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The Sun's Nocturnal Return 30x30 Acrylic, charcoal, conte, archival pen on collage on panel.
The Sun's Nocturnal Return 30x30 ©Leslie Peterson Sapp
Artistic Progeny
Guided by my inner bloodhound, I followed the trail of symbols and themes I discovered in the first three pieces, and it led me here, to The Sun's Nocturnal Return.
To read more about these seminal pieces, click the titles below:
The Nebra Sky Disc
Tree Burial I
Tree Burial II
To read more about these seminal pieces, click the titles below:
The Nebra Sky Disc
Tree Burial I
Tree Burial II
My Artistic Process
I launched forward with confidence. Following my inner visual impressions, I used charcoal and white chalk to draw in the general idea.
But, when I painted the boat in, I felt such over whelming distaste, I accused myself of handling paint like an 8th grader. (I'm not sure why now, it doesn't look as bad as I remember it!)
Overcome with a haunting repugnance, I went into my studio later that night and scratched the paint away with a razor blade!
Overcome with a haunting repugnance, I went into my studio later that night and scratched the paint away with a razor blade!
But, surprisingly...
It ended up looking really kinda cool!
It looked like a super-nova in the center of my sky-and-sea-scape.
Following my impulses and laying aside self-doubt, I went forward with what I had inadvertently created.
I was having a heck of a time being able to depict a Nordic petroglyph in a way I found satisfying. Most of the images I saw were filled with red paint and photographed in daylight. This is a great way to show off the images to viewers.
Madsebakke-schiff Solar boat petroglyph, Bornholm, Denmark.
But then I watched an online lecture about the petroglyphs and learned that the red paint is a modern treatment, and that if the petroglyphs are left clear, but photographed with raked light (such as dawn, sunset, or at night with a single light source,) the viewer can have a far richer experience.
Sotetorp 3561. Tanum parish. Bohuslän. After Almgren 1983.
This image is from a site named Tanum Sotetorp in Sweden. It depicts a solar ship, with two horned creatures with axes and swords flanking a crew of anonymous, peg-like rowers. Hovering above the ship is a man or creature or god executing a back-bend or a flip.
I learned doing Tree Burial I that a dancer doing a back-bend may have been symbolic of the sun on it's return journey, a reversal, a cycle.
It seemed perfect for The Sun's Nocturnal Return.
Using charcoal and white chalk, I was able to produce a more satisfying rendition of the solar boat.
I learned doing Tree Burial I that a dancer doing a back-bend may have been symbolic of the sun on it's return journey, a reversal, a cycle.
It seemed perfect for The Sun's Nocturnal Return.
Using charcoal and white chalk, I was able to produce a more satisfying rendition of the solar boat.
With all this supernova nocturnal energy, I wanted to cool it all down with another tracing of the Hjortspring Boat. As I wrote in my blog entry about Tree Burial I, I love the graceful, precise elegance of the boat plans and how it contrasts with other, more expressive elements.
From here, I elaborated on the constellations above the scene. These are Gemini, Taurus and Ares. This is because these are the same constellations from the grand-daddy of this piece, The Nebra Sky Disc.
I write more about why I chose those constellations in my blog entry about it.
I also went to town elaborating on the water-sky marks that look like splashes, bubbles, or heavenly bodies. I did this by spraying or sprinkling rubbing alcohol on the acrylic paint, waiting a moment, then rubbing it off. The alcohol temporarily breaks down the acrylic so that it can be removed. The result is the speckling effect.
I love doing this. It's so fun.
I love doing this. It's so fun.
Adding Text
Next, I engaged with the text.
Using some typewriter-style stencils, I wrote text across the sky and under the sea. It is a bit off-kilter, and uneven in its color, as if your typewriter became possessed and tried to send you messages from beyond.
The Journey of the Sun Across the Sky
The Sun's Nocturnal Return
Across the top and the bottom on the piece, I inserted text, as if a storyteller was accompanying the visual language of my art.
The Sun's Nocturnal Return
Next, I added the same text using gold "interference" paint. Interference paint has a pearlescent, iridescent effect that changes depending on the angle you view it, and is very difficult to photograph. I also enclosed the back-bending figure in an iridescent orb, reminiscent of the sun.
I bandied back and forth with how pronounced or obscured all the lettering would be. A lot of painting, then wiping off.
I bandied back and forth with how pronounced or obscured all the lettering would be. A lot of painting, then wiping off.
The Hjortspring Boat - Deposited in a Bog as a Votive Offering
In addition to the sky-sea text, I included text in reference to the Hjortspring Boat. in contrast to the crazy, possessed typewriter font in the sea-sky, this text is very clear, calm, and of this world.
Utimately, I have created a tiny, animate world, where the stars leap across the cosmos, the sun is ferried by a boat full of oarsmen, and we on the earthly plane try with our orderly plans to make sense of it all.
The Sun's Nocturnal Return 30x30 ©Leslie Peterson Sapp
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Tree Burial II is a veritable layer cake of symbols and artistic impulses. Follow along to untangle this gritty, glorious web.
Tree Burial II ©Leslie Peterson Sapp
Tree Burial II is a continuation of images and concepts I developed for Tree Burial I and The Nebra Sky Disc. It is a free-wheeling jazz riff on elements I gleaned during research for these pieces, elements including, but not limited to:
- Solar Boats
- Bronze Belt Plates
- Sun Spirals
- Tree Trunks Made Into Coffins
- Experimental Archeology
- Scandinavian Petroglyphs
- Tree Spirits
- Ancient Boat Construction Plans
- The Life/Death Cycle.
You can learn more about the two pieces that inspired all this crazy scientist research by reading the blog entries I have written for them. Click on their titles just below.
The Nebra Sky Disc
Tree Burial I
The Nebra Sky Disc
Tree Burial I
Cosmological Seacraft
It all started when I tried to understand the strange “smiley face” at the bottom edge of the original Nebra Sky Disc, an element that I simply could not include in my artistic rendition of it. (Read the blog entry and you'll know why.)
© Kenneth Garrett
In my research I learned about something called The Journey of the Sun.
By studying various Nordic Bronze Age artifacts- such as rock art, gold votive offerings, bronze razors, and belt plates- experts have been able to piece together a generalized belief system that goes like this:
With the assistance of various cosmological creatures, the Sun traverses the arch of the sky, and at night, completes its return journey beneath the land and sea to reemerge the following day. This cycle of light and dark, day and night, symbolizes the cyclical nature of life and death.
Nordic Petroglyphs
The reason why I was so intent on following this train of thought was because I was (and still am) confused by the shape of the "solar boat" (smiley face) on the Nebra Sky Disc. It is an almost perfect arch, and yet Bronze Age depictions boats generally have a flat, shallow keel.
This led me to learn more about ancient boat construction, and the various experimental archeology projects that seek to reconstruct found boat remains.
Reconstruction plan of the Hjortspring Boat
Sun Spirals
Tree Burial I and II are inspired by an amalgamation of several tree burials from the Nordic Bronze Age, especially one known as Egtved Girl. She was buried in Denmark around 1370 BCE. Because of the conditions in the burial mound, her clothing is in an almost perfect state of preservation.
One of the most striking elements of Egtved Girl's burial is her bronze belt plate. It's 6 inches across, and is etched with a tight spiral motif.
One of the most striking elements of Egtved Girl's burial is her bronze belt plate. It's 6 inches across, and is etched with a tight spiral motif.
Egtved Girl's Belt Plate
Anni Brøgger is a professional dancer who did her own form of experimental archeology.
She performed a dance wearing a copy of Egtved Girl's costume. During the dance, the sun glinted and danced through the spirals on the shiny bronze belt plate. In a time with no lights and very little reflective metal, it must have seemed like magic.
She performed a dance wearing a copy of Egtved Girl's costume. During the dance, the sun glinted and danced through the spirals on the shiny bronze belt plate. In a time with no lights and very little reflective metal, it must have seemed like magic.
My Artistic Process
Confession: I tend to overthink things.
I usually embark on making a piece of art with a plan. I know, more or less, what I'm gonna do, how I'm gonna do it, and more or less, what it'll look like when I'm done.
It's safer that way.
Safe, like staying indoors, yet casting furtive, envious glances out the window to see your pals playing in the mud.
It's safer that way.
Safe, like staying indoors, yet casting furtive, envious glances out the window to see your pals playing in the mud.
Not so, with this piece.
Tree Burial II started its life as a 48x40 drawing on a roll of watercolor paper. After working on it a bit, I changed course and purchased an even larger, 60x40 wood panel, which became Tree Burial I.
