Above: “The Stations ” Phase #2 May, 1991

 

The second phase of my 48”x60” acrylic painting, (underway), “The Stations” is well finished….. The Third phase has past its beginning and is well established.  I shall take the time and space, here, at this writing, to describe the elements and influences that so-far make up the current state of this work-in-progress.

 

Fifteen squares and rectangle placed on a rectangular, 48 inch by 60 inch, acid-free, stretched canvas is the structure. The beginning point for reading, watching or following is square number one., located at the upper left corner.

 

Square #1.- depicts documentary producer- writer- Narrator, Bill Moyers, (P.B.S. Television) standing behind a large, waist high table, upon which exists a statue of Jesus Christ being judged by Pilate., A scribe makes notes of the proceedings as a young roman boy holds a bowl of water for Pilate to wash his hands, (of the whole matter). Around this statue is a realistic, “Toy-sized” people- scene of seemingly healthy, happy infants and children, among which are two mothers.. A clean disciplined, well set-up, so called, “Third-world woman and a “hip,” up-to-date, modern, educated, sleek woman.

 

As full-sized Bill Moyers addresses the viewer of this first square, seated at a desk are two famous A.B.C. News anchor-men behind him, one listening, one whispering.  Behind bill Moyers and further behind the Television News anchor-men stand three “Christian” Television ministers, more actively discussing and reacting to the scene. Behind all these men is a large television screen showing a baby being enticed and educated by a tiny magical, feminine, fairy-witch…, She is the being of greed and lust, disguised as freedom and opportunity.  Behind this deceitful, aggressive, scoffing, vain, spirit being and on the television screen, is a huge American One hundred dollar bill, stretched out and across like a national flag backdrop.

 

Square #2– Square #2 may be called the Arab-Israeli square.

Around the centrally located statue, (of Christ carrying his cross), there are hoards of Arabs coming, peacefully, down on a fore-ground prayer-gathering of Israeli Jews., The Arabs are being kept away and at a small distance by Israeli soldiers.  In the medium background, the Arab Multitude passes between huge ancient Egyptian colossi, colored statues of a noted King and his Queen.

 

Beyond, a disembodied, strange, floating-in-mid air, Blood vessle- nerve -showing head being touched symbolically by the Ancient, Giant female colossi, high upon, raised-up and seemingly coming out of the mushy apex of a heavy mound, (of what could appear to be a mud – like brown pile of chocolate pudding or human excrement), is an elegant looking, classic female staring at her image in a large oval and framed vanity mirror. The sky so far, since this all takes place outside, is “Paynes gray”-dark and may end up with terrifying lightning bolts.

 

This Square, I realize, like all other squares and everything else in life, will, of course, make human beings, who are exposed to it, feel and/or react in the only three ways they are seemingly able.,
“Left, right and Middle”., disturbed, ecstatic, indifferent, Aggressive, placid, uncaring., Moved, unmoved, “don’t know”., Yes, No and “huh”., “What the?”,  ,etc., etc., and more.

 

To me, it symbolizes, exclusions, elitisms, opinion, self-deceits, wanting to join, to take part and snottily having the way barred., plus., Vanity, dominance and Vanity!

 

Square #3 – the elements, so far in this square number three are as follows; the statuesque; middle ground station of the cross showing Christ falling, for the first time, on his way to Calvary, is placed on a sort of stage, flanked to the left and right by several tuxedoed, seated, classical violinist.  In the foreground of that same “seeming reality” are classical Ballet and tribal primitive dancers, moving to the violin serenade.

 

Beyond the stage, away deeper ino the painting the second reality-ground shows a line of men parading by, bearing strike and protest signs, staring over at the toy-sized-fore-ground and the viewer of the painting in quiet dissatisfaction and utter disgust.

 

Behind this line of striking, protesting men and part of this “middle-ground,” “seeming” reality is a concrete building, surrounded by grass with four partially shown darkened windows and a long, central porch or terrace peopled to the viewers right by a female protestant minister and to the left, a male minister listening to her readings.

 

So what the “heck” is this vision or square all about.. who, what, when, where, how, why?

 

Well, the best thing, of course, is to bounce back and forth from one secured visual element to the next., what does it symbolize, if anything, how does it relate? The first relation point is the stone-like “Station of the Cross”, #3.. then look around., Troubled men, police, dark cavernous places, cold stone, male and female ministers, dancers, the Arts, otherworld onlookers.

