COMPLETION:
ARTISTIC TRANSMUTATION
by
Eduardo Rosas
A Statement in Support of Thesis Exhibition Submitted to the Faculty of
The Dorothy F. Schmidt College of Arts and Letters
In Partial Fulfillment of the Requirements for the Degree of
Master of Fine Arts
Florida Atlantic University
Boca Raton, Florida
August 2014
ABSTRACT
Author: Eduardo Rosas
Title: Completion: Artistic Transmutation
Institution: Florida Atlantic University
Thesis Advisor: Walter Hnatysh
Degree: Master of Fine Arts
Year: 2014
Symbols connect our deepest thoughts with our senses. This thesis explores the
Alchemical symbols, developed by mythical deity Hermes Trismegistus, whose symbols remnant of geometric shapes represent the classical elements of Earth, Water, Fire and
Air. Watercolor, graphite, and gesso are my primary materials as they can be manipulated by the classical element of water. With this, I can create representations of the symbols through the language of drawing. The audience is invited to open their thoughts and all senses to the Alchemical symbols and the distinctive forms that appear from the visual mixture of the materials.
iii COMPLETION: ARTISTIC TRANSMUTATION
LIST OF PLATES ...... v
CHAPTER
1. KNOWLEDGE OF THE ANCIENT MYSTERIES ...... 1
1.1 Alchemy...... 1
1.2 Hermes Trismegistus ...... 3
1.3 Alchemical Symbols ...... 4
2. THREE PHASES OF ARTISTIC TRANSMUTATION ...... 7
2.1 Phase 1 of Artistic Transmutation...... 7
2.2 Phase 2 of Artistic Transmutation...... 9
2.3 Phase 3 of Artistic Transmutation...... 11
3. COMPLETION...... 14
3.1 Thesis ...... 14
3.2 Process ...... 15
3.3 Understanding...... 18
3.4 Influences...... 20
3.5 Conclusion ...... 24
4. REFERENCES ...... 32
iv LIST OF PLATES
Plates
I. Alchemy chart...... 5
II. “Viridarium chymicum”...... 6
III. Watercolor, ink on paper, 2009...... 7
IV. Watercolor, ink on folded paper, 2012 ...... 9
V. Study in Clay, 2012...... 11
VI. Step by step process...... 15
VII. Water, 2013 ...... 18
VIII. “Sphinx”...... 20
IX. Water detail, 2013...... 21
X. “Weights and Measures”...... 22
XI. Earth detail, 2013...... 23
XII. “Sun” ...... 25
XIII. “Moon”...... 26
XIV. “Air”...... 27
XV. “Earth”...... 28
XVI. “Fire” ...... 29
XVII. “Water”...... 30
XVIII. “Androgyny...... 31
v 1. KNOWLEDGE OF THE ANCIENT MYSTERIES
1.1 Alchemy
Alchemy is a dual subject that shares aspects of both science and theosophy. It is the practice of modifying a common substance of little value into a substance of great value. A scientific example is the early practices of chemistry
Renaissance painters explored when mixing their oil pigments. They created one of the oil colors, ultramarine blue from a common substance, lapis lazuli.
The material lapis lazuli, is a blue metamorphic rock mostly made up of a materialized limestone called Lazurite and has been esteemed for its rich color.
This stone has been mined in the Northeastern part of Afghanistan as early as the
7th millennium BC. Renaissance painters wishing to have this pigment at their disposal to paint with had to extract the pigment themselves. The first part of the process consisted of grinding the stone by hand. Once the grinding of the stone was completed, the ground lapis lazuli would then be mixed with melted wax, resins, and oils. That mixture would then be wrapped with a cloth and kneaded under a solution of potassium carbonate. As a result of kneading the wrapped mixture under the potassium carbonate solution, the blue particles from the mixture are extracted while the grime is attached to the combined body of wax, resin, and oil. Finally, the extracted pigment is combined with linseed oil, which is
1 an oil pressed from dried flax seeds, to produce paint that is feasible to paint with.