I put the original drawing aside.
But then I was seized by the desire to... tear it up!
I put the original drawing aside.
But then I was seized by the desire to... tear it up!
The beginning...
Just before I tore it up.
Visual Impressions
People sometimes ask where I get my ideas. Well, I often get visual impressions in my mind, which serve as a launching point.
What happened next.
I had a visual impression of tearing the sides of the drawing off and mounting it on a 48x24 panel.
Once this happened, the piece changed in fundamental ways.
Art mediums (paint, charcoal, collage, etc) can be used in two ways: It can be used to create a cohesive, alternate reality, OR it can be used to refer to itself.
And once I tore that paper, it no longer became a representation of a tree, it became a piece of torn paper with an image of a tree on it.
The abstraction grew from there.
Once this happened, the piece changed in fundamental ways.
Art mediums (paint, charcoal, collage, etc) can be used in two ways: It can be used to create a cohesive, alternate reality, OR it can be used to refer to itself.
And once I tore that paper, it no longer became a representation of a tree, it became a piece of torn paper with an image of a tree on it.
The abstraction grew from there.
Geometric Tendencies
I find myself attracted to square and double-square formats. In this case, I used a 48x24 panel, which I stained with burnt umber to bring out the wood grain, referring to the wood of the tree and tree coffin.
Since the double-square panel is made up of two 24x24 inch squares, I used my huge compass to describe two circles, each emanating from the center of each square. It looked a bit like a figure 8. The number "8" flipped on it's side makes an infinity symbol.*
Led by another visual impression, I was inspired by this tiny painting by Fra Angelico in 1424. It's actually an "S" in an illuminated manuscript.
Led by another visual impression, I was inspired by this tiny painting by Fra Angelico in 1424. It's actually an "S" in an illuminated manuscript.
Madonna of Mercy with Kneeling Friars, c1424, Fra Angelico
I love the fishes twirling and consuming each other, with the calm presence of the Madonna in the center. It brings to mind the Ouroboros, another symbol of the life/death cycle.
Solar Boat Petroglyphs
Spurned on by my fascination with The Journey of the Sun, I sought out Nordic solar boat images that would suit.
Most surviving examples are from Scandinavian Petroglyphs.
Most surviving examples are from Scandinavian Petroglyphs.
Simrishamn rock carving, ©SSfPA
Madsebakke-schiff Solar boat petroglyph, Bornholm, Denmark.
I started to add drawings of the petroglyphs around the circles. I also created a boat-like shape, seen from above. This boat-like shape stretches from top to bottom, enclosing the figure of Egtved Girl inside. It is reminiscent of an aureole surrounding a spiritual being.
Another tendency of mine is that I want to explain things in a literal fashion. Perhaps it is an artistic failing. OR maybe it's the way my mind works.
I really, REALLY want you all to know these are boats. I know they sort of don't look like boats. Let me show you a boat.
Enter, the Hjortspring Boat.
The Hjortspring Boat is actually from the Iron Age, but whose counting? It was deposited in a bog as an offering, and it is a somewhat intact boat from pre-Roman (before written language) Northern Europe. It's a good example of what Bronze Age boats were probably like.
Plan of the Hjortspring Boat
I love the graceful, precise elegance of the boat plans. They contrast beautifully with the earthy, gritty textures of wood grain, charcoal, and torn paper.
Unlike some of my other pieces, the images in this work are not inkjet prints. Instead, they are hand-drawn tracings of the plans.
Unlike some of my other pieces, the images in this work are not inkjet prints. Instead, they are hand-drawn tracings of the plans.
Following a Trail
In this series of Archeology Art, I find my inner bloodhound is taking a lead role.
Merriam Webster's second definition of bloodhound is "a person keen in pursuit."
Keen in pursuit. I am putting aside self-doubt in exchange for beguilement.
Merriam Webster's second definition of bloodhound is "a person keen in pursuit."
Keen in pursuit. I am putting aside self-doubt in exchange for beguilement.
An addendum to this entry is that Tree Burial I begat yet another piece about boats, stars, and sun-cycles entitled The Sun's Nocturnal Return. You can see and read about it HERE.
Tree Burial II 48x24 Acrylic, collage, charcoal, conte, archival ink, acrylic heavy gel on panel
Appendix:
Want to make an infinity symbol?
For a MAC, press Option 5 on the keyboard.
For everybody else, hold the ALT key and type 236 on the number keypad on the right of your keyboard.
For a MAC, press Option 5 on the keyboard.
For everybody else, hold the ALT key and type 236 on the number keypad on the right of your keyboard.
∞
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This large 60x40 painting is inspired from am amalgamation of several different tree burials from the Nordic Bronze Age.
Tree Burial I, 60x40 acrylic on panel ©Leslie Peterson Sapp
Tree trunk, or log coffins were not an uncommon way for elites to be buried. Versions of the practice have been found in Europe, Africa, China and even Australia. In Europe, it was practiced from prehistoric times all the way up to the Medieval period.
The first time I saw an image of a tree burial, what grabbed my attention is the thought of something so grand, and well, so vertical would be felled, and buried beneath the earth, eternally horizontal, to intern the dead.
With a modern, conventional coffin, the tree is no longer a tree, but a series of dressed planks, fashioned into a box.
With a modern, conventional coffin, the tree is no longer a tree, but a series of dressed planks, fashioned into a box.
But a tree trunk coffin is simply split length wise, with its inside hollowed out, like a canoe. The beloved is laid out with grave goods that were meant to assist the deceased in the afterlife.
This implies that the loved one is still somehow living in the tree trunk, like a tree spirit.
Tree spirits are a world-wide phenomenon. In Greek mythology, the Dryads were spirits of the woodland in general, and Hamadryads were spirits that lived in a specific tree itself.
I'm sure I'm reading into this in my own, artistic, unscientific fashion. Log coffins were probably used because of the way they preserved the body of the deceased. But I can't help myself.
There is something so juicy about the tree as a symbol of the life/death cycle.
This implies that the loved one is still somehow living in the tree trunk, like a tree spirit.
Tree spirits are a world-wide phenomenon. In Greek mythology, the Dryads were spirits of the woodland in general, and Hamadryads were spirits that lived in a specific tree itself.
I'm sure I'm reading into this in my own, artistic, unscientific fashion. Log coffins were probably used because of the way they preserved the body of the deceased. But I can't help myself.
There is something so juicy about the tree as a symbol of the life/death cycle.
Dryad, 1884, Evelyn de Morgan
The Egtved Girl
In 1921, near the town of Egtved, a farmer dug and spread soil from a mound on his farm. In it he found a large, recumbent oak tree trunk.
Log coffins had been being unearthed for about a century in Denmark, so, he knew what he had run into. He wrote a letter to the National Museum of Denmark, telling them what he’d found, with a request that they hurry up and come take a look, because, after all, he had work to do.
The Egtved Girl ©National Museum of Denmark
After excavating the log coffin, they transported it to the museum and very carefully investigated, using the most advanced techniques available in 1921.
It was determined that the log coffin had been made in about 1370 BCE.
It was determined that the log coffin had been made in about 1370 BCE.
One of the fascinating things about human remains is the often odd, unpredictable ways in which they are preserved, especially when they are in an environment that lacks that great decomposer, oxygen.
Often, they are mummified, but the results of this mummification varies from find to find. In the case of Egtved Girl, the hair, brain, teeth, fingernails, and every stitch of clothing was preserved.
But the skin, muscles, the very bones, had simply dissolved away, leaving the clothes empty, like someone had been carefully considering an outfit, and had laid their clothes out to look at.
Often, they are mummified, but the results of this mummification varies from find to find. In the case of Egtved Girl, the hair, brain, teeth, fingernails, and every stitch of clothing was preserved.
But the skin, muscles, the very bones, had simply dissolved away, leaving the clothes empty, like someone had been carefully considering an outfit, and had laid their clothes out to look at.
Grave Goods
Egtved Girl's age and gender are unique in such a rich grave. From her teeth, we can tell she was about 16-18 years old when she died. In the coffin with her are:
- a pretty comb
- a small earring
- two arm rings
- an awl in a small birch-bark box
- a bark bucket with remnants of beer
- yarrow blossoms (showing she was buried in the summer)
- a bundle with the cremated bones of a small child.
But it is her clothing that makes her so famous.
She wore a short, wool blouse. She had a quite short skirt made up of cords, so that when she moved, you could probably see her nether regions through it. (This caused a scandal back in 1921 when it was discovered!)
But her signature fashion feature was her bronze belt plate.
