Thanatopsis

Today I was marveling about how incredibly wonderful and complicated the human body is, and that is simply because I inhabit one. Giraffes and phytoplankton are just as complicated, and as interesting. And as delicate and mysterious.

I’ve been thinking about this because the other day I stepped on a spider, deliberately, with murder as my intention. I missed it, and it limped around in circles until I put it out of its misery. I felt – and it was – awful and evil. With this realization came an appreciation for the Dalai Lama when he had the worms sifted out of the dirt when he built his movie theatre (if I recall the movie Seven Years in Tibet correctly).

So, yes, life is sacred. Who am I to harm the innocent? And what right do individuals have to harm others because of disagreements on what is god, or what god thinks a woman should or should not wear or do?

However, with all the raving about the sanctity of life, of no abortion being justifiable, that the life of the unborn has more value than the living mother, I must disagree. Death is as sacred as life. To keep people alive for years on machines, ever hopeful, seems to be cruel and unusual punishment to me, not just to the ones attached to the machine, but to those who will not, cannot, or are afraid to let go. Presidential sanctions to mandate life of one individual is an incredible invasion of privacy. To keep people alive who will never survive without a machine goes beyond my understanding.  We are oftentimes kinder to animals than to humans – euthanasia gives release from pain, surcease of sorrow.

Life is sacred, but so is death; to hide from its inevitability is to avoid life in all its complexity, pain, and beauty.

Iris, iv

Irises – in Color – in Ink

The iris – the butterfly flower – is just too much fun to paint!  And quite a challenge as well.  The videos make it look easy, but I assure you, it is not!  The shape of the flower petals is far more difficult to do in a few squishy movements than it appears.  Loading the brush, with ink and / or pigment, is also a challenge.

Of all the videos, I looked at Virginia Lloyd-Davies’ the most.   The reason for this is that she has multiple irises in different positions.  She also uses similar approaches for each iris, but varies the iris enough so that brush variations also occur.  By watching her video repeatedly, it became possible to actually learn a great deal by imitating.

For these pictures, I used the same paper. The paper is double xuan, which is an absorbent paper which is heavier than student grade, and much nicer as a result.

Iris Scribbles

Unfortunately, I did not take very good pictures, but at least they are clear.  In the picture above, you can see some attempts are better than others.  This picture represents my first attempts at painting irises in color. The ones on the left side were done with the paper turned around – what you see are upside down.  The reddish-purple ones are my first ones, the blue ones later on.  You can see there is some improvement.  As always, my sense of value seems very off to me – not enough contrast between the light and the dark and middle tones. The yellow iris was just awful. The yellow paint has a decidedly greenish cast, and I could not find my white paint (I’m using Marie’s Chinese Paints) – or maybe I’m just out of it.  Anyway, it held no appeal once the color was on the paper.

Colored Irises, i
Colored Irises, ii

These two side-by-side paintings were my tries at creating the irises and attaching them to the stem. Not very good. The colors of the irises are not bad, but the shapes leave a lot to be desired. Leaves as well are unpleasant.

Colored Irises, iii

This painting with the reddish irises is better than the blue ones, as far as some of the shapes of the flowers. Those of you familiar with orchids in Asian painting will realize that these are orchid leaves, not iris leaves! Well, I guess I have some sort of hybrid here.

Sumi Iris, i

Once I got frustrated with color, I got out a Chinese ink stick and ground up some ink. I made three shades – light, medium, dark – and went to work. Again, contrast was an issue, but the flowers, stems, and leaves became a lot nicer. This one was the first attempt which pleased me.

Sumi Iris, ii

The second sumi iris also shows a problem with light / dark, but the composition is pleasing to me.

Sumi Iris, iii

And this one, the third one, pleases me the most. Still some problems with light / dark, but not so badly. The entire flower is looking a lot better, from top to bottom. Certainly some of the irises are rather blobby, and the buds don’t quite make it. Parts of the painting are too busy or crowded, but, over all, I think I am seeing some success. Certainly I plan to continue practicing, and I hope that I will be able to produce a creditable flower.

Leftover Ink

This is what I did to use up the rest of my sumi ink – I hate wasting it!

Corn Stalk
Tiger Lily, i
Tiger Lily, ii

All these paintings were done on Memorial Day. A few others were done as well. As far as the photography, well, let’s just say it sucks and I need to work on it. The paper is a warm cream, and perhaps I should have used a flash. Ah, well, always something new to learn.

Cochineal, iii

The Final Post

Two different batches of cochineal dyeing resulted in a number of skeins – about 7 – in different shades, from pale to dark. All are gorgeous, and work together harmoniously. Thing is, what to knit up?? That is a lot of pink and rose!

What really amazes me is the amount of color I got out of a few grams of bugs. Van Stralen’s recipe was really simple, and the percentage method in metric was a piece of pie. Pushing the colors in different directions came from the final rinse in either ammonia or vinegar, with ammonia pushing more toward the blues and the vinegar more toward the yellows – or colder and warmer, to make it simple.

I let the skeins air-dry for a few days, and then pulled apart the outer yarn from that of the inner. Initially, there was some difference, but in the intervening weeks, the color seems to have evened out throughout the skeins. I expect, though, that any irregularities in the dyeing will show up when the yarn is knitted up.

8 g Cochineal, 4 g Tartaric Acid, Tin in Bath, Ammonia After Bath
As Above - Vinegar After Bath
4 g Cochineal, 2 g Tartaric Acid, Tin in Bath
Cochineal Exhaust Bath
Cochineal and Quercitron Exhaust
Cochineal and Quercitron Exhaust - Ammonia After Bath
Cochineal and Quercitron Exhaust - Vinegar After Bath

Here are all the skeins in a row. The one on the very far left is a skein of this in a commercially dyed color. The remaining seven are the ones pictured above.

Commercially Dyed on Far Left - Seven to the Right are Cochineal