…To complete Square #3, Looking up and through the terrace where the ministers stand, one can see a third and final reality beyond the short-tunnel far opening., a head-ached giant woman and a completely mystified and baffled middle aged man, both looking through the terrace at the viewer of the painting and the odd tabbed, tabled toy 3rd square scene… This, so far, completes Square # three.

 

Square #4 – Could be called the Military, death, pornography and quiet protest scene or square.

 

There-seems to be only one conflict or opposition to All the Rest in this cell or square.., seemingly everything else on one side and the protesting, sign carrying, blue-group plus the “Station of the Cross,” #4 on , possibly the other side.., “h-m-m, what..,  What is being symbolized here.?

 

Some would say about this, or anything else., “Not every one is like that there-fore, what my feelings, linked mainly to my tin-god-like opinions dictate is that what you seem  to be saying., is not true.!”

 

Military men with guns and gas masks coming towards the viewer, bottom, foreground walking around a cement tunnel-platform bearing grass and the fourth Station of the Cross, beyond which sprawls a brown, dry dirt, nothing grows, Military war tank infested, giant, half buried in the dead ground, erect human skeleton standing middle ground beyond which exists a dark waterway, a cement retaining wall with a second reality, A man and a group of children with home made protest signs of “NO”, “Stop”., etc. Standing on the other side of the paynes gray wall, quietly watching the viewer of the painting, the toy-like middle and foreground scene and holding their there signs of frustrated hopes, behind the man and children protesting is a dark tunnel and a huge pornographic mural drawn on the background wall of prostitutes, lesbians, hot lust, vanity and temptation.

 

Square #5 – The business man’s, professional’s, aggressive-capitalist’s, computer-ridden, self-interest, strength and power square.

 

So “they” say., “everything in moderation”… (then unsaid, but implied)… is…OK., is acceptable., is good.  “They” say that  “Capitalism” is good.. and I assume they mean., “in moderation”.., but where’s the line..? there is a line., The line is constant., but where it is drawn, is not.
Democratic-Capitalism, Capitalistic-Democracy, Democratic-Unbridled Capitalism, unbridled Capitalistic-Democracies…. Fertile, damp and dank areas for the seeds of “Self-Esteem,” Self-Justifications to sprout and grow., fertile ground for moving lines.

 

In the fore-ground, bottom many business and “professional” people head towards the painting’s viewer, one woman, obvious to be in pain is in their midst. Beyond these, in comparison, toy-sized figures, in middle ground is an investor-capitalist-young business man, partially obscured by Christ’s fifth Station of the Cross statue, seated, alert and meditating in the pages of the outspread “Wall Street Journal” Newspaper. His two computers, behind him show “New -Age” nude relationships at a beach and a worn, haggard woman’s barely bearable strain and pain, beyond this a proud, blessed woman in humble honest, loving style looks away from the scene while clutching to herself her two young children., beyond her, in the background stand a line of “New -Age”, muscle flexing, earthy, body builders, posing self-centeredly in front of the black void of nowhere.

 

Square #6 – In the foreground, costumed Rock and Roll “Kiss” band members perform, beyond them a man being restrained as another man beats and batters him, beyond that, to the left and right, on concrete platforms like book ends, pose fleshy men and women bodybuilders, beyond that a stretch of grass leading to a concrete wall over which visitors, tourist, boys and girls in quiet, subdued demeanor stare out, emotionless, at the Toy-like scene a Cheeseburger floats in mid air also over a huge container of french fries.

 

Almost like an amusement park exhibition or a trip to the Zoo, the people, over the wall, in the background stare out and watch a vision or view with few “foils” or oppositions., somehow in this “exhibit” they walk-up-to, by and view they may see… what, who, where, when, why, how, so, but, or, hm-m-m, yeah, phooey?

 

It is because, it is..is because it is., it isn’t because it isn’t, isn’t, thinking and/ or opinion deceives and does not change true “it is” reality.
Square #7 – A square of the have and have-nots, of dreams and get-togethers, of blindness and humble acceptance.  (Entry includes Illustration)

 

In the foreground two children, a girl and boy, come to greet, (or confront), the paintings viewer.  Behind them and down the hill they stand upon., a joyous wedding party, holding hands, dance together in a circle. Beyond this toy-sized scene is a larger reality., A living room showing showing an over middle aged man comfortably arranged in his easy chair, Two women, middle aged and over., talking while seated on a comfortable couch, behind the women and this couch stands a young bride in her wedding gown, obviously a member of this family and reality.