The second aspect of Alchemy that is coupled with its scientific counterpart is Theosophy. This system of thought is concerned with the investigation of the mysteries of life and divinity. Alchemists or anyone who practices the subject in its theosophical form is in search of Gnosis. Gnosis is the ability to have the profound understanding of how the universe works and the background of humanity. Those who posses this understanding have keen insight on where they are from, who they are, and what their future will be.
I was inspired to choose this as my topic because I’ve had a profound interest in philosophy and esoteric studies. I grew up in a strong religious household and God was always part of every conversation while I was growing up. I attended mass every Sunday and I went to a catholic school up until the very age of fourteen. As I got older my grandmother, who was a very important figure in my life and devotedly religious, grew ill then eventually passed away from colon cancer. The death of my grandmother caused me to question the existence of
God, life in its entirety and my own existence. Her death put me face to face with the duality of life and death. That lesson of duality was the catalyst that sparked my search for Gnosis.
Before attending graduate school I was versed in philosophical readings and esoteric studies. While attending graduate school a peer of mine suggested I read, The Alchemist by Paulo Cohelo. That book had a profound impact on my
2 life and from that point forward I started to research Alchemy and its origins.
Upon my research on the subject of Alchemy I came across Hermes Trismegistus,
The Seven Hermetic Principles and the Alchemical symbols that depict the classical elements of Earth, Water, Fire, Air and Androgyny.
1.2 Hermes Trismegistus
Hermes Trismegistus is a mythical deity. However, just as alchemy contains dual aspects, so does Hermes Trismegistus. It is said that the mythical deity is a combination of Thoth-the Egyptian God of wisdom and also the inventor of script, magic and other sciences including Alchemy. Thoth also acts as the balance of harmony between the cosmos and Earth. He also had many followers in the early ages of Egypt and the principal center to which they all gathered and worshipped was the city of Hermopolis.
Hermes, the Greek counterpart, is the messenger of the Gods. Like Thoth,
Hermes acts as the intermediary between the living and the dead. Both Gods were guided for souls in the afterlife, also known as psychopoms. Trismegistus directly translates to “triple hero”, or “thrice wise”. This trinity is implicated into his name because he is said to know the three parts of wisdom of the entire universe. The three parts of wisdom of the universe are Alchemy, Astrology, and Theurgy.
Theurgy is the practice of rituals that evoke an open communication between followers and the divine such as the way Catholics perform the sign of the cross and place there hands together in prayer. The true sources of Hermes origins are a
3 mystery. It is unknown if Hermes Trismegistus ever took on human form or remained as deity of worship for his followers. All that remains to preserve his existence are paper trails of sacred texts and faith.
1.3 Alchemical Symbols
The expression of Alchemy are the Alchemical symbols depicting the classical elements of Earth, Water, Fire and Air. In addition to the elements are the symbols that represent Male and Female. (As seen below in PLATE III.) Sun is depicted as a circle with a dot placed in its center, The Moon symbolically represents a crescent, Fire is depicted as a right side up equilateral triangle, Water visually illustrates an upside down equilateral triangle, Air is a right side up equilateral triangle with a line running horizontally through the triangle close to its apex, Earth is symbolically depicted as an upside down equilateral triangle with a line running horizontally close to the apex
Finally, the male is depicted has a circle with an arrow protruding from the upper right area and the female as a circle with a cross protruding from the bottom.
4 PLATE I.
“Alchemy Chart”
The Alchemical symbols are symbolic representations of the elements that I have a profound fascination for. Without the elements of the Sun, Moon, Fire, Water, Air, Earth and Androgyny, I would not be. I’ve chosen to work with these symbols specifically because they represent the material world that I’m trying to discern. I’m humbled to incorporate these extraordinary symbols into my work because they give meaning to my life.
5 PLATE II.
D. Stolcius von Stolcenberg, “Viridarium chymicum”
I have taken the symbols of the classical elements and depicted them differently than my predecessors. In earlier alchemical art works, such as the one depicted above, the symbols were depicted subtly. What I have done differently was to dissect the human element into its parts of flesh and sinew and replaced the bones with the elements to symbolically represent the connection between human beings and the elements. My artistic process underwent many changes before working with the Alchemical Elements.