She wore a short, wool blouse. She had a quite short skirt made up of cords, so that when she moved, you could probably see her nether regions through it. (This caused a scandal back in 1921 when it was discovered!)
But her signature fashion feature was her bronze belt plate.
It hung on a woven belt, and is nearly 6 inches across.
It is adorned with intricate engraving, including two bands of a spiral motif.
Spirals and circles are symbols of the sun, so it is probable that the belt plate was an expression of the sun worship of the Nordic Bronze Age. (I wrote a bit more about this in my entry about The Nebra Sky Disc.)
It is adorned with intricate engraving, including two bands of a spiral motif.
Spirals and circles are symbols of the sun, so it is probable that the belt plate was an expression of the sun worship of the Nordic Bronze Age. (I wrote a bit more about this in my entry about The Nebra Sky Disc.)
My Creative Process
In making Tree Burial, I chose to include elements from various tree burials, though Egtved is the main one.
As I mentioned, this piece is on a 60x40 panel.
Working large is always an educational experience, and I had the extra bonus lesson that 60x40 is ABSOLUTELY the largest size I can fit into my beloved Kia Soul.
I got it in with a quarter inch to spare, with my knees hitting the steering column as I drove.
First, I did an energetic drawing of the Egtved burial, but instead of it lying prone in the earth, I set it vertically, in, or hovering over, a large oak tree.
As you can see, I am already contemplating a horizon, and a large circle seemingly emanating from the belt plate.
Next, I painted the tree a dark purplish color, and rendered oak leaves.
Here is where I started to integrate images from other tree burials.
On the right, a plan of the site Borum Eshøj, drawn by Konrad Engelhardt in 1875.
On the left, a photograph of workers excavating the Guldhøj site in 1891.
On the right, a plan of the site Borum Eshøj, drawn by Konrad Engelhardt in 1875.
On the left, a photograph of workers excavating the Guldhøj site in 1891.
These I traced onto my panel using transfer paper, which I then re-drew with pencil and paint.
Next I worked on that belt plate.
I painted it with bronze colored paint. It looked quite arresting there, near the center of the painting!
Getting the spirals correct took a bit of time.
I painted it with bronze colored paint. It looked quite arresting there, near the center of the painting!
Getting the spirals correct took a bit of time.
After this, I reinforced the circular shape that seems to hover over the entire scene.
How do you think I drew such a large circle? (Best Christmas gift ever!)
At the bottom of this entry, you can see a fun video of me using this big beauty!
Life, Death and Wonder
Presumably, we make art so that someone will hang it on their wall.
So, sometimes I have to pause and ask myself; why would someone want a large painting of a burial, no matter how interesting it might be?
In my series, Archeology Art, I find myself dealing with some pretty macabre subjects, such as burials and remains. But I guess, I just don't experience them that way.
In pre-modern times, death was all around us, all the time. The loss of a loved one is difficult for anyone, regardless of how frequently death visits. However, people in the past seemed to have a very different relationship to human remains, handling them with aplomb, even with creativity. They dressed them, provided for them, moved them around, took them from one grave to another, disarticulated their bones, even took pieces of them home to live with them and their families, a sort of eternal house guest.
Our modern world has moved away from this cozy relationship with the dead. This shift is understandable; it's human nature to avoid pain, especially the existential terror that accompanies losing someone. And yet, it is just another way that we have been cut off from the natural world.
In Tree Burial I, I blend elements of death (coffin, corpse,) and life (tree, yarrow, sun-spirals,) along with tokens from the modern excavation.
I creatively explore the theme of the life/death cycle in my unique, modern way.
So, sometimes I have to pause and ask myself; why would someone want a large painting of a burial, no matter how interesting it might be?
In my series, Archeology Art, I find myself dealing with some pretty macabre subjects, such as burials and remains. But I guess, I just don't experience them that way.
In pre-modern times, death was all around us, all the time. The loss of a loved one is difficult for anyone, regardless of how frequently death visits. However, people in the past seemed to have a very different relationship to human remains, handling them with aplomb, even with creativity. They dressed them, provided for them, moved them around, took them from one grave to another, disarticulated their bones, even took pieces of them home to live with them and their families, a sort of eternal house guest.
Our modern world has moved away from this cozy relationship with the dead. This shift is understandable; it's human nature to avoid pain, especially the existential terror that accompanies losing someone. And yet, it is just another way that we have been cut off from the natural world.
In Tree Burial I, I blend elements of death (coffin, corpse,) and life (tree, yarrow, sun-spirals,) along with tokens from the modern excavation.
I creatively explore the theme of the life/death cycle in my unique, modern way.
Tree Burial I, 60x40, acrylic on panel, ©Leslie Peterson Sapp
Video of My Cool Compass...
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I completed two versions of “The Adorant.” They are based on a fresco in ancient Akrotiri.
To read more about Akrotiri, and the other art I have made based on it, click HERE.
To read more about Akrotiri, and the other art I have made based on it, click HERE.
The Adorant 20x16 ©Leslie Peterson Sapp
The Adorant 12x6 ©Leslie Peterson Sapp
One is 12x6 inches, and the other is 20x16 inches.
The frescos of Akrotiri are just crumbled vestiges, and had to be reassembled like a puzzle.
To emulate the effect of the fragmented frescos, I slathered fiber paste and molding paste over heavy watercolor paper. When this was dry, I drew and painted the figures, I then tore the image up, and reassembled it on a panel.
Tearing up my art was strangely therapeutic! You can see a video of me doing this below!
For the small one, I experimented with different backgrounds and, because it is so small and simple, I thought the flat, white ground is best.
For the larger one, I decided I would like to try having a scene BEHIND the fragments, as if we could look through the fresco pieces to a world beyond.
The scene behind the figure is from a different fresco in Akrotiri, called the Flotilla. It is a frieze mural, about a foot and a half high, that goes all around a room. It features two fantastical ports, with a flotilla of beautiful boats traveling from one to the other.
The Flotilla Frieze, Akrotiri, Greece
The Saffron Gatherers ©Leslie Peterson Sapp
The dolphins that I featured in my piece, The Saffron Gatherers come from this mural.
I am enchanted by the image of this woman gazing out from her island home, to watch these splendid sea crafts cruising by.
A special sneak peak into one of the more fun moments of being an artist...
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In 1999, two looters* plundered a mound atop Mittelburg Hill near Nebra, Germany.
The Nebra Sky Disk, 24x24, acrylic on panel, ©Leslie Peterson Sapp
It was quite the payload. They found two bronze swords, two axe heads, a chisel, spiral armbands, and a strange, circular object.
Original Artefact
This enigmatic artifact is about 12 inches in diameter, made from hammered bronze and gold appliques.
The artisans who created it treated it with rotten eggs, causing a chemical reaction, which made the bronze a deep violet, sort of like the color of the night sky. Over the millennia, the violet has turned into a beautiful blue-green patina.
The artisans who created it treated it with rotten eggs, causing a chemical reaction, which made the bronze a deep violet, sort of like the color of the night sky. Over the millennia, the violet has turned into a beautiful blue-green patina.
Archeologists established it was created about 1800-1600 BCE- about 3,700 years ago.
BTW, I know you want to call it the Nebula Sky Disk- but it's NEBRA.
The Nebra Sky Disk stands alone as a beautiful object, yet it seems to also have a purpose and function aside from mere aesthetic enjoyment.
What does the disk signify, and what was it for? Experts have debated this since its discovery, and there are conflicting interpretations. But there are a few theories that are generally agreed upon.
It is believed that the Nebra Sky Disk is an astronomical calendar, depicting moons, star constellations, the positions of the winter and summer solstices, and a “solar ship,” associated with an ancient belief that the sun was carried across the sky by a cosmic boat.
The disk was in use for several centuries before it was buried, and went it through multiple incarnations.
Phases of the Nebra Sky Disk © Ranier Zenz
Phase One: First, the gold dots where applied, along with the gold circle and crescent.
Phase Two: At some later date, the two parenthesis shaped arcs were added.
Phase Three: Then, even later, the asymmetrical arc at the bottom was added.
Phase Four: THEN, several centuries after all that, its perimeter was perforated with about 40 small holes.
Phase… Five?
Phase Two: At some later date, the two parenthesis shaped arcs were added.
Phase Three: Then, even later, the asymmetrical arc at the bottom was added.
Phase Four: THEN, several centuries after all that, its perimeter was perforated with about 40 small holes.
Phase… Five?
The alterations to the disk implies that the significance and use of the disk CHANGED over time.
Phase One: What Day Is It?
How do you keep track of time? A calendar? What about before there were calendars? AND, who cares?
