Mylar
7 creative works found
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This is the raw undoctored image, not Photoshop’d … I was invited to the Closing Reception of an Outdoor Art Workshop at The Art School at Old Church, Demarest, Bergen County, NJ, October 22, 2007. This was one of a series of photos I took in the front yard, inspired by the artwork, the artists and the Fall atmosphere. This image has been hung vertically, horizontally, and upside down … what is this? Email your guess to info@JimLegge.com … My ‘avatar’ icon self-portrait is also from this series. December 2008: On display at the Kitchen Cafe, 67 Greene Street, near Exchange Place, Jersey City Waterfront, 5 minutes from WTC / Manhattan … part of JCFRIDAYS day of FREE arts & cultural events in Jersey City, Friday, December 5, 2008. This image was published on the cover of The CURRENT the arts & entertainment weekly of the Hudson Reporter, in the Nov 27 – Dec 3, 2008, edition talking about JCFRIDAYS. Copyright© Jim Legge 2007 – 2009
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The surprise balloons I sent to Tim’s work for his birthday last April.
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This work was featured in the groups 1 on 1: The Fine Art of Portraiture and Out of the Past. Grace # 2 of 3 , Charcoal on Mylar film, 30×20” from the “Black Butterfly: The Muse” series. The 3 Graces: Aglaia (radiance) Euphrosyne (joy) Thalia (flowering) It was the poet Hesiod who named the Graces in his Theogony: “Then Eurynome, Ocean’s fair daughter, bore to Zeus the three Graces, all fair-cheeked, Aglaia, Euphrosyne, and shapely Thalia; their alluring eyes glance from under their brows, and from their eyelids drips desire that unstrings the limbs.” From a reference photo by Rolling Stone magazine photographer Baron Wolman, groupie Sally Mann, San Francisco, Nov. 1968. (No relation to the photographer of the same name) Sally married Jefferson Airplane’s Spencer Dryden in 1970. Here is a quote from Baron about the groupies: “As concert promoter Bill Graham has given me all access to any of the concerts he produced, I spent quite a bit of time backstage with the bands, their roadies and their women. What fascinated me were the lengths to which the women, the groupies, went to prepare themselves for their backstage appearances. Because I also wanted an excuse to photograph them, I suggested to Jann they might make an interesting story. He agreed and Rolling Stone Magazine No. 27 became known as “the groupie issue.” It was widely promoted, read and commented upon, even turned into a book.” -Baron Wolman I saw these photos in an old book picked up at a resale shop. I fell in love with the groupies, and Baron was so gracious to allow me to use them for the drawings. The feminine effect of the references are enhanced with the flowers and butterflies. In this case, I decided to draw Sally holding the lilies, as she married soon after the photo was taken. It’s also about peace & love & hippie-ness, baby. :) While the rest of the models I’ve used in the series are in the arts themselves, I was intrigued with the idea of groupies – and their intrigue with rock & roll artists of the late 1960’s. It seems to me they were using their own bodies and persona as an art form to attract their artistic “muses.” I guess you could consider some of the works in my Black Butterfly series “Cover Tunes.” I believe the borrowed references are vital to the series to relate the idea of inspiration, and its relation to talent and celebrity. These “tunes” well deserve a stylish, honorable replay. Many thanks to the talented people who have loaned their vision of the muse to aid me in illustrating my ideas.
