hand," curated by Anne Trauben, and includes 8 artists, some of my favorite contemporaries working in abstraction. Please follow this link for information about the artists, hours, directions, and public transportation options: Drawing Rooms website. The show will close June 28, and it's my first opportunity to show this much work this near a metropolitan area in quite some time. I hope you'll visit!

I have also completely revamped my own website, where you can see a few installation shots of that show, and selected works from the last ten years or so: www.ravennataylor.com. 
I plan to rotate works in and out of the website, so there will be fresh things to see periodically, but not too much all at once.

Gambit 2014   22.5" x 26" oil on paper

Retort 2015 22.5" x 30" oil on paper

Geologic 2015 22.5" x 27" oil on paper












Springhead 2015 30" x 22.5" oil on paper



The paintings were executed in oil paint, mostly on the paper called Arches Huiles, which is formulated for oil paints and solvents without the need for priming. I enjoy this immediacy, and the sensations of paper, the mix of drawing, fluid wash, stain and brushwork, the ability to change the shape and format in the process of working -- the imperatives of my materials.

The reference to rivers grounds my intentions in the dominant feature of the place where I live, as well as my ongoing preoccupation with time, its passage, and the evidences of what changes and what endures. Rivers also refer to the spiritual song by Jimmy Cliff, Many Rivers to Cross, which I was listening to somewhat obsessively in the studio last summer.

Many Rivers 2014 24" x 22.5" oil on paper




Untold 2015 22.5" x 30" oil on paper

Teeter-Totter 2015 22.5" 24" oil on paper

Broken Chord 2014 22.5" x 27" oil on paper

Sotto Voce 30" x 30" oil on wood panel

 
Natural History 2014 30" x 22.5" oil on paper

Ravel 2015 30" x 22.5" oil on paper

Glimmer 2014 22.5" x 26" oil on paper with fabric collage 
Thank you for your eyes and your support!

Monday, June 1, 2015

TODAY, by Mary Oliver, and birds



TODAY, Mary Oliver

Today I'm flying low and I'm
not saying a word.
I'm letting all the voodoos of ambition sleep.
The world goes on as it must,
the bees in the garden rumbling a little,
the fish leaping, the gnats getting eaten.
And so forth.
But I'm taking the day off.
Quiet as a feather.
I hardly move though really I'm traveling
a terrific distance.
Stillness. One of the doors
into the temple.



from A Thousand Mornings, Penguin, 2012

 

Monday, May 4, 2015

May Day





I’ve kept too many
unmarked keys, to open what doors?
and uncoupled socks whose mates
traveled, to where?
I have too many coats, just right 
for the climate I abandoned;
too many serving platters,
not enough dinners shared.
Who drinks anymore from this crystal
conserved from an age of people now buried?

In this perfect nest, four tiny eggs
upon which no bird sits;
and the goose was taken, along with her clutch.
The gander stopped waiting, and flew far.
Crabapple, will you be in such a hurry?
Quince, your blossoms might be
my favorite color for today.
Your fruits in fall will shrivel, unplucked.



text and photos ©2015 Ravenna Taylor

Sunday, April 5, 2015

Shear

©2014 Ravenna Taylor, "Shear," oil on paper, 22.5 x 23 inches





SHEAR

Quiet morning in the sun segues now to wind,
again. Sweeping out the corners, casting dusty
wishes to the gusts --
it's all they'll ever know of flight.

My school-age body loved the wind,
my playmate and companion. We ran and wrestled,
we took to swings and slides,
shared everything but my books.

Now we nurse a rift.
She's probably right to push me off:
It's for the best -- I let her rip
my love, tear me from my roots.

©Ravenna Taylor

©Ravenna Taylor, "Visitation 3," gouache on paper, 24 x 18 inches


Saturday, March 21, 2015

Overtone







OVERTONE

grey limbs fraught with cherished blossoms 
embrace and lift the overcast 

dark with damp a treetrunk gestures 
a partner inked upon the pond 

the way a longing throws a shadow 
across the features of your love




Text and Photos: ©2015 Ravenna Taylor

Tuesday, March 17, 2015

"Evidence," by Mary Oliver


©2015 Ravenna Taylor, Wichechoke Creek, Delaware Township, New Jersey

Evidence

Mary Oliver

1

Where do I live? If I had no address, as many people
do not, I could nevertheless say that I lived in the
same town as the lilies of the field, and the still
waters.