In the disks first stage, the gold dots where applied, (thought to represent stars) along with the gold circle (thought to represent the sun or full moon,) and the crescent (thought to represent a crescent moon).
In the disks first stage, the gold dots where applied, (thought to represent stars) along with the gold circle (thought to represent the sun or full moon,) and the crescent (thought to represent a crescent moon).
Phase 1 © Ranier Zenz
You may notice that between the full and crescent moon, there is a little cluster of seven stars. These are thought to represent the Pleiades.
The Pleiades are considered “calendar stars,” because, in the Northern Hemisphere, they only appear between October and March.
The Pleiades are considered “calendar stars,” because, in the Northern Hemisphere, they only appear between October and March.
Okay. This is really difficult for me to wrap my head around, so bear with me.
A solar calendar is meant to express the earth going around the Sun. It is great for keeping track the days of the year.
A lunar calendar is meant to express how often the moon goes around the earth, and it is great for keeping track of weeks and months.
The problem is, they don’t line up.
A solar calendar is meant to express the earth going around the Sun. It is great for keeping track the days of the year.
A lunar calendar is meant to express how often the moon goes around the earth, and it is great for keeping track of weeks and months.
The problem is, they don’t line up.
The solar year is 11 days longer than the lunar year, so in only about 3 years, the months are off by about… a month.
In order to have a calendar with years AND months, regular exceptions must be made.
Different calendars over the millennia have dealt with this in various ways, (including our own, Gregorian calendar.)
In order to have a calendar with years AND months, regular exceptions must be made.
Different calendars over the millennia have dealt with this in various ways, (including our own, Gregorian calendar.)
Lunar cycle page from The Nebra Sky Disk handmade book ©LesliePetersonSapp
The Nebra Sky Disk represents one solution- AND it was done before this society (the Unetice culture) had any writing system.
The disk "...served as a reminder of when it was necessary to synchronize the lunar and solar years by inserting a leap month. This phenomenon occurred when the three-and-a-half-day-old moon—the crescent moon on the disc—was visible at the same time as the Pleiades." - Jarrett A. Lobell, Archeology Magazine
Whew. Is your brain exhausted? I know mine is!
Phase Two: Happy Solstice!
It’s well known that back in the day, celebrating the solstice, especially the winter solstice, wasn’t just a party. It was essential. You had to bring the sun back, or you’d all die.
How do you know when it’s the solstice? Who knows when it’s time?
How do you know when it’s the solstice? Who knows when it’s time?
Phase 2 © Ranier Zenz
In phase two, twin golden arcs on either side of the disk were applied. One of the arcs is now missing, possibly from damage inflicted when it was looted*.
It is clear they were added later, because they overlap some of the stars.
Additionally, chemical analysis reveals that the gold of the arcs was sourced from thousands of miles away from that of the moon and stars- another indication they were applied at different times. Yay science!
The arcs express an 82° span, which is exactly the span of the setting sun on the winter and summer solstices, when seen from Northern Europe.
When standing on top of Mittelburg Hill on the summer solstice, you will see the sun sets over a certain mountain in the distance, called the Brocken.
If you were to stand on that same hill and hold the Nebra Sky Disk up, and line the top part of that arc with the Brocken, then you’d be able to tell where the sun was in its yearly traverse.
If you were to stand on that same hill and hold the Nebra Sky Disk up, and line the top part of that arc with the Brocken, then you’d be able to tell where the sun was in its yearly traverse.
Graphic by Karol Schauer
You’d be able to tell when the winter solstice was nigh.
Phase Three: But What Does It Mean?
Many years after all of this, an enigmatic additional arc was added to the bottom of the disk.
Phase 3, © Ranier Zenz
This element was something that I had no choice but to take liberties with.
Because, I’m sure you’ve noticed, the addition of this arc makes the Nebra Sky Disk look like a happy face.
Once you’ve seen it, you can’t unsee it.
If I’m the original Sky Disk, to heck with it. Whaddaya gonna do? I’m the Sky Disk. Screw you.
But if I’m just little ol’ Leslie Peterson Sapp, doing a representation of the Sky Disk, I CAN’T make something that looks like a happy face. It simply can’t be done.
So, what do I do?
I investigate what this weird little thing is.
But if I’m just little ol’ Leslie Peterson Sapp, doing a representation of the Sky Disk, I CAN’T make something that looks like a happy face. It simply can’t be done.
So, what do I do?
I investigate what this weird little thing is.
Unlike the other two arcs on the disk, it’s asymmetrical. Furthermore, it has adornments. If you look closely, it has two lines that follow the shape of the arc, and the sides of the arc have small, feathery lines, like the legs of a centipede.
© Kenneth Garrett
Experts believe it is a representation of a solar boat.
What’s that?
What’s that?
A solar boat, barge, or ship is a common element the in the cosmology of many cultures across various places and times. This symbol embodies the belief that the sun is carried across the sky in a magical, celestial, maritime vessel.
When the sun sets, it continues its journey through the underworld, to return into view the following dawn.
When the sun sets, it continues its journey through the underworld, to return into view the following dawn.
I admit, the arc on the Nebra Sky Disk doesn’t look much like a boat. In fact, the tiny, feathery lines are thought to represent OARS. (Maybe the artisan who made it had never actually SEEN a boat?)
I was doubtful, until I started to see other, contemporaneous representations of solar boats.
I was doubtful, until I started to see other, contemporaneous representations of solar boats.
Miniature gold boats from Nors, Denmark
The journey of the sun ship
Madsebakke-schiff Solar boat petroglyph, Denmark.
Tanum Petrogylph, Sweden
By studying these different Bronze Age, Northern European artifacts, experts have been able to piece together a generalized belief system. These artifacts include rock art, golden boats, golden hats, bronze razors, standards and more.
If this little arc at the bottom of the disk is indeed a solar boat, it would mean that the usage of the Nebra Sky Disk had evolved over the centuries from a magical, but practical calendar device, to a cosmological totem.
Phase Four: Mascot
The fourth stage of the disk is one that entailed a bit of damage to the original artifact.
About 40 small holes were hammered in its perimeter. It is believed that these holes were created so that the disk could be affixed to a banner or some other standard, and could be held aloft to represent a tribe or other group identity.
About 40 small holes were hammered in its perimeter. It is believed that these holes were created so that the disk could be affixed to a banner or some other standard, and could be held aloft to represent a tribe or other group identity.
Phase 4 © Rainer Zenz
Phase… Five? Burial.
Replica of the find situation of the Nebra Sky Disk
It’s not technically considered a phase, but it is a phase.
After multiple centuries, the Nebra Sky Disk was buried. It was buried in a hoard of bronze objects, on top of Mittleburg Hill, the same place where the disk was probably used, back in it’s day.
After multiple centuries, the Nebra Sky Disk was buried. It was buried in a hoard of bronze objects, on top of Mittleburg Hill, the same place where the disk was probably used, back in it’s day.
The practice of depositing precious objects by burial, or by sinking in bogs or bodies of water, is a worldwide, timeless ritual, repeated ad infinitum through the ages. It seems to reflect a basic human impulse.
This was a rich offering to the gods, whomever they might have been. It may have been a way to bring closure to this very important symbol, even though its relevance may have run its course.
This was a rich offering to the gods, whomever they might have been. It may have been a way to bring closure to this very important symbol, even though its relevance may have run its course.
Who Controls Time?
Nobody does, clearly.
Time unfolds endlessly. We can’t see the future, and only vaguely remember the past.
Nevertheless, the planets circle, day goes into night, summer wanes to winter, and we get carried along with it, like a leaf on a stream.
The Nebra Sky Disk handmade book ©lesliepetersonsapp
Time does not change. The earth swings in its elliptical path around the sun, spinning around on its axis, unending for millions of years.
BUT, how we conceive of time is a social construct, and it has changed over the centuries.
Hunter-gatherer communities followed the food where it went, telling stories about creation and the cosmos as they went along. Time was the water they swam in.
BUT, how we conceive of time is a social construct, and it has changed over the centuries.
Hunter-gatherer communities followed the food where it went, telling stories about creation and the cosmos as they went along. Time was the water they swam in.
But, as our societies became more “complex,” and we became reliant on farming, the “specialization” of roles grew, and from this came… hierarchy.
Hierarchy and ownership. Territory and access to resources.
Different days of the year became significant, with milestones and celebrations. Who controls time? Who knows what day it is?
The people who understood the workings of this disk were magical people indeed. Very special people, whom others in the clan would trust and rely on.
Hierarchy and ownership. Territory and access to resources.