 

Between the foreground reality of the wedding dance and the second reality of the comfortable living room and bride stands the statue of Christ falling the second time, Station of the cross number seven, a part of the foreground reality.
These realities end at the far living room wall., it is a low wall, below waist high., showing a poor, husband-less, humble peasant mother and her three hungry children, holding her hands, clutching her long, veiled,  dark dress., the mother and the oldest boy child look., stare over the low wall through the described scenes of comfort and fun to the painting’s viewer.  The floor of sandy, “dead dirt” around and under the Mother and children’s feet spreads out and deeper into the painting’s square #7, spottedly, at first showing weed grasses, beginning to cool the ground, then as the eye moves deeper into the landscape, the grass areas come together, showing rich, cool life and view. The grassy ground gently rises up a hill to a huge, medieval-looking, dream castle, beyond which is the cool, blue ocean, all under a perfect blue summer’s day sky.

 

Square #8 – Is there any “foil” or opposition, or exhibit – zoo-like and passing viewer or commentator in this manifestation, this vision, this view or square #8 in 15……, I think not….and., and yet……., what? ALL elements most definitely contribute, funneling their “each-view” into a single mood and feeling.., the feeling and mood of something very specific. Would some of you say, just to maintain your “Sacred “Self-esteem,” opinion and self justified individuality that frolicking youths are the opposition to a gathering of elders and crippled old man brought together in an old graveyard.? And what about the young dog?

 

Two old women, an old man in his wheelchair, holding a small puppy-dog, A circle of children, holding hands around the eighth Station of the Cross, all in an old church graveyard.

 

Square #9 –Discourse, duty, death, drama and a strong, uplifted yearning for something other than material foods, show themselves here and there in this ninth square.

 

Is it by invitation lot or chance that this group of smiling women around the sides of an old, dying man gather? Why do they, would they, could they or should they be smiling?

 

Under a grassy-green table or altar on which sits a representative stone statue of the tortured Christ, falling under the strains of the cross he is to be put to death on, come a group of, this time, smiling men, reaching out…, beckoning towards a little known sacred ritual.

 

In the foreground, shows and old, wise Hindu pilgrim in conversation with a Buddhist priest, deeply involved in a religious ritual, behind them, coming out from a dark, cave-like void-place are several needy peasant men with hands extended, pleading for help. The cave they come out from is beneath the long platform in whose middle sits the Station of the Cross statue depicting Christ falling the third time.., on this platform, to the left of the ninth Station is a sensitive, Hindu-Indian woman, bending slightly and holding out her arm and hand to the fallen Christ.

 

Beyond and on the other side of the platform, deeper into the painting, exists a different, oblivious to the foreground, realities…, six larger-reality women, bending over a large infant-baby crib, looking, beckoning and smiling in. No baby is seen in the picture.

 

Square # 10 at this writing’s current stage, phase #2, probably is the only square that I feel needs another drawing phase.., that “new” or other reality phase would be or take place in the distant background beyond the low line of rock bordering the inlet, shown, of water.
Master of Ceremonies
..”and, now, for the first-time anywhere, we present.”..

 

Group of Coffin Bearing Men
(Singing).., Sam-the Shrimper is gone, The shrimp won’t miss him, gone from this life and his wife never kissed him..

 

The Baby Monkey
Uh, slurp, s-slurp..uhng, uh-uhn-oog-ah, slurp…

 

Master of Ceremonies
“..never before seen, heard, smelled, tasted, felt, thought about., accepted or rejected., they present”..

 

Blue Woman in near Background
(Thinks to herself)., I know and I live like I know, I think others know., but most don’t act like they do.

 

The foreground in square #10 shows a group of old world men carrying and accompanying a coffin toward the painting’s viewer, they walk on grass., beyond a low concrete wall behind them exists a larger reality.., a smiling, professionally dressed, huge, male master of ceremonies stands at a microphone reading from cue-cards., down a grass slope behind him is a tour bus with the driver outside pointing, for the benefit of a photographer next to him, across a blue inlet of water, bordered by rocks, (part of the M.C.’s reality).

 

Square #11, Phase #2 may also, like square #10, need a few more figures to be fully completed.

In the foreground, left and right bottom, a Buddhist woman in appropriate garb and a bespectacled Buddhist monk holding a bell bow their heads in reverence..,behind them monks blare out on ceremonial horns., beyond that, seated on the ground to the right of Christ and the cross two small children embrace as they watch the Nailing of Christ to the Cross, Station #11., beyond that, over a low wall exists a larger, somewhere-else, reality.., an important Buddhist monk ceremonial ritual.., a baptism of sorts., and entrance initiation of sorts., a serious welcoming in by monks, of monks, with monks, observing and witnessing the proceedings., a happy, serious, momentous occasion.

