Back in the winter of 2013, my guest curator, Yvette Endrijautzki, informed me that she wanted to squeeze yet another artist into our "Chamber of Wonders" show, which was now mounting into a massive group show consisting of over 56 pieces by 40+ artists. I started to protest - this show was starting to become a cataloging nightmare - but she insisted this artist had something special to bring to the table. She then showed me the painting entitled Papaver Somniferum, and I readily agreed with her.
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| Papaver Somniferum |
I think what immediately struck me with Benjamin's work was the pure chroma from his primary colors, which was very reminiscent of early tempera paintings I had seen in Florence and Vienna. Tempera is a paint with a binder of egg whites: it dries very fast and leaves behind very deep coloring rarely seen by other binders. Used by early European painters prior to the discovery of oil mediums, the colors were very intense and vibrant.
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| The Annunciation, a 15th C tempera painting by Fra Angelico of Florence |
Benjamin works in tempera, oil, inks and polymer pigment, creating pieces of art that immediately transport you back in time, although his content isn't always archaic. He uses a form of the momento mori (or still life) in nearly all his pieces, freezing his subjects in a place within time, giving the viewer a moment to observe, with relative leisure, every finite detail he has chosen to render. His lighting is stark and artificial, enhancing that sense of timelessness.
Since I first saw his work last year, I have since followed up on this remarkable painter and have happily represented his work. Since he is not local to Seattle, I only saw it fit to ask him to answer Ten Questions so our visitors and collectors can learn a little bit more about Benjamin. Here's what he had to say!
1. Please give a little information on your
background: what school did you attend, your inspirations for the direction
you've gone, if and where you've taught.
My schooling has come primarily from
individuals, books, museums, apprenticeship scenarios, and otherwise unique
circumstances. I was always enamored of the Old Masters, and had the good
fortune to grow up in an environment where I could immerse myself in tomes
featuring Rembrandt, Goya, and Dürer. Living in proximity to the San Francisco
Bay Area also facilitated contact with cultural and artistic experiences that
illuminated my understanding of aesthetics in general.
As a
youth I studied for a few years with a painter in rural northern California who
taught me the rudimentary fundamentals of oil painting. She was essentially a
fauvist who crafted enormous, colorful canvases of an expressionistic nature,
but she had a solid understanding of classical techniques, and imparted these
principles to me. Her philosophy, which I agree with to this day, was that
a painter should know how to render
form, color, and light with some accuracy, regardless of the stylistic direction
ultimately taken.
The value of studying the great paintings
in the world's museums should not be underestimated, and a large part of my
understanding of composition and rendering has come from simply viewing and
contemplating the great works. Visiting regional art museums is always a priority
when I travel, and decades of wandering has enabled me to see some exceptional
masterpieces in person. The modern era is unique in that so many unique
treasures from all times are available for us to study and reflect on. Even
small local museums often house gems to inspire and enchant. There is an
anonymous victorian Madonna hanging in the foyer of the cultural center where I
have my studio for instance, and her consolatory gaze still captivates me every
time I pass through.
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| Fantastical Aviary |
I don't have a lot of experience teaching,
although I have lectured at the Gage Academy of Art in Seattle, and
co-facilitate a life drawing group in the northern California town where I
live. While I have spent a lot of time studying & painting, my own methods
of creation are ultimately somewhat erratic and intuitive, making literal
transcription a challenge. My strengths as a guide through the creative
labyrinth lie more in conceptual theories surrounding aesthetics in general,
and in exploring the repetition of archetypal motifs throughout the history of
Art.
2. Explain your method of painting,
especially with tempera. Did you develop this method on your own, or learn it?
I studied the traditional 'Misch' technique
with Professor Rubinov Jacobson in the Austrian Alps. Jacobson is the foremost
pupil of the renown Fantastical Realist, Ernst Fuchs, and he teaches the mixed
media technique of working with egg tempera and oil on panel, in the manner
employed by painters of the early renaissance. The method involves extensive use
of subtle oil glazes over a monochrome tempera underpainting, and typically
requires some months to bring to completion. When utilized correctly, the
process evokes unrivaled effects of light and shadow, emboldens colors, and
enriches the illusory nuances of dimensional space.
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| Firebird |
I've experimented with the particulars of
the technique, but more or less employ it as it was taught to me. It's a
chemically delicate procedure, as the water based egg tempera must be carefully
layered with the oil based glazes in order to prevent cracking and melting. The
fundamental principles can be applied to
other media of course, and my process tends to involve a gradual building of
forms through layering effects, even when employing polymer pigments or inks. I
do a lot of work with ink and gouache on toned paper, and this style also
reflects the aesthetic of the renaissance and early baroque periods which so
fascinate me.
3. Your imagery hearkens to a period of late
Medieval/early Renaissance symbolic work, especially of the Italian, Dutch and
Flemish style. What is the draw to this type of symbolism in your compositions?