Before the development of my thesis works my artistic process went through three phases of artistic transmutation.
6 2. ARTISTIC TRANSMUTATION
2.1 Phase 1 of Artistic Transmutation
PLATE III.
Watercolor, ink on paper, 2009
Plate III, a drawing developed during the first of three phases of artistic transmutation, was executed on watercolor paper, watercolor, pen and ink. Each of the drawings developed in this phase were initiated the same way. Abstract shapes of varying hues and strokes were brushed on the watercolor paper using a variety of brush sizes. The different size brushes helped to add variety to the shapes that were developed. For example, a large brush created large strokes and shapes while a small brush created smaller-more intricate shapes. During this stage my only concern was to develop a
7 variety of shapes and strokes that were compositionally balanced on the paper. Once the shapes were in place and compositionally balanced amongst each other, I used pen and ink to draw on the shapes developed.
An intuitive drawing approach was executed in pen and ink once the abstract shapes were in place and compositionally sound. Each piece, when it reached the pen and ink phase, started in different areas and developed organically when intuition took over.
The only things that remained at the forefront of my mind were the execution of various pen and ink techniques. The pen and ink techniques that were in constant rotation, as the drawing developed, was crosshatching, cross contouring, and stippling. Crosshatching is the pen and ink technique of layering lines, of equal distance from each other, on top of one another to either create a tone or texture. The technique of crosshatching is the execution of lines, also of equal distance from one another, that are arched to convey the form of an object that is being depicted. Stippling, another pen and ink technique is the placement of dots, in various distances from one another, to create a textured effect. A visual vocabulary developed from the intermingling of the various abstract shapes and pen and ink techniques. The new visual vocabulary that was developed was the depiction of flesh interlocking and sprouting shapes that were mechanical in essence. That vocabulary was later transmuted in a different way in phases II and III of artistic transmutation.
8 2.2 Phase 2 of Transmutation
PLATE IV.
Watercolor, ink on folded paper, 2012
Plate IV, the piece shown above, was developed during phase 2 of artistic transmutation. The drawing was executed on paper, watercolor, pen and ink. I recreated the same working process, explained in phase 1 of transmutation, that lead to the visual vocabulary of flesh interlocking and sprouting shapes that were mechanical in essence.
However, there were a few changes that took place in phase II. The changes that took place were of the surfaces that the drawings were executed on, the media the drawings were executed in, and how the pieces were executed.
9 The first change that took place was the exchange of color for gray washes of watercolor. In phase I of artistic transmutation color played the leading role in the finalized version of the pieces. I exchanged color for the gray washes of watercolor so that I could heighten the details of the drawings by giving them a subtle backdrop to be drawn on. This exchange set the stage for the next step in the execution of the pieces in
Phase II.
After the minimization of hues in this Phase I changed the surface of the paper, through the practice of origami. I changed the surface of the paper in order to add dimension to the work, instead of working with the illusion of dimension on the two dimensional plane. The change in surface allowed me to continue the exploration of transmutation in my process but also altered the execution of pen and ink. Two pieces of paper were used. The first piece of paper was folded to represent a lotus flower and then the lotus flower was pasted, off center, to the second piece of paper. The second piece of paper was then folded and pasted to the lotus flower to visually unite the two pieces of paper. The change in surface affected the drawing process in two ways. First it added a layer of complexity to the placement of the gray watercolor washes in the initial stage.
Secondly it forced me to alter the position I was drawing in on a consisted basis because the surface undulated in various areas. The dimensional element incorporated into phase
II of artistic transmutation allowed me expand upon what was discovered in Phase I and later inspired the process of Phase III.
10 2.3 Phase 3 of Transmutation
PLATE V.