 

Square #12 – Could be called something like, “poverty’s despair, power born out of poverty’s despair”…, orphaned, peasant, abandoned, poor, needy children are shown, (exist) in the foreground and middle ground same reality., among them, one late teenage, bare breasted girl kneeling quietly., also, to middle and middle-left, a young boy holds the tail of an under fed cat as it creeps up, stretching itself between the legs of another young boy, standing., to cautiously sniff the head of an infants body, lying motionless in the grass., this all takes place surrounding the park-like statue, middle-center of the Twelfth Station of the Cross…, Christ Crucified. Beyond this reality, in the background., a second larger reality, Negro revolutionary, hard-line leader, preaching, surrounded by his adherents and onlooking, successful black men.

 

Oh, hypocrite, piggish maggots, how you jeer at, sneer at and violently fear truest equalization, redistribution of wealth.., how you war, hurling insults, justifies, deceit-opinions, arrogance, belligerence, self-righteousness and filthy, destructive enslavements to and for your “self-esteeming”, opinionized temple of putrid, hellish, self centered, aggressive, wretched, rotting, stench,, it is you, self proclaimed god and Goddess that stands, blocking the true fires that clean.

 

Square #13–To me, the most disgusting, pervertive, subversive, lieing “vision” square of them all…..

Preparing the young, the future, to follow and learn the program, the “self-esteeming” ways of the unnatural forces of I, Me, Mine, Myself, and “for the Lust, Tastes, opinions, scoffings, feelings of the group… the group, A society consuming all available for it’s own Masturbating urges and needs.

 

Proud, self contained, self-justified, “self esteeming jumble of blind, vicious, never satisfied cancers on all not human.

 

Square #13 is about arrogance, self justification of greed, vanity, lust, deceit and self deceit, business, computers, the societal, perverse misdirection of children and blindness.  The foreground presents men, women and children on and by their computers, which show the nationalistic, new-age, self-centered, god and symbols.

 

The middle ground, beyond, depicts an enormous see-through-screen, computer with a statue of Christ taken down from the cross., dead., Station 13, sitting in the center, in front of the screen, on the huge computer’s keyboard.  On the huge computer screen is shown a naked, obese woman, kneeling and caressing a huge bag of money, behind her, a man and a woman , blind-folded, search for each other.  Beyond that money-coinage falls from a dark sky.

 

Square #14 – In the lower front, foreground view or reality, exist or is seen, (left), a ritual procession of Catholic Eastern Orthodox priests, followed by Catholic Nuns., on the lower right, Roman Catholic Pope John Paul.., Beyond this rises a gray, cement wall, the front side of an altar, the beginning of a second reality, Much Larger.., on this stone altar, center, sits the fourteenth Station of the Cross., Christ laid in the tomb, directly behind this, slightly floating in mid-air is a golden cup or chalice, offering forth, at the cup’s opening, a representative, (of the body of Christ), round “host” of wafer-bread showing the letters “IHS”. Beyond the altar an “altar boy” extinguishes a ritual candle, a Catholic priest, back to the viewer, stares at an image of himself in examination, a young, white robed boy of the future looks on, as well as an older priest from a distant tunnel. Above the tunnel Mural young spirits watch.

 

Square 15, The middle square – In the center of the whole painting and the final station box.., Not a square but a rectangle the size of six squares put together, Rectangle #1 and for the sake of continuity., Square #15, is the largest figure, the heart of the whole work., The beyond this readers reality and life, spirit vision of Christ Risen with open arms., inviting all to his kingdom., not of this world.., his head is surrounded by but not restrained by a golden rectangular box, suspended in space along with a huge, Roman numeral clock face, in the background, beyond the rectangle’s elements.

 

In front of the clock, the figure and the golden box, four advanced, fleshy fetuses float and circle the scene, a hole in each head depicts the mind pictures the fetuses sense in their coming birth, mother and future.., one senses a mother with mental and addiction problems, one senses a happy birth in a hospital, another sees a mother as a depraved whore and birth is a mistake due to carelessness, the final fetus sees a smiling nurse but no mother picture.

 

Large reaching, straining hands extend from behind the fourteen squares attempting to plead and grasp The Christ, His promise, His Kingdom and Reality, the hands appear fleshy at the wrists from where they show themselves and slowly become white-blue, (representing the reach out of the fleshy world into the spiritual dimension), as they extend to the finger-tips.  Beyond all this is eternal space everywhere.