It's interesting to reflect on the Proteus that kindles the flames of devotion, compelling one to embark on a specific
path. I could certainly cite numerous occasions when I was deeply moved by a
particular work, or found myself confronted with an aesthetic experience that
reinforced these inclinations. Traveling in Europe, spending time immersed in
archaic books and staring for hours at the works of the great masters in
cavernous museums has undoubtedly validated my field of interest, but it's
often the quietly intimate notes that speak with the most resonance.
I remember that as a boy, my father has a
large framed lithograph of Pieter Bruegel's painting, The Hunters in the Snow,
hanging in his San Francisco flat. Whenever I visited him there, I would sleep
under that image and watch the scene darken as twilight settled over the city
outside, and then witness it come to life again when the dawn expanded into
day. I marveled at the vision of these struggling, umber hued figures, plodding
grimly through layers of ice towards the village in the valley below, all
framed by the dark clutching limbs of naked oaks. The remote figures bustling
in activity appear as myriad as insects, imparting a perspective of remote
detachment which is then confronted with the looming imposition of distant
mountain peaks, regal and unyielding. One is both humbled and calmed by the
spectacle.
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| The Hunters in the Snow, Pieter Bruegel |
Years later as a young adult, I was confronted
with the original painting on my first visit to the Kunsthistoriches Museum in
Vienna. I didn't realize that the work was there, and the discovery had a
shocking effect. It was not unlike the disorienting experience of waking from a
dream to find one's self within that very dream, the reality ultimately being
richer, more complex, and more sensually overbearing than one could imagine. I
spent some hours in that chamber with this work and all the other Bruegel
paintings. They are all remarkable images of course, but years of accumulated
memories converged in that one epic vision of the Hunters in the Snow.
To extract greater significance from this
anecdotal reflection: It has always been my ambition to create something in
which others might also find their own dreams reflected. The early northern
renaissance has merely been a snow covered field in which my dreams have
struggled, aspired, frolicked and bloomed.
4. You've done some work in illustration,
mostly book and album covers. Do you still do illustration jobs?
Illustration work constitutes the bulk of
my creative labor, with applications ranging from album artwork for bands, book
covers and illustrative plates, screened posters, and even some film
applications. I always render everything by hand in traditional media, though
the application may often times be exclusively for print. I never really thought
of myself as strictly an 'Illustrator' in a literal sense, as my springboard
has always been the tradition of painting. I nevertheless approach commercial
commissions and collaborations with the same devotion that I apply to my
personally inspired works.
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| The Devil's Fractal. Avichi. Profound Lore Records 2011 |
Interestingly, the lines between fine art
and illustration have become blurred in the recent decades, as they were in the
19th century, when image-craft was exalted by cultural institutions, and
engravings and prints were given status with salon exhibitions. Most of my
favorite artists from history all embraced printmaking, took commissions, and
otherwise encouraged the popularization of their images to substantiate and
fund their careers. In this sense, 'Art' becomes more of an aesthetic
outpouring, taking a myriad of forms, and illustrations are certainly one of
these guises.
To my observation, current cultural values
have been shifting back towards an appreciation of handcraft and artisan
labors, which bodes well for artists who bridge form and function with their
endeavors. It's important to produce work that everyone and anyone can
appreciate, so while I value the meditative intimacy of gallery viewing, I also
strive to create work that people can live with, and perhaps even be inspired
by. Prints, book illustrations, and album covers obviously facilitate a more
direct point of contact for the average person who is not a collector, or who
maybe never steps inside a gallery space. A significant aesthetic experience
can still come through humble methods.
5. Do you feel there is an element of art
training that new artists and illustrators are missing or should concentrate on
these days?
This is a complex query and I believe that
it's important to have some objectivity regarding the field of illustration in
general, and what it means to be a crafter of imagery in the 21st century.
Digital media is clearly without rival in the field of popular illustration,
and anyone seeking to be competitive in this arena would benefit from
substantiating their computer skills. Despite this acknowledgment, I don't
create any digital imagery myself, so my perspective may be somewhat skewed. My
own aesthetic values tend toward the archaic, and I exalt in the quiet
simplicity of a blank piece of paper and a stick of graphite. I'm not a Luddite however, and I do frequently use the computer to assist with some types of
composition layout, with transferring sketches to larger format panels, and
with preparing image files for print.
The internet is obviously invaluable for promotion
and also for research, particularly when referencing obscure niches of art
history. We are extremely privileged to have access to virtually all images
from all times, though with the increased
accessibility comes the added challenge of reinterpreting ancient
material to a novel and relevant contemporary effect. In some ways the
illustration field is more competitive than ever before. There are so many
talented and devoted artists working right now. Establishing a strong artistic
identity is paramount, as is the understanding the lengthy tradition of
illustration throughout history, and how it has evolved and shifted over time.
6. Do you have a particular dream project
you are working on or would like to work on?
Yes indeed, all my efforts in the studio
are currently being applied to a monumental illustration project for Daniel
Schulke, which concerns the spiritual and magical properties of plants; a
time-honored Herbal of the highest order, uniquely composed for the 21st
century. The images themselves are very
much informed by an extensive tradition of botanical illustration, an endeavor
that has necessitated a tremendous amount of research on my part. It has been
imperative that I not only familiarize myself with the physical attributes of
the individual plant species, but also with the various visual interpretations
that have come before. The goal is to elaborate on this rich tradition of
illustration in a unique and original manner, whilst giving particular
attention to the intangible presence of each individual plant. Woven throughout
are decorative elements and narrative compositions that provide a window into
the many diverse legends and myths that pervade the plant kingdom.