Spring, and all through the neighborhood now there are
strong men tending flowers.

Beauty without purpose is beauty without virtue. But
all beautiful things, inherently, have this function—
to excite the viewers toward sublime thought. Glory
to the world, that good teacher.

Among the swans there is none called the least, or
the greatest.

I believe in kindness. Also in mischief. Also in
singing, especially when singing is not necessarily
prescribed.

As for the body, it is solid and strong and curious
and full of detail; it wants to polish itself; it
wants to love another body; it is the only vessel in
the world that can hold, in a mix of power and
sweetness: words, song, gesture, passion, ideas,
ingenuity, devotion, merriment, vanity, and virtue.

Keep some room in your heart for the unimaginable.

2

There are many ways to perish, or to flourish.

How old pain, for example, can stall us at the
threshold of function.

Memory: a golden bowl, or a basement without light.

For which reason the nightmare comes with its
painful story and says: you need to know this.

Some memories I would give anything to forget.
Others I would not give up upon the point of
death, they are the bright hawks of my life.

Still, friends, consider stone, that is without
the fret of gravity, and water that is without
anxiety.

And the pine trees that never forget their
recipe for renewal.

And the female wood duck who is looking this way
and that way for her children. And the snapping
turtle who is looking this way and that way also.
This is the world.

And consider, always, every day, the determination
of the grass to grow despite the unending obstacles.
  
3

I ask you again: if you have not been enchanted by
this adventure—your life—what would do for
you?

And, where are you, with your ears bagged down
as if with packets of sand? Listen. We all
have much more listening to do. Tear the sand
away. And listen. The river is singing.

What blackboard could ever be invented that
could hold all the zeros of eternity?

Let me put it this way—if you disdain the
cobbler may I assume you walk barefoot?

Last week I met the so-called deranged man
who lives in the woods. He was walking with
great care, so as not to step on any small,
living thing.

For myself, I have walked in these woods for
more than forty years, and I am the only
thing, it seems, that is about to be used up.
Or, to be less extravagant, will, in the
foreseeable future, be used up.

First, though, I want to step out into some
fresh morning and look around and hear myself
crying out:  "The house of money is falling! The house of money is falling! The weeds are rising!
The weeds are rising!"

From the collection "Evidence," ©2009 Mary Oliver, Beacon Press 


©2015 Ravenna Taylor, "Glimmer," oil on paper with collaged fabric, 22.5 x 27 inches - see more: www.abartonline.com





Wednesday, March 11, 2015

"Many Rivers," twelve oil paintings

Thanks to Joe Walentini and his online Galerie Cerulean, I am presenting a new cycle of work in an exhibition I title "Many Rivers." If you will follow the link to the website, please click on the first image of three announcing my show, which will take you to a full page of twelve (you'll need to scroll both horizontally and vertically to see them all). If you click on any one of those, they will all open larger, with captions providing titles, dimensions, etc, in a single column which scrolls vertically.

©2015 Ravenna Taylor, "Springhead," oil on paper, 30 x 22.5 inches

The paintings have been executed in oil paint, mostly on the paper called Arches Huiles, which is formulated for oil paints and solvents without the need for priming. I enjoy this immediacy, and the sensations of paper, the mix of drawing, fluid wash, stain and brushwork, the imperatives of my materials.

The reference to rivers grounds my intention in the dominant feature of the place where I live, as well as my ongoing preoccupation with time, its passage, and the evidences of what changes and what endures. It also refers to the spiritual song by Jimmy Cliff, Many Rivers to Cross, which I was listening to somewhat obsessively in the studio last summer.

I hope you'll visit the exhibition at www.abartonline.com and please give me your comments here, or respond to Joe Walentini, a kind friend and supporter of my work for some long years now! Thank you, Joe.