Study in Clay, 2012
Phase III of artistic transmutation was explored in clay. I exchanged paper, watercolor, pen and ink for clay, a fettling knife and a loop tool. In phases I, and II of artistic transmutation I used brushes, for the initial stages of the works, in order to create shapes and strokes of watercolor marks. The abstract shapes and strokes of watercolor marks were the foundation for the pen and ink drawings. With clay, in phase III of artistic transmutation, I recreated the abstract shapes and strokes created by the brushstrokes of watercolor by squeezing, pulling and shaping the clay in the same vein.
When I found a desired shape I would use the fettling knife and loop tool to sculpt the same visual vocabulary developed in phases I, and II of artistic transmutation.
11 Working with clay greatly informed my drawing. For example cross contouring mimics the same technique of using a loop tool, when working with clay, and helped add dimension to a desired shape. When working on a drawing I mimic the same movements used in sculpting clay to render, for example, a face for a portrait or a vase in a still life.
Alchemy is used as a metaphor of the passing from one medium of art to another.
This metaphor was expressed in all three phases of artistic transmutation. In phase I the techniques used were the layering of abstract shapes of watercolor on paper, then the execution of a precise intuitive drawing process that reacted to the abstract shapes. In conjunction with the aforementioned techniques in phase I was the pen and ink techniques such as cross hatching, cross contouring, and stippling.
The techniques, previously used in phase I, were transmuted as they passed into phase II of artistic transmutation. In phase II, with the technique of origami, the surface was folded into various shapes to add dimension to the surface. That technique transmuted the flat surface that was used in phase I. The change in surface transmuted the technique of the passing of watercolor strokes and drawing techniques done in pen and ink. Each pass of watercolor and cross hatching mark was constantly adjusted due to the various undulated surfaces. As we passed into the third and final phase of artistic transmutation there was a complete change in media. The process of fleshing out forms in pen and ink from the spontaneous layering of watercolor strokes, used in phases I, and II, were mimicked at a more physical capacity in clay. The clay was squeezed, pulled, and shaped to mimic the abstract watercolor strokes laid down in the initial stages in phases I, and II. Then the shapes that were developed in the initial stages were sculpted with the same intuitive direction taken in phases I, and II of artistic transmutation.
12 The Alchemical idea of transmutation was present in the change of one media to another and from one technique to another in all three phases of transmutation. Through the exploration of drawing on paper, origami, and ceramics, I was able to enhance my artistry with a broader language of materials and imagery. A substantial creative foundation was developed through the exploration of different media that informed the creation of my thesis works.
13 3.COMPLETION
3.1 Thesis
The pieces in Completion were the results of the media and techniques learned from the three previous phases of transmutation. The materials that were used in the three previous phases were paper, watercolor, pen, ink and clay. The techniques that were used during the execution of the three artistic transmutation phases were cross contouring, stippling, crosshatching, origami and sculpting. The process used during the development of the thesis works was a culmination of the aforementioned materials and techniques.
14 3.2 Process
PLATE VI.
Step by step process
The mediums that were used throughout the development of the drawings in
Completion were graphite, wood, watercolor, and gesso. The materials that were used to manipulate the media were brushes and water. As seen above, PLATE VI is a scaled
15 down step-by-step example of the working process I used to execute the works in
Completion. Each of the pieces was on thirty-six by thirty-six inch particleboard and all of the boards were coated with gesso in the initial stages of their development.
Gesso, a paint mixture used as a wood painting base, is made up of a binder, white chalk, and gypsum pigment. Once dry, I then brushed on the alchemical symbol I wanted to depict on that particular board. The alchemical symbol that was painted onto the board was executed with a painting technique called impasto. Impasto painting is the technique of building thick layers of paint on the surface of a painting, which adds a three-dimensional quality. After the alchemical symbol was dry to the touch I brushed either a cool or warm gray watercolor on top of the impasto design. As soon as the watercolor dried on top of the impasto design, I used a graphite pencil and drew on the surface that was created by the impasto painting technique.