Different days of the year became significant, with milestones and celebrations. Who controls time? Who knows what day it is?
The people who understood the workings of this disk were magical people indeed. Very special people, whom others in the clan would trust and rely on.
The Nebra Sky Disk is a beautiful object, and like many beautiful artifacts of this world, including the ones I make, are made possible through specialization, hierarchy, and access to resources.
It is of this world, and yet it is transcendent.
It is of this world, and yet it is transcendent.
The Nebra Sky Disk, 24x24, acrylic on panel, ©Leslie Peterson Sapp
My Creative Process
When considering making The Nebra Sky Disk, I envisioned a circle within a square.
Auspiciously, I was able to find EXACTLY what I wanted: an 18 inch circular piece of wood, 1/4 inch thick at lowesorwhatever for only $13! Will wonders never cease?
First I hammered 40 holes along its perimeter, making sure to rough it up a bit as I went. Then I mounted it on a perfect 24x24 square panel.
I started the whole process by painting it all my favorite color, Prussian blue.
I started the whole process by painting it all my favorite color, Prussian blue.
As I am wont to do lately, I also started a small, handmade book as a way to capture thoughts and work out my ideas. I have been showing a few of the pages throughout this blog entry, but I have also devoted a separate blog entry to the book HERE.
The Nebra Sky Disk has gold applique symbols on it. In order to emulate the raised lip of the applied gold, I decided to create stencils, then trowel on gold paint thickly with my palette knife.
From this angle, you can see that the disk itself is also raised, because it is made from that thin piece of circular wood.
Constellations
I have never been into astronomy or astrology. Aside from a certain fascination with moon phases, I have stood back and watched others' interest in it, sort of wishing I could get interested, too. But through doing this piece, I have started to feel like there may be a hook for me.
The Pleiades is close to the constellation of Taurus.
I imagined what it might be like to live in a world where the sky, indeed, all of existence was alive and animate. With all our incredible gains through science and technology, it's one of the things that we have lost.
I imagined what it might be like to live in a world where the sky, indeed, all of existence was alive and animate. With all our incredible gains through science and technology, it's one of the things that we have lost.
I imagined standing on the Earth, and witnessing celestial entities dancing and circling above me in the sky.
I used chalk to start sketching constellations above the disk.
I used chalk to start sketching constellations above the disk.
WIP ©Leslie Peterson Sapp
By this time, I had instinctually imagined the disk hovering above a seascape.
Perhaps this is because of the solar boat element. Or maybe because the disk reminds me of a navigation device, even though it was never used for that purpose.
Additionally, I worked hard, and had a lot of fun, creating the green-blue, metallic, "bronze" patina of the disk.
I did this by sponging layers of specialized acrylic paints, including "interference" and iridescent colors. Thank you, Golden Paints!
After having just a lovely time creating my constellations above, I found myself struggling with what to do with that darn smiley face.
Solar Boat Struggles
Since I didn't want to recreate the "solar boat" element as is, I naturally looked to other representations of solar boats, and ran into a boat-load of problems.
I put in the boat.
I take out the boat.
I put the boat back in.
I have the boat off-center.
I have the boat in the center.
Is the boat gold?
Is the boat brown?
Is the boat goldish-brown?
Finally, I take the whole darn thing out and start over.
Then occured to me, why a boat? Do I have to put in a boat? I've got a seascape. Isn't that enough celestial-maritime element?
Every creative person knows, sometimes you just have to let it sit a while.
I started on another art piece, and set Nebra aside.
Every creative person knows, sometimes you just have to let it sit a while.
I started on another art piece, and set Nebra aside.
WIP ©Leslie Peterson Sapp
Eventually, the geometric elements of the piece began to replace my preoccupation with boats.
The sharp, white lines stretching across the piece, as well as connecting the star constellations, are actually scratched through the paint to the white panel beneath.
The criss-cross lines represent the 82° span of the solstices. Additionally, the V-shaped lines emanating from the bottom of the piece also represent 82°.
The geometry is also reflected by the dimensions of the piece: the perfect 24x24 panel, with the circular panel, perfectly placed in the middle. This evokes a sense of stability and calm.
The sharp, white lines stretching across the piece, as well as connecting the star constellations, are actually scratched through the paint to the white panel beneath.
The criss-cross lines represent the 82° span of the solstices. Additionally, the V-shaped lines emanating from the bottom of the piece also represent 82°.
The geometry is also reflected by the dimensions of the piece: the perfect 24x24 panel, with the circular panel, perfectly placed in the middle. This evokes a sense of stability and calm.
Somehow, my enchantment with moon phases emerged, and I realized depicting the moon phases at the bottom of the piece would create that compositional balance I was searching for, as well as support the narrative and use of the disk in ancient times.
Below, there is a video of the finished piece of The Nebra Sky Disk, so as to showcase its glimmer and dimensionality- a still photograph simply does not capture what it is like to see it in person.
The Nebra Sky Disk, 24x24, acrylic on panel, ©Leslie Peterson Sapp
-Addendum-
Crime Does Not Pay!
* The two looters, who damaged the disk with their shovels, sold it on the black market. It changed hands multiple times before it was recovered by a sting operation in 2002. The looters were sentenced to four months and ten months in jail. Upon appeal, the Appeals Court raised their sentences to six and twelve months.
(I simply adore art crime stories!)
(I simply adore art crime stories!)
Further Reading
The Nebra Sky Disk - Archeology Magazine, Jarrett A. Lobell, May/June 2019
https://www.archaeology.org/issues/337-1905/features/7543-maps-germany-nebra-sky-disc
https://www.archaeology.org/issues/337-1905/features/7543-maps-germany-nebra-sky-disc
The Nebra Sky Disc: decoding a prehistoric vision of the cosmos
https://the-past.com/feature/the-nebra-sky-disc-decoding-a-prehistoric-vision-of-the-cosmos/
https://the-past.com/feature/the-nebra-sky-disc-decoding-a-prehistoric-vision-of-the-cosmos/
The Nebra Sky Disk - Ancient Map of the Stars
https://www.worldhistory.org/article/235/the-nebra-sky-disk---ancient-map-of-the-stars/
https://www.worldhistory.org/article/235/the-nebra-sky-disk---ancient-map-of-the-stars/
The Journey of the Sun Across the Sky - National Museum of Denmark
https://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-bronze-age/the-sun-chariot/the-journey-of-the-sun-across-the-sky/
https://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-bronze-age/the-sun-chariot/the-journey-of-the-sun-across-the-sky/
- Published on
As I am wont to do lately, I also started a small, handmade book as a way to capture thoughts and work out my ideas.
This is a book about my art piece named The Nebra Sky Disk.
This is a book about my art piece named The Nebra Sky Disk.
To read about this piece, and learn about the archeological find it is based on, read this blog entry HERE.
The Nebra Sky Disk, 24x24, acrylic on panel, ©Leslie Peterson Sapp
- Published on
The Saffron Gatherers, 40x30, ©lesliepetersonsapp
My newest piece, The Saffron Gatherers is inspired from an ancient fresco painting known by the same name.
It is 40x30 inches, using drawing, painting, inkjet transfers and many, many layers of acrylic medium to create a distressed, encaustic-like effect.
I was interested in recreating, but not duplicating, the figure of one youthful saffron gatherer, who I have taken to calling “My Girl".
It is 40x30 inches, using drawing, painting, inkjet transfers and many, many layers of acrylic medium to create a distressed, encaustic-like effect.
I was interested in recreating, but not duplicating, the figure of one youthful saffron gatherer, who I have taken to calling “My Girl".
The Beautiful Frescos of Thera
The Saffron Gatherers was painted in the ancient city of Akrotiri, on the island of Thera. Thera is now known as Santorini, the famous vacation destination. When you see the shape of Santorini, it’s pretty obvious it is part of a massive, somewhat scary, mostly submerged caldera.
Ancient Thera was occupied by the same people who lived on Crete, a people we call the Minoans.
The Pompeii of the Aegean
Around 1600 BCE, Thera blew its top.
The caldera collapsed into the sea, significantly changing the shape and size of the island, and causing huge tsunamis to race across the Mediterranean and hit Crete.
Thera, pre and post eruption.
Thera, now Santorini, today.
It Was Kind of a Big Deal.
Although it may not have destroyed the Minoan civilization, it probably weakened it to the extent that they were eventually taken over by the mainland Greek civilization of Mycenae. It may have even caused a volcanic winter that reached as far away as China.
Actually, there were a series of eruptions before the caldera collapsed. One of the first eruptions blew ash into the air and covered Akrotiri, which is why the fresco have been preserved.
