The Art of Fred Martin
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From Studio Notes, February 2006

◄  #5, February 2006 
February 25, 2006. Oakland.
Early morning.
Start with the February 12 "concept"--The golden sun streaked with blood and marked with shadow becomes four rivers of light still flowing down the sacred mountain, plus three rivers of blood . Two or three of the rivers of light start with black.

Early evening.
The yellow half circle has become a mound with an empty space below it. The empty space looks like a tomb and I laid a bar of smooth impasto raw umber in it as the dark and silent earth of myself now.


Late night.
The raw umber bar has no meaning. I put a disk of cad red light at the bottom of it as a base of energy and life (with all the complicated “cad red light is the spiritual color” associations—here at the base of the “dark and silent earth I am now.” Well, hope for the best.


February 26, 2006. Oakland.
Afternoon.

The raw umber bar with cad red light disk has no meaning. Move the cad red light disk to the top, carve an expanding spiral in it that trails up and out toward the yellow mound. Looks wrong. Balance it with a white disk at the bottom where the cad red light disk was at the beginning. Cut a geometric sign in it… “See, it’s my whole life as the representation of Karl Jaspers Reason and Existenz. It looks totally wrong, all I can see in the dark silent earth bar is a cad red light vagina sign carved into it.

Lay in a long and centered area of cad red light, paint smooth impasto raw umber over it, then use a nail to carve the vagina sign through the still soft and smooth raw umber impasto

Evening.
This painting has become the image of the sound of Melisande dying, rising ever higher—
like the 60 x 40 inch pastel I made in 1976 (?). But that painting was the illustration of an idea while this painting is a gift.

 

Arkel..

Hush!... Hush!... we must speak softly now. – She must not be disturbed. … The human soul is very silent… The human soul likes to depart alone… It suffers so timorously. … But the sadness, Golaud … the sadness of all we see! … Oh! oh! oh! …

                     —from Maurice Maeterlink: Pelleas and Melisande. New York, 1913, p119