The use of the board and impasto technique was inspired by the three dimensional effects explored in working with origami and clay in phases 1 and 2 of artistic transmutation. The previously mentioned techniques of laying down watercolor on top of the established design, and then the forms which were drawn out with graphite were inspired by the techniques used in phase 1 of artistic transmutation. Lastly, the execution of the impasto technique used in the development of the thesis works was inspired by the surface changes that were explored, with pen and ink, through the process of origami in phase 2 of artistic transmutation as well as the use of warm and cool watercolor grays.
Particleboard, gesso, watercolor and graphite were the materials of choice that were used to create the body of work for my thesis. These materials were chosen because they can be transmuted by one of the classical elements, water. Without water, the trees
16 that were used to create the particleboard wouldn’t have existed. However water may also breakdown the wood if the wood were to be submerged. Gesso wouldn’t have coated the surface of the particleboard so quickly and efficiently if water weren’t used to break down its thick consistency. If too much water were used when mixing it with gesso, the medium would’ve become too diluted and difficult to use. The warm and cool gray watercolors can only be activated when mixed with water. If too much water was used, the pigment would become too diluted and loose the vibrancy in its hue. Finally, graphite can also be transmuted by water when mixed however, throughout the working process of the thesis works graphite was not. The classical element water transmuted the materials used in the development of the thesis works. Moreover, water served as the alchemic channel between medium and creativity just as Hermes was the link between his followers and the cosmos.
17 3.3 Understanding
PLATE VII.
Water, acrylic gesso, graphite, ink on wood, 2013
The square format seen above in PLATE VII is a visual metaphor for the human mind and its aptitude to retain information. With the weight of past conditioning, the mind formulates its conditions of the past experiences as the architectural foundation for future behavior. Each of the symbols is a visual signifier for three ideas. The first idea expresses the minds thirst for grounding and the second is to symbolically represent the classical elements that make up our world. The final idea exemplifies the alchemical symbols serving as armature for the deconstructed flesh, which was developed in phase1 of artistic transmutation to cultivate on.
18 Abstract references of flesh, pubic hair, limbs and obscure growths, which were first developed in phase 1 of transmutation, are cemented together upon the alchemical symbols in continuous cycle of life, death, and exploration. Since the square formats of the pieces are a visual metaphor for the mind, these references, which are in a flux of life, death and exploration, are a metaphor for the internal workings of the mind. These abstract references of flesh in their never ending transitory sate also represents the life, death and exploration of our own thoughts. The alchemical symbols, which are the metaphorical and visual armature for the abstract flesh, are infused with the sun symbol.
Without the sun, life would not exist. The sun symbol was combined with the rest of the symbols in the body of work of the thesis. The sun symbols placement within the other alchemic symbols are a testimony of two ideas. The first idea pays homage to the significance of the sun symbol attested in Ancient Egypt. The second idea is the demonstration that there is a light present in all things.
Each piece contains the use of warm and cool gray tones executed in watercolor.
The use of warm and cool watercolor was influenced by the techniques explored in phase
2 of artistic transmutation. The gray tones that are implemented in the works are expressing two ideas. First, the gray tones visually neutralize the work thus making each spec of detail easy on the eyes and clearly identifiable. Secondly, the gray tones are visual metaphors for human potential.
Overall, each piece is a visual metaphor for the mind. The alchemical symbols, which were enhanced by infusing the sun symbol into the center of their designs, are the visual armature for the flesh that is drawn upon them and are a metaphorical statement that we are a part of the universe and there is a light within all of us. The flesh that is in a
19 never-ending cycle of life, death, and exploration metaphorically represents the inner workings of the human mind. Hermes Trismegistus and Alchemy both symbolize the transitory state between the changes of all things. The gray watercolor washes represent the transitory state of human potential both metaphorically and visually.
3.4 Influences
PLATE VIII.