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| Mandrake |
I previously collaborated with Schulke on
his seminal work, Veneficium, a
book which explores the historical connections between poison and witchcraft,
and was released by Three Hands Press, a publisher renown for beautifully
lavish productions of esoteric tomes. The scope of this current botanically
themed project has been all consuming since I began work on it in 2011.
Schulke's text, informed by his experience as a practicing herbalist, both for
clinical and occult applications, contains 25 years of original research into
some of the most obscure aspects of herbs, particularly their magical natures
as it intercepts human magical experience. The book will be about 700 pages in
total, will feature hundreds of individual illustrations all hand rendered by
me, and is scheduled for a 2016 release.
As for a total dream project: I would
eagerly embrace the opportunity to do an official, state-sponsored painted
portrait of any one of the currently most influential world leaders, provided
that I was able to compile all the reference material myself and to depict the
sitter as I deemed appropriate. A lavish fantasy perhaps, but one must at least
imagine the possibilities….
7. Does literature inspire your work?
Literature doesn't necessarily inform my
compositions, unless it is indirectly through a mythological subtext. I strive
to evoke timeless themes and iconographic subjects, often looking to the
classical pantheon to substantiate my concepts. In keeping with the aesthetic
traditions that inspire my work, such as the German Romantic painters and Fin
de siècle Symbolists, the narratives behind my work tend to synthesize
deeply personal experience with an archetypal mythos.
8. Which contemporary artist currently
inspires you and why?
I am primarily inspired by the work of my
peers; those creative individuals who vigilantly tend to the creative flames,
and who offer their unique visions to the world. Longtime friends and
colleagues, Madeline von Foerster and David D'Andrea are particularly
motivating, and I have been privileged to watch their creative careers develop
& blossom over the past few decades. We all came out of the same
underground cultural context in the early 1990's, and share similar aesthetic
values, inspired by the natural world, art history, and the craft of obsessive
rendering. I have been privileged to meet, and exhibit with a lot of other
remarkable artists over the years, a complete list of whom is too lengthy to
convey here, but Yvette Endrijautzki, Steven Kenny, Rose Freymuth Frazier, and
Denis Forkas all come to mind - Artists who are doing unique and exceptional
work.
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| Pangolin, Madeline von Foerster |
As a painter I'm naturally enamored of Odd
Nerdum, who has really established a revival of archaic techniques and timeless
compositions. Nerdum's oft extremist stance on contemporary Art, and his
adherence to what he terms 'Kitsch Painting', has provided an entire generation
with a strong precedent to substantiate the pursuit of a more traditional mode
of painting.
I'm also moved by the work of some close
friends who are not commercial artists, but who nevertheless exalt in the
nuances of color, form and light, and who express the depths of the human
experience with the passionate use of pigment and line. Alison Kirishian is a
fantastic but obscure portrait painter, native to my northern California
hamlet, who captures the quintessence of the subject with impressively accurate
empathy. I always marvel at her seemingly effortless and spontaneously conjured
interpretation of the individual. It's important for me to always be open to
learning from one's peers and colleagues. The value of drawing from life, and
from being open to the inspiration kindled through one's personal experiences
cannot be underestimated.
9. What do you do in your downtime?
My preferred activity when not in the
studio is hiking in nature, the mountains specifically, and ideally with a
companion who revels in the glory of alpine meadows and granite spires. I am
blessed to have the majesty of the Sierra Nevada right here in my own backyard,
with ample opportunity for seasonal treks. I'm otherwise fairly modest in my
endeavors, and take pleasure in simplicity, and in the nourishing aspects of
mundane ritual. I do also enjoy travel for its own sake, and to share in
engaging conversation with friends and colleagues. I also have a deep
appreciation for live classical music, the opera in particular, though
circumstances limit these endeavors at present.
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| Riddle of the Sphinx |
10. In closing, if you could travel
anywhere in the world right now, where would it be and what would you do there?
I've been previously fortunate enough to
have the opportunity to travel to Europe on several occasions, both to study
and to exhibit, but there remains so much that I have yet to see. Paintings really
need to be viewed in person to be fully appreciated, and I would naturally
welcome the opportunity to once again immerse myself in the splendor of
Europe's many museums. I deeply appreciate my previous sojourns in Germany, but
I've never been to Rome, Paris, or St Petersburg, and so many of the greatest
painting collections remain unseen. I would enjoy a prolonged field trip to the
old continent, with the sole aim of studying art, and conceptualizing future
works. A sponsored residency abroad would be much appreciated, once I complete
the current roster of projects… Onwards!
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Benjamin has a wall of work available at Krab Jab Studio, as well as a page of represented works of art on our website. You can see more of his work on his website, http://www.bvierling.com/.