Actually, there were a series of eruptions before the caldera collapsed. One of the first eruptions blew ash into the air and covered Akrotiri, which is why the fresco have been preserved.
The Frescos of Akrotiki
Ancient Akrotiri was packed with frescoes. Much like the more famous frescoes on Crete, these frescoes are uniquely beautiful and inspire love from many people.
I could probably spend the rest of my life making works of art solely on this small, decimated town.
Minoan Art- The Stuff of Dreams
As I said, the paintings from the Minoan civilization have sparked our collective imagination and inspired not only archeologists, but poets, artists, spiritualists, and pseudo-sociologists. It captures our imagination with such fervor, that it has led to a fair amount irresponsible scholarship. There has been wild speculations as to the beliefs, values and societal structure of the Minoans. Laymen and scholars alike have projected their fantasies of a peaceful, woman-centered society onto the vestiges of this long-past civilization-- a sort of ancient Age of Aquarius.
Bull-leaping fresco, Knossos, Crete (reconstructed) c1400 BCE
And Who Can Blame Them?
How much of this wishful thinking is actually true?
No one knows.
Yet, there is something truly unique about the art from the Minoans that cannot be denied.
Most art during that period, such as the ancient Egyptians or the Babylonians, was beautiful, but schematic and completely formalized.
No one knows.
Yet, there is something truly unique about the art from the Minoans that cannot be denied.
Most art during that period, such as the ancient Egyptians or the Babylonians, was beautiful, but schematic and completely formalized.
The art produced for these and other civilizations were “instruments of propaganda... To serve either the reputation of the immortals or the reputation after death of their earthly representatives”*
In contrast, “the freedom of movement and the sense of vitality which emanates from Minoan art, an art which is the creation of a less rigid society... adapted to a habitat in which motion contrast and sudden change predominate.." **
In short, the art of the Minoans is often winsome, spontaneous, individualistic, and even funny.
Painting the Murals
First, let’s talk about some of the conventions in the paintings of Thera. Because of the technology and pigments available at the time, they had a limited amount of colors to work with, only black,red, blue and yellow ochre. They got the most out of this limited palette by juxtaposing colors, along with only a bit of mixing. There was no use of green that is discernible.
Miniature frieze from Room 5 in the West House, Akrotiri.
Then, let’s talk about how they signified the identities of the figures.
"Adornant" Xeste 3
The skin of the women was white, simply drawing an outline on the white of the plaster wall. The men had reddish brown skin.
Boys with offerings, Xeste 3.
People of different ages had different hairstyles. Mature men and women have long, luxuriant black hair. Maturity is also expressed by a double chin and rolls of flesh on the stomach (very realistic!)
Young adults have short, curly hair.
Young adults have short, curly hair.
Children had shorn heads, which is indicated by a blue scalp. As they grow a little bit older, little sections of hair would be allowed to grow. So, they have little pigtails (or, what in the 1980’s we used to call rat-tails) coming out at sort of odd intervals.
Boys are often portrayed nude, while the girls are always clothed.
The Story of The Saffron Gatherers
The Saffron Gatherers is in a building called Xeste 3, and wraps around the walls of a room on the second floor called Room 3a. The north wall shows a majestic female figure seated on a dias. She is dressed magnificently and has a snake going up her back and over her hair. She is accompanied by what seems to be a Griffin. In front of her, a young woman and a monkey (monkeys are depicted doing human things on Thera- what fun!) pour crocuses out in offering to the woman. (This figure has been identified as the Goddess of Nature, the Potnia.)
Goddess of Nature, the Potnia, Xeste 3, Akrotiri.
But my image does not concern this scene. My girl is on the east wall.
She is one of the most famous figures from this archeological complex, and is often the image that is used on the cover of books or magazines devoted to art from the Minoan period.
The Saffron Gatherers. Fresco. 1600 BCE.
In a craggy landscape, two female figures are collecting crocuses. The stamen of the crocus flower is also known as saffron. Saffron has a number of uses, from seasoning, to medicine, to the dying of fabric- clearly a valuable commodity.
The woman on the left is a young adult, with short, black curls. She carries a basket, and as she collects crocuses, she looks back over her shoulder at her companion, with a stern, even annoyed, expression.
The next figure is who I depict, and that seems to be so loved by people around the world.
She is quite young, with a shaved head, a curling black forelock, and a sassy little ponytail.
She is clamoring after the older girl, who is doing a much more efficient job of picking saffron. She has the joyous, winsome expression of the young.
The interplay between the two figures creates a story, an intimate, vastly human moment.
She is clamoring after the older girl, who is doing a much more efficient job of picking saffron. She has the joyous, winsome expression of the young.
The interplay between the two figures creates a story, an intimate, vastly human moment.
I love the fact that in the same room that depicts a Goddess, there is also a scene where an older girl is telling a younger girl to hurry up.
My Process
I was interested in recreating, but not duplicating, this lovely, young gamine.
When drawing from some source material, a typical technique for an artist is to use a grid.
After creating a grid for the original image, you simply make a corresponding grid on the blank art substrate or page. This helps your eye to “map” where points are in the original image, and to objectively observe the shapes.
After creating a grid for the original image, you simply make a corresponding grid on the blank art substrate or page. This helps your eye to “map” where points are in the original image, and to objectively observe the shapes.
The rhythm of the original fresco is beautiful and I wanted to capture it, so I added diagonal lines that help describe the general shape and movement of the figure, and create a kind of underpinning, or ley lines.
In my research for this piece, I became attracted to the plan, or map of the ancient city of Akrotiri (seen above) where the frescos were found. I wanted to integrate it into the piece, and in so doing realized the shape of the plan echoed and complimented the shape of the figure. So I printed out a large print of the plan on rice paper, and transferred it over the figure.
The frescoes of Thera did not come intact. They were unearthed in tiny pieces, and methodically reassembled off-site, like a puzzle. When I see an image of The Saffron Gatherers, I'm viewing a heavily distressed image. I have no wish to "clean it up" and reproduce what I think it originally looked like. The fresco's partial destruction and the passage of time add to its appeal for me.
Like many people, I appreciate how aging affects the aesthetic appearance of an object. People often mimic the look by using clever techniques (remember the "shabby chic" craze?)
I'm no expert at creating distressed surfaces, but I think I'm on my way to becoming one!
I'm no expert at creating distressed surfaces, but I think I'm on my way to becoming one!
The next series of steps was to create layer after layer of effects, attempting to express this aesthetic of distressed beauty.
I might put a layer of heavy matte acrylic gel, followed by a layer of light molding paste. Molding paste is an acrylic gel mixed with marble dust, and it has a lovely chalky, milky, yet luminous quality to it. Then I might redraw the figure again, then add a bit of color. Then start the layering again.
Here is My Girl, all covered with matte gel. It will dry translucent.
Here is My Girl, all covered with matte gel. It will dry translucent.
An Amalgamation of Elements
I got playful with the imagery with some additions.
At the top of the panel, I painted in a blue strip. I thought it would be either a blue sky, or a glimpse of the sea. This is a way to express that My Girl lived on an island. She would have been surrounded by sea and sky (this is Santorini, after all!) Borrowing from a different Thera fresco, the mural from Room 5 in The West House, I painted dancing dolphins.
At the top of the panel, I painted in a blue strip. I thought it would be either a blue sky, or a glimpse of the sea. This is a way to express that My Girl lived on an island. She would have been surrounded by sea and sky (this is Santorini, after all!) Borrowing from a different Thera fresco, the mural from Room 5 in The West House, I painted dancing dolphins.
In the lower left corner, I added a scheme of the island before and after the eruption, showing how dramatically it changed the footprint of the island.
(The tiny red star is where they think the epicenter of the eruption was)
(The tiny red star is where they think the epicenter of the eruption was)
I find it fascinating how the lively elements of My Girl, the dancing dolphins and saffron flowers, create a striking contrast with the immense destruction from this catastrophic event.
One of my finishing touches was to take the powdery crumbs of a bright orange pastel and sprinkle it various places, to signify the saffron. I doubt they would willingly disperse the precious crop so wastefully, but I felt it would be another whimsical element, adding to the magical atmosphere of my imaginings.
The Saffron Gatherers, 40x30, ©lesliepetersonsapp
The Tiny Book of Thera
Along with this large painting, I also have been creating a small, handmade book to help work out my ideas.
I found myself working on the book and the larger piece simultaneously, each aiding the other.
At the time of this entry, the book is a work in progress. If you click HERE, you can see a short blog entry about the book, and see a video of me flipping through the pages.
