Artspan
Mixed Media Artist Gerald Barnes featured by Visual Language Magazine.
http://geraldbarnes.artspan.com/
http://geraldbarnes.artspan.com/
Since early childhood in Ireland, images of
extraordinary places have always fascinated me. I was absorbed by the albums of
pictures taken by my father, a world traveler and accomplished amateur
photographer. He worked for a small brewing company and often received letters
from suppliers overseas. He would bring me stamps for my collection. These
became my window to the world. By the age of 10, I already knew where I wanted
to go—Lake Titicaca, Katmandu, and Samarkand, just to start! Everything I have
seen on my travels has affected the way I see the world and is reflected in my
art.
In the 80’s I was in the middle of my “Japanese
period”, and I developed a technique to force acrylic paint through an
airbrush, which allowed me to create large areas of saturated color. I started to incorporate different elements
and was especially interested in creating depth by using the illusion of
multiple planes. Subject matter was
mostly stylized figures, architectural elements and abstract landscape.
In the 90’s, career demands and the need to fund my
travel bug, forced me to put my art on hold.
But I never stopped collecting images and formulating ideas for the day
when “ I would get back to my art”.
Finally that day arrived in 2012 when I retired, and I was able to open
my treasure trove of material and ideas stored up for so long that they just
toppled out in torrents from my imagination.
I had always wanted to try collage – mixed media really, as I still
wanted to combine painting and drawing as needed.
Collage allows me to pull all different types of images
together to tell a story. The images can be manipulated and changed with paint,
pencils and a whole variety of different tools. I am especially fascinated by
history – the period from about the 1890’s to the end of the First World War,
when empires toppled like dominos, and the world changed forever. Although I have traveled extensively I don’t
speak any other languages fluently although at one time I think I could say
“please” and “thank you” in thirteen.
Arabic has to be the most beautiful script in the world and has a
versatility that allows it to be written in so many dynamic ways. But other scripts like Sanskrit, Japanese and
Chinese to name just a few are also visually stunning. Adding text to an image adds another
dynamic. I’ve started adding quotations
or comments in Irish (Gaelic) but try to incorporate them into a title or
reference in English to help the viewer make the connection.
When I was in High School in the 60’s, Irish history stopped with
the Easter Rising in 1916. We were not taught about the resulting War of
Independence against the British and its aftermath, the Civil War, among
ourselves. Michael Collins, whose picture dominates this piece, led the
negotiations with the British for a truce to conclude the War of Independence
(1919-1921). The refusal of some in
Ireland to recognize the treaty he negotiated resulted in the Irish Civil War
(1922-1923) in which Collins himself was ultimately killed. His photo is
superimposed on a copy of the poem Mise Eire (I am Ireland) written by Patrick
Pearse, one of the leaders of the 1916 Rising who was subsequently executed by
the British. The poem is known by heart
by practically every Irish schoolchild.
In it, Ireland speaks and chastises the Irish people for abandoning her
and selling her into slavery. In the upper banner old British stamps and a
Union flag dominate. One stamp is overprinted with “Rialtas Sealadach na hÉireann 1922” - “Provisional Government of Ireland
1922”. The female figure on the bottom
left is Cathleen Ni Houlihan an allegorical image of Ireland, resting on her
harp. The model for this image was Hazel Lavery, an American, married to Sir
John Lavery, an Irish artist. She was supposed to epitomize the typical Irish
cailin (colleen, girl) and her image graced all Irish banknotes until the
introduction of decimalization in
1971.
East of Suez
I am very fond of this old red Egyptian lottery ticket - the
central background of the image - but the size was too small for the dimensions
I work in so I duplicated and flipped it and butted the two pieces together.
Egypt is synonymous with the Suez Canal (as well as pyramids and pharos of
course) which my father transited on his way to Australia in the 1930’s but
which I didn’t get to cross until 2001. With the added stamps and franks the
whole piece looks like it could have been an official transit document in itself
- except for the rectangular frank on
the bottom left which is actually a modern-day frank from Cairo airport. The building of the canal was a enormous
feat for its day and took a huge “can do” effort on the part of the French.
Slightly tongue in cheek I’ve added on the edge of the photo (of a non
Egyptian!) “Is feidir linn” – “Yes we can”!
Entry Restricted
Exotic Arab city. Through the arch of the gate was a tantalizing
view of a city of massive domes and slender minarets.. Outside the gate veiled
women collected water at a well and nearby a camel caravan rested under the
shade of palm trees. When I came across
another image of a mosque with it’s domes and minarets I was immediately taken
back to that first coloring book. I anchored the image with an Egyptian stamp
(I have a lot of old Egyptian stamps!).