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From the Black Butterfly series. Mini portrait of Oscar Wilde – 10×8” Charcoal and white pastel pencil on Mylar film. A copy of an early draft of Roses and Rue, in Wilde’s own hand, shows through the translucent Mylar. Roses and Rue by Oscar Wilde, for actress Lillie Langtry Could we dig up this long-buried treasure, / Were it worth the pleasure, / We never could learn love’s song, / We are parted too long Could the passionate past that is fled / Call back its dead, / Could we live it all over again, / Were it worth the pain! I remember we used to meet / By an ivied seat, / And you warbled each pretty word / With the air of a bird; And your voice had a quaver in it, / Just like a linnet, / And shook, as the blackbird’s throat / With its last big note; And your eyes, they were green and grey / Like an April day, / But lit into amethyst / When I stooped and kissed; And your mouth, it would never smile / For a long, long while, / Then it rippled all over with laughter / Five minutes after. You were always afraid of a shower, / Just like a flower: / I remember you started and ran / When the rain began. I remember I never could catch you, / For no one could match you, / You had wonderful, luminous, fleet, / Little wings to your feet. I remember your hair – did I tie it? / For it always ran riot - / Like a tangled sunbeam of gold: / These things are old. I remember so well the room, / And the lilac bloom / That beat at the dripping pane / In the warm June rain; And the colour of your gown, / It was amber-brown, / And two yellow satin bows / From the shoulders rose. And the handkerchief of French lace / Which you held to your face- / Had a small tear left a stain? / Or was it the rain? On your hand as it waved adieu / There were veins of blue; / In your voice as it said good-bye / Was a petulant cry, “You have only wasted your life.” / (Ah, that was the knife!) / When I rushed through the garden gate / It was all too late. Could we live it over again, / Were it worth the pain, / Could the passionate past that is fled / Call back its dead! Well, if my heart must break, / Dear love, for your sake, / It will break in music, I know, / Poets’ hearts break so. But strange that I was not told / That the brain can hold / In a tiny ivory cell / God’s heaven and hell.
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“I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself.” ~ Oscar Wilde ~ The Picture of Dorian Gray My solo show is scheduled to open at 33 Collective Gallery on September 18th. I have just a couple more wall holes to fill before then. “The Picture of Dorian Gray” (36” x 28” charcoal on Mylar drafting film in vintage mirror frame) is another work for Black Butterfly: The Muse, my series inspired by the arts, with my subjects coming from the various artistic disciplines. This is a portrait of artist/musician/model Ryan Dies I met Ryan in an art jewelry shop, 1 ofmykind jewels during a recent trip to the historic town of Galena Illinois. Ryan was friendly and engaging right off. He was wearing a heavy beaded choker of his own design and looked so handsome I couldn’t resist asking him if I could take a few photographs to be used for a drawing. Ryan was happy to pose for the references, and the natural light was beautiful that day. Peacock feathers and ornate gilt mirror frames were part of the décor of the shop, so ideas for the drawing were formed almost immediately during the shoot. We had a nice conversation about the Chicago art scene and I talked with Ryan about a couple of his very good surrealist paintings that were on display. Later as I looked through the photos I decided Ryan would make the perfect model for a contemporary “Dorian Gray.” / The Picture of Dorian Gray is the only published novel by the Irish poet Oscar Wilde. It is a story about a handsome young man who becomes enthralled with the idea of a new hedonism. He begins to indulge in every kind of pleasure, moral and immoral. I used a compilation of several of the reference photos from Ryan’s shoot for the finished drawing. The peacock feathers seemed a natural symbol for Dorian’s pride in his physical appearance, the pride that made him wish to never grow old. I took liberties by changing Ryan’s existing forearm tattoo to one with a butterfly and poppy flowers – symbols for transformation and for “Dorian’s” travels to an opium den as a way to escape his crimes. I decided to add the skull ring on Dorian’s hand – a design by Jodie McGill of 1 ofmykind. I thought the skull was very appropriate as a reference to the plot of Wilde’s novel. The butterflies in this work refer to Dorian’s muse: his own handsome mirror image; saved from corruption by the putrefying portrait that grows more horrifying with each sin committed by his increasingly evil character. I decided that I’d prefer to keep the decaying “picture” implied only, by using the ornate mirror frame to display this work. Outside of physical beauty there is no comparing Ryan’s pleasant personality with the ugly character of Dorian Gray. He has been delightful to work with and I look forward to following this talented young man’s career. Here’s a fun and appropriate related video Enjoy!
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