In the future, I may start another large work based on some of the images in the book- who knows?
In the future, I may start another large work based on some of the images in the book- who knows?
* Christos Doumas, The Wall Paintings of Thera, (Kapon Editions, 1992) Pg 22
** Ibid
** Ibid
- Published on
A while ago, I took an amazing journey to visit prehistoric cave paintings in the Dordogne Valley in France. Not only did I and my companions get personalized tours of the caves, we also got to create art to express and process the what we experienced.
The artmaking was facilitated by Kirah Van Sickle. She had us make tiny, handmade books, which we adorned using stencils, watercolor pencils, collage, and monotypes.
The artmaking was facilitated by Kirah Van Sickle. She had us make tiny, handmade books, which we adorned using stencils, watercolor pencils, collage, and monotypes.
This way of making art was so fun, and such an effective form of expression that I decided to continue this playful practice and make books as a sort of “sketchbook”, a place to experiment and work out my thoughts.
I started one to accompany my journey through creating The Saffron Gatherers.
I started one to accompany my journey through creating The Saffron Gatherers.
I found myself working on the book and the larger piece simultaneously, each aiding the other.
At the time of this entry, the book is a work in progress! In the future, I may start another large piece inspired by some of the pages of this book.
At the time of this entry, the book is a work in progress! In the future, I may start another large piece inspired by some of the pages of this book.
- Published on
This amazing Mesolithic site has inspired me to create a haunting work of art that seeks to express the tension between our imaginings of times past, and our scientific knowledge of the same.
Star Carr, 45x36, ©lesliepetersonsapp
Star Carr- what a groovy name.
A carr is a British term for a swamp. I had to look it up.
A carr is a British term for a swamp. I had to look it up.
According to Google Maps, there is Star Carr Lakes fishing pond and Star Carr fish hatchery, and the Star Carr Cottages. But, about 30 miles north, there is Star Carr, the famous Mesolithic archeological site.
What Is the Mesolithic Era?
It’s the Middle Stone Age.
Not helpful? How 'bout this?
It is a period of time between the Ice Age and the Agricultural Revolution. So, it’s the time between when people were nomadic and when people started to farm in permanent settlements. During the Mesolithic, people were what would be called semi-nomadic, with sites they would return to cyclically as the seasons revolved and resources presented themselves.
Not helpful? How 'bout this?
It is a period of time between the Ice Age and the Agricultural Revolution. So, it’s the time between when people were nomadic and when people started to farm in permanent settlements. During the Mesolithic, people were what would be called semi-nomadic, with sites they would return to cyclically as the seasons revolved and resources presented themselves.
This era occurs at different times in different parts of Eurasia.
In the Middle East, it’s roughly 15,000- 8,000 BCE.
In Europe it’s 10,000- 5,000 BCE.
Reconstruction of a Mesolithic house ©David Hawgood
All other areas of the world, we have different terms to describe this transition, and in some parts of the world, this transition never occurred at all.
During the Paleolithic, or Ice Age, glaciers covered most of northern Europe. So, during the Mesolithic, glaciers were melting like crazy, and there was water everywhere. (In fact, Britain was still part of mainland Europe, via a now submerged land mass we call Doggerland- but more on that another time!)
Star Carr was on the edge of a huge glacial lake. People returned to this site again and again over hundreds of years. Over time, this large lake shrank, became a marsh, then a peat bog, and now farmland.
What Makes Star Carr So Special?
The Mesolithic Age in northern Europe is hard to track. It’s difficult to locate artifacts from this place and time, because:
1. People were on the move, so they didn’t have a lot of stuff.
2. Much of what they made was from organic material. Think bone, willow branches, hides, wood, reeds. Think of a marshy environment and what resources that would provide.
3. Northern Europe is wet, and a lot of the soil is acidic. So, much of what these people left behind has rotted away.
1. People were on the move, so they didn’t have a lot of stuff.
2. Much of what they made was from organic material. Think bone, willow branches, hides, wood, reeds. Think of a marshy environment and what resources that would provide.
3. Northern Europe is wet, and a lot of the soil is acidic. So, much of what these people left behind has rotted away.
Artifacts and remains are well preserved in either dry environments (think of all those mummies in Egypt) OR in low-oxygen environments… like deep in the mud of a marsh. Or peat.
Life on the Lake
Reconstruction of the western platform ©Marcus Abbott
Season after season, people returned to their camp on the edge of this marshy lake. The lake didn’t have a true edge to it, but had an indistinct, marshy shore. So they created a “platform” out of wood. Only there are no pilings, they just laid a bunch of logs on top of each other.
This is so they could access the deeper water of the lake more easily.
Year after year, when the logs settled into the lake bed, they would add more logs on top.
This is so they could access the deeper water of the lake more easily.
Year after year, when the logs settled into the lake bed, they would add more logs on top.
In and amongst these logs are a very high concentration of tools and animal remains.
But this platform was not only used for lake access. It was clearly a place for ritual as well.
But this platform was not only used for lake access. It was clearly a place for ritual as well.
Composite photograph of brushwood from Clark’s 1951 excavations ©David Lamplough
The Waters Edge
Water is sacred. Water is Life.
Everywhere around the world, there is evidence of people ritually depositing objects into bodies of water, like pennies into a wishing well.
Everywhere around the world, there is evidence of people ritually depositing objects into bodies of water, like pennies into a wishing well.
Dozens of headdresses, or “frontlets” have been found deep within the peat at Star Carr, fashioned from the skulls of red deer, their antlers still attached.
The tops of the skulls were separated, hollowed out and smoothed. Two holes, probably for straps, were bored through. The antlers were trimmed, and halved lengthwise to reduce weight.
It’s stunning to me that over 6000 years ago, people like us, living by this lake that is no longer a lake, made these headdresses, and placed them into the water for their gods, and then in 1951 somebody dug them up and now we have them to gaze upon and wonder.
Star Carr Archaeology Project sc15video70
My Process with Star Carr
My development of Star Carr is new and different for me in that I have two panels, one on top of the other.
Although I have displayed diptychs and triptychs before, the vertical format is new territory.
Also, the two panels are of dramatically different sizes: the upper is 36x36, the lower 9x36.
Although I have displayed diptychs and triptychs before, the vertical format is new territory.
Also, the two panels are of dramatically different sizes: the upper is 36x36, the lower 9x36.
In the upper panel, I attempt to depict what I imagine the experience might have been like during the time these frontlets were fashioned. The moment when a group of people, people just like us, created this magical object, and deposited it into the life-giving waters of the lake they relied on for sustenance.
In this panel, you can see the semi-submerged log platform, the shining moon above, and an ethereal red deer regarding us by the waters edge.
I imagine the large, hovering frontlet as maybe the spirit of the red deer, with whatever magic was attributed to it, gazing at us, watching over us, maybe threatening us, we just don't know.
In this panel, you can see the semi-submerged log platform, the shining moon above, and an ethereal red deer regarding us by the waters edge.
I imagine the large, hovering frontlet as maybe the spirit of the red deer, with whatever magic was attributed to it, gazing at us, watching over us, maybe threatening us, we just don't know.
As is often the case, I felt compelled to use a ruler and create a geometric underpinning, or underlying lines.
(This is one of the eccentric compulsions I have, that I am lately embracing, rather than attempting to diminish!)
After going a while with the upper panel, I started to experiment with mock-ups for the lower.
In contrast to the upper panel, where I imagine what the creators of the frontlets may have experienced, I want the lower panel to show our current relationship to the site, and the wonder of finding the remnants of the people living there. The lower panel is below the upper one to represent how we find these vestiges underground, in the Earth.
In contrast to the upper panel, where I imagine what the creators of the frontlets may have experienced, I want the lower panel to show our current relationship to the site, and the wonder of finding the remnants of the people living there. The lower panel is below the upper one to represent how we find these vestiges underground, in the Earth.
Star Carr, Lower Panel, 9x36 ©lesliepetersonsapp
The lower panel has many images, printed on various papers and collaged over one another.
Star Carr was discovered in 1947 by an amateur archeologist, John Moore. He started to dig around, and when he realized the significance of the site, he contacted Professor Grahame Clark at the University of Cambridge. Clark excavated from 1949 to 1951. This is a picture of him at the excavation, where he discovered the intact log "platform."
Image: Grahame Clark at the 1951 excavation. ©Scarborough Archaeological and Historical Society
Image: Grahame Clark at the 1951 excavation. ©Scarborough Archaeological and Historical Society
I reversed the picture of him and tinted it blue.