Thomas Daniell and his nephew William were artists and engravers who
traveled throughout India in the 1780’s. They made exquisite engravings, which
I first saw at an exhibition at the Victoria Monument in Calcutta. I placed a
little bit of one of their images in the bottom right and superimposed the face
of a British army officer over it. I
never intend my work to be politically, historically or geographically
“correct” irrespective of the origins of the images.
Despite drawing
inspiration from many areas the end result of this piece does have a unity to
it. The currency notes adhered to the top have little relevance to what’s going
on below (except perhaps for the Egyptian note) but the colors, textures and
images compliment the story being told and help add a “universality” to the
piece. Free movement is something that
is not available to all of us – whether it is from county to country, across
States or within a career or relationship. Sometimes our movement is denied or
restricted. Sometimes we are afraid to make it. Sometimes it’s just better to
keep our mouth shut. In the diamond an
innocent face is surrounded with the message “ Is binn beal ina thost” – “It’s
a sweet mouth that’s closed” or as we better know it. “Silence is golden”.
I came across these wonderful murals in a temple in southern
India. The murals stretched for quite a
long way around an open gallery that in parts were deteriorating due to age and
weathering. The two images I have here
were not contiguous to each other, but I painted in a background to unite them
and repaired the pallet where necessary.
I loved the energy and movement of the figures, and I thought to bring
the two pieces together as a diptych. To link the pieces I used a bank note in
the middle divided between the two. The original note did not have an Indian
figure so I added one. Although the note was issued by the Bank of India it was
obviously intended for circulation in Burma which the British administered from
India – hence my title for the piece. In Part One I added a miniature Mughal
painting in which a man sports vey elaborate whiskers mimicking those of the
dashing man in the mural. A female classical Greek statue hovers in the top
left and doesn’t seem as out of place as it should. A few Indian stamps in matching tones to the
mural fall lazily off the top and onto the adjoining piece. In Part Two the little men seem to be having
a great time – could they be playing football?
Again I tried to pair up the mustaches of the central figures with that
of the rather somber figure in the top right-hand corner. A made-up stamp at
the top is over printed with an elaborate Indian frank. More regular stamps escape off the page at
the bottom right-hand-corner. In
addition to Egyptian stamps I seem to have a lot of Indian ones! On the far
right edge an Indian woman counter balances the Greek statue on the opposite
image.
The Voyage
I served in the British Merchant Navy in the 60’s and despite
traveling around the world a couple of times never got to go through the Suez
Canal as at the time it had been closed as a result of the Six Days War in
1967. The Italian note, (with some added
imagery) at the top has nothing to do with the canal or taking a voyage yet it
evokes what might be a ticket to an exotic destination on a huge liner. It blends in atmosphere with the various
emphera on the left and the blood red Irish stamp mimics a Chinese imperial
chop. The belching black smoke from the ship wafts over the old letter on the
left. At the bottom another Daniell ( see “Entry Restricted”) engraving seems
to indicate a mysterious world existing under the water of the canal. A simple black and white image of an Asian man
using dramatic hand gestures stares out at the viewer. Let the voyage begin!
Two Shorten a Road
Any journey is enhanced and shortened with the company of a
companion. These two well-dressed women
look like they might have a lot to talk about as they start off on their
journey together. Card games have been around for hundred of years and prior to
the arrival of texting you would often see on planes and trains, people happily
engaged in playing a game to pass the time. The middle card says “Is fada an bothar nach bionn casadh ann” - “It’s a long road that doesn’t have a
bend”. The top card says “Guirraionn
bert bother” – “Two shorten a road”, both very common and popular Irish
sayings. I’ve placed a tongue-in-cheek
comment in the circular frank, You see this sign all over Ireland ahead of road
works which brings all traffic to a halt.
Usually you’ll find several men standing around leaning on their shovels
not doing much of anything in front of a sign that says ”Fir ag Obair” - “Men at work”.
Shore Leave Valletta
Traditional Japanese architecture has always fascinated me and
many times I’ve stood under massive temple roofs and towering pagodas just in
awe at the interlocking puzzle of timbers that
tower overhead and allowed these beautiful structures to stand through
the centuries despite earthquakes, typhoons and man-made disasters. Another fascination for me is the dreamlike
woodblock ukiyo-e prints of the “floating world”. I thought such an image would
be an ideal contrast to the towering pagoda structure. In the 19th century
Britain had hundreds of military bases all over the world – not unlike us
today. Perhaps this captain was based in
Malta (Valletta) or just had his picture taken there as he passed through to
his final destination in India, Singapore or Hong Kong. The frank says “Tada
gan iarracht” – “Nothing without effort” and the Russian and medieval cards
have nothing to do with anything except I liked them.
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