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  Large Watercolors, July, 1981.Unless otherwise noted,
      all paintings are watercolor on paper, 60 x 40  inches
 
 Links to all 1981-1982 Large Watercolors...
 February-March, 1981  
      April-May, 1981  
  June, 1981
 July 1981  
      August 1981  
      September 1981
 October 1981  
      November 1981  
  December 1981
   January-March 1982  
  April-July 1982
 
  
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   July 1, 1981 |  July 5, 1981
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      | July 6-7, 1981. Painting the Grandfather Springs… The white diamond that was to be 
      entwined in the top center turns out to be an irrelevant crowd pleaser.  
      So I will not put it in, nor all the little prismatic circles I had been 
      considering.
 And it is the full face 
      of an old man with long, curling hair; and it is that bird with widespread 
      wings that bends down over all, and there is, rising up bottom center, a 
      phallus just like mine as I looked in the mirror in the late afternoon sun 
      just before I started the painting. So that is Grandfather 
      Springs: the face of an old man, a dark bird, a phallus: ALL ME. The diamond has become a 
      clear, white circle rising like a new moon behind the heap of stuff that 
      is the rest of the painting.  And the phallus?  
      All that's left is a smear of white with blood running down. See what the moon called 
      forth: Listen to the night wind blowing. Final title: 
      Grandfather Springs.*_______________________________
 *Note: There was an earlier "Grandfather Springs," except that it was in 
      the "Grandfather 
      Tree" of the 1976 watercolors.
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       The Grandfather Springs, July 7, 1981.
     |  
      | July 10, 1981.  
      Each painting must be resolved in its own terms.  And when you get to the 
      bottom, what there is, is a Black Hole.  We call it fate.  That which 
      makes me, me; him, him; her, her.  It is the darkest mystery of all.  Out 
      of it comes destiny, the things that I and she and he will do in our lives 
      and the particular ends to which we will each come. It is open at that one 
      place because it is also the womb. Final title: 
      Mirror. | 
       "Mirror," July 10, 1981.
     |  
      | July 12, 1981.  “This is all ye know, and all ye need to know”—Perfect union.
 I saw the image this 
      morning, just after sex. Final title: The 
      Sexual Connoisseur.   July 13, 1981.  Yes, these two paintings (July 10, Mirror and July 12,
      Connoisseur) are very sexual.  I’ve put them both—the Mirror 
      and the Connoisseur —up on the wall in front of me.  Sitting here, the 
      right action is to spread my legs, show my stuff and take them in.  The 
      mirror painting shows Earth Fred, brown, flying to and holding up Venus’ 
      Mirror, black; and the Connoisseur, is, as I wrote in my notes as the 
      painting was coming to conclusion, the image of sexual climax.
 The river is flowing 
      strongly into the future; what I must do is keep up an adequate supply of 
      paper, paint, etc., and just follow. “Follow feeling”… be open 
      to the winds. And the little 
      paintings/notes I worked on today?  Well, they’re just not the way.  | 
       "The Sexual Connoisseur," July 12, 1981
     |  
      |  "Five old Women..." detail.
   
      
       "Five old Women..." detail
     |  "Five old women in their weedy gardens by the river in the evening." July 
      11, 1982.
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          |  "Let us gather by the river..." July 18, 1981
     |  "White Bird and Bedstead," July 21, 1981.
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          |  "Red Square with Seed Spiral," July 22, 1981
     |  Untitled, July 24, 1981.
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      | July 27-28, 1981.  
      In the beginning it was me, and the blue diamond was at the base of my 
      crotch.  But now that it’s over, all that feeling of a blue jewel in my 
      groin has turned into—the whole painting has turned into—a woman with an 
      ocean in her womb. Final title: Woman. | 
       "Woman," July 28, 1981
     |  
      | July 30, 1981.  A man.  I don’t use music anymore to help establish a mood to work 
      in.  Much more, just my body, and an image.  For the man, now, my body and 
      the image/feel of the front hedge as I cleaned out the accumulated debris 
      around the roots yesterday.  And so I made the painting as I felt and 
      looked at my phallus, felt my thighs, belly, chest and nipples; and 
      thought yesterday’s words: “Follow, follow feeling, right down into the 
      depths.”
 OK, so it’s two phalli, 
      one bulbous, green, filled with sperm; the other long, red, filled with 
      blood light.  And one gives a bluish-grayish sperm, the other black, and 
      the two sperms surround the golden pyramid. And now, two hours later, 
      it has developed completely beyond any such ”symbolical allegorical” 
      descriptions and become also sharper, clearer, simpler and more complex in 
      color and shape relations… by painting out the “garbage” and allowing a 
      vagina to appear in its proper place at the crown and allowing a heart to 
      appear in it.  Next day And 
      beyond, also, any simply categorized, limited, “sexual desire.”  It has 
      become after working most of yesterday and this morning, a “Dawn.” Anyway, this was the end 
      of the line.   | 
       "Dawn... A Man... Sprouts and Big Dick," July 30, 1981
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