Next, I used a composite photograph of his discovery of the log platform. I am impressed by how difficult it must have been to take these images. Now we just send up a drone. Back then they had to build platforms above, and a very skilled photographer would clamber up, lie on their stomach, and shoot each picture. Later it was stitched together to create this.
Next, I used a composite photograph of his discovery of the log platform. I am impressed by how difficult it must have been to take these images. Now we just send up a drone. Back then they had to build platforms above, and a very skilled photographer would clamber up, lie on their stomach, and shoot each picture. Later it was stitched together to create this.
Composite photograph of brushwood from Clark’s 1951 excavations ©David Lamplough
I printed these images with a blue cast as a base.
Archeological science keeps evolving, and the latest excavations at Star Carr have produced a wealth of highly detailed information!
©Star Carr Project, CC BY-NC 4.0
The information gained is presented in dozens of ways, each with a particular aspect of knowledge meant to be communicated.
In doing the research for my piece, I became fascinated by the MANY MANY "plans", or schema of the log platforms produced by the Star Carr Archeology Project.
In doing the research for my piece, I became fascinated by the MANY MANY "plans", or schema of the log platforms produced by the Star Carr Archeology Project.
I found the aesthetics of the graphs and schema beautiful.
Here I must thank Dr. Harry Robson, who took time out from what I am sure is a very busy schedule to help me attain permission to use these images. (And by the way- he found THREE frontlets at Star Carr!)
Here I must thank Dr. Harry Robson, who took time out from what I am sure is a very busy schedule to help me attain permission to use these images. (And by the way- he found THREE frontlets at Star Carr!)
I watched a bunch of videos on the Star Carr Project YouTube channel, and got to see archeologists actually lifting frontlets out of the mud! I couldn't resist! I took screenshots, ran them through various photo manipulations. I printed it out on tracing paper, and glued it over the image of the blue log scatter.
Star Carr, Detail, Lower Panel, 9x36 ©lesliepetersonsapp
Art has a unique power to hold paradox. It can convey enigmatic meaning that will elude common speech.
I seek to express the tension between our imaginings of times past, and our scientific knowledge of it.
To hold as one these seemingly opposite stances makes our understanding more rich and meaningful.
I seek to express the tension between our imaginings of times past, and our scientific knowledge of it.
To hold as one these seemingly opposite stances makes our understanding more rich and meaningful.
Resources and Cool Links
I want to thank Patrick Wyman and his wonderful podcast Tides of History for introducing me to Star Carr. Episode about Star Carr HERE.
I'd like to thank Dr. Harry K. Robson, Postdoctoral Research Associate at The University of York for his assistance with this blog entry, and for helping me to understand image permissions for the artwork.
Star Carr has a wonderful website devoted to it, The Star Carr Archeology Project.
Finds from Star Carr can now be seen in four museums: The British Museum, the Yorkshire Museum, the University Museum of Archaeology and Anthropology at Cambridge and the Scarborough Museum.
I'd like to thank Dr. Harry K. Robson, Postdoctoral Research Associate at The University of York for his assistance with this blog entry, and for helping me to understand image permissions for the artwork.
Star Carr has a wonderful website devoted to it, The Star Carr Archeology Project.
Finds from Star Carr can now be seen in four museums: The British Museum, the Yorkshire Museum, the University Museum of Archaeology and Anthropology at Cambridge and the Scarborough Museum.
- Published on
I just got back from my Dream Vacation That is Not a Vacation.
My journey into the caves.
My journey into the caves.
Bison sculpture, 15,000 BCE
I and 10 other people, some artists, some not, gathered in the Dordogne Valley, France.
The Dordogne Valley has one of the highest concentrations of Paleolithic art in the world.
With the guidance of Dr. Carol Aalbers, we had special, personalized tours in multiple caves containing Paleolithic paintings.
But we didn’t just go visit the caves. We then took time to process what we experienced together using art, movement, and dream exploration.
But we didn’t just go visit the caves. We then took time to process what we experienced together using art, movement, and dream exploration.
The Caves
I toured five caves, plus a rock shelter.
I realize that I am an artist who blogs, not a travel blogger, so I will simply tell you which caves I visited, then talk about the impact they had on me.
By the way- photography is not allowed inside the caves, so I am showing images I have pulled off websites devoted to the caves.
I realize that I am an artist who blogs, not a travel blogger, so I will simply tell you which caves I visited, then talk about the impact they had on me.
By the way- photography is not allowed inside the caves, so I am showing images I have pulled off websites devoted to the caves.
Aurochs Paintings in Lascaux IV
Me at the Lascaux interactive museum.
Lascaux Cave is one of the most impressive and famous Paleolithic art caves in the world. Its so famous that it had to be closed to the public- the breath of so many visitors deteriorated the paintings. So, several replicas have been made. Lascaux is the only cave I saw on this trip that was a replica.
Although the replica is truly impressive, being in the actual caves is incomparable.
Below are the four real caves I got to see.
Below are the four real caves I got to see.
I also got to see Cap Blanc, which is an “abri,” or rock shelter that has relief carvings. They were probably also painted, but the pigment has been worn away over time.
Cap Blanc
A Profound Experience
Imagine going underground into a cave. The atmosphere is totally different than the world above. It’s cool, it’s dark, it’s damp. You shuffle along with your tour companions, contemporary human beings with backpacks and rain jackets.
Pech Merle hand print, 18,000 BCE
Then, suddenly, you see the outline of a human hand, created by a person holding their hand up to the rock, and blowing liquid pigment, leaving a negative hand-print.
Imagine you knew the person who made that print has been dead for 20,000 years. And here you are, looking at it. It looks fresh and new, like the person pressed their hand to that rock the day before.
Now, imagine not just hand prints, but mysterious graphic signs, dots, and beautiful, elegant drawings.
For me, it was an extraordinary, almost mystical experience.
For me, it was an extraordinary, almost mystical experience.
The Artmaking
In between the days saw the caves, we would stay at our B&B and make art. The artmaking was facilitated by Kirah Van Sickle. She guided me through art processes using materials that I am not used to, using colors I wouldn’t normally choose, in a format I’ve never done before.
First, I created two small paintings on paper, using stencils, little sponge rollers, watercolor pencils, collage, and something called a gelli plate, which is a way to make monotypes.
First, I created two small paintings on paper, using stencils, little sponge rollers, watercolor pencils, collage, and something called a gelli plate, which is a way to make monotypes.
Then, we folded up large pieces of paper to make little tiny 3x3 inch books, which we then adorned, using the same materials.
The materials and approach was entirely different than what I normally do, and it brought me away from my routine- and my artistic tricks! I was forced to become more imaginative and loose, and it was a lot of fun.
The Essence of Art
Why do art? Why do I do what I do?
I struggle with making art I describe as "performative," by which I mean, result-oriented. I can easily slide into the territory of doing something for the sake of approval.
So, there’s a tension, because on the one hand, I want to do artwork that’s good quality and appeals to people. But on the other hand, I want to make art that purely authentic and comes from my heart.
Going into those caves and seeing work from artists/shamans from tens of thousands of years ago really brought me into direct connection with the fundamental drive humans have to dream, to communicate, to create and express ourselves. It reminds me that this is my primary missive, sales and accolades be damned.
I struggle with making art I describe as "performative," by which I mean, result-oriented. I can easily slide into the territory of doing something for the sake of approval.
So, there’s a tension, because on the one hand, I want to do artwork that’s good quality and appeals to people. But on the other hand, I want to make art that purely authentic and comes from my heart.
Going into those caves and seeing work from artists/shamans from tens of thousands of years ago really brought me into direct connection with the fundamental drive humans have to dream, to communicate, to create and express ourselves. It reminds me that this is my primary missive, sales and accolades be damned.
Lascaux, ca. 15,000 BCE
I also came away with this idea that my drawing is enough.
The images I saw in those caves were so elegant and sophisticated, yet so simple. Even the “incomplete” drawings had a completeness to them.
The images I saw in those caves were so elegant and sophisticated, yet so simple. Even the “incomplete” drawings had a completeness to them.
I’m a better drawer than I am a painter. I have always felt as though presenting "just drawings" was never acceptable, and that I had to gussy them up with a bunch of paint.
A drawing I did of an Etruscan tomb painting
Are there ways that I could present finished work that features my drawing? Does it have to be anything other than what it simply is?
This trip was a profound experience, and I feel very different. My hope is that this difference will continue to grow in my heart and mind, and that it will inform my artmaking from this time forward.
This trip was a profound experience, and I feel very different. My hope is that this difference will continue to grow in my heart and mind, and that it will inform my artmaking from this time forward.
Now, off to make some art!