Patricia Piccinini “Sphinx”
The first contemporary artist that inspired my body of work for my thesis is
Patricia Piccinini. More specifically, I am inspired by her earlier work as seen above in
PLATE VIII. What directly informed my work from her earlier sculptures was her execution of capturing the sensation of flesh. Piccinini handles her mediums with a fantastic sensibility. The way in which she recreates the sensation of flesh on a sculptural level inspired me to try and recreate that same sensation in my work. As seen in PLATE
IX, I attempted to recreate the sensation of flesh that Piccinini captures in her sculptures by first using the impasto painting technique when laying down the alchemical symbol
20 with gesso. Secondly, I utilized the watercolor washes as a base tone. I then render the forms with graphite using the cross contouring, stippling, and crosshatching pen and ink techniques acquired in phase 1 of transmutation. I chose those techniques to add the illusion of three dimensions to my work and to capture the same sensation of flesh beautifully executed in Piccinini’s work.
PLATE IX.
.
Water detail, acrylic gesso, graphite, ink on wood, 2013
21 PLATE X.
Mathew Ritchie “Weights and Measures”
The second contemporary artist that inspired my thesis works was Mathew
Ritchie. Ritchie’s wonderful use of line, as seen above in PLATE X, is what inspired my use of line within my drawings. Ritchie’s works are visual explorations of lines that represent abstract maps that metaphorically communicate the journey of life and death.
His pieces beautifully capture that intricate journey of life and death while simultaneously engulfing us into his world. Inspired by Ritchie’s literal and metaphorical use of line, I’ve attempted to capture that vocabulary, as seen in PLATE XI, in my work.
First I used a single contour line to develop the forms that percolate on the surface of my drawings and secondly, by having those forms exist in an empty plane to capture the same other worldliness masterfully rendered in Mathew Ritchie’s work.
22 PLATE XI
Earth detail, acrylic gesso, graphite, ink on wood, 2013
3.5 Conclusion
The goals of this thesis are to bring awareness to the special significance of the alchemical symbols, which represent the classical elements that make up our world and to explore the contemporary means of representing the symbols through the language of drawing. Through exploring Alchemy, its respected symbols, and
Hermes Trismegistus, I have a deeper understanding of how the dual subject is deeply imbedded in all aspects of life. In this thesis, working with diverse materials has allowed me to create exclusive pieces that arranged for the audience to explore my vision of the symbols. Moreover, I conspired to bring consciousness to the significance of the alchemical symbols through diversified materials by transmuting the structure of the symbols and by presenting them individually. This
23 thesis has inspired me to explore the depths of symbology and the significance symbols have in our lives.
24 PLATE XII.
Sun, acrylic gesso, graphite, ink on wood, 2013
25 PLATE XIII.
Moon, acrylic gesso, graphite, ink on wood, 2013
26 PLATE XIV.
Air, acrylic gesso, graphite, ink on wood, 2013
27 PLATE XV.
Earth, acrylic gesso, graphite, ink on wood, 2013
28 PLATE XVI.
Fire, acrylic gesso, graphite, ink on wood, 2013
29 PLATE XVII.
Water, acrylic gesso, graphite, ink on wood, 2013
30
PLATE XVIII.
Androgyny, acrylic gesso, graphite, ink on wood, 2013
31 REFERENCES
French, K. L. The Hidden Geometry of Life: The Science and Spirituality of Nature.
London: Watkins, 2012. Print.
Jung, C. G. Psychology and Alchemy. Princeton, NJ: Princeton UP, 1968. Print.
Maslen, Mick, and Jack Southern. Drawing Projects: An Exploration of the Language
of Drawing. London: Black Dog, 2011. Print.
Nozedar, Adele. The Element Encyclopedia of Secret Signs and Symbols: The Ultimate
A-Z Guide from Alchemy to the Zodiac. London: HarperElement, 2009. Print.
O'Reilly, Sally. The Body in Contemporary Art. New York: Thames & Hudson, 2009.
Print.
Roob, Alexander. Alchemy & Mysticism. Hong Kong: Taschen, 2011. Print.
Slavenburg, Jacob. The Hermetic Link: From Secret Tradition to Modern Thought. Lake
Worth. FL: Ibis, 2012. Print.
Three, Initiates, Philip Deslippe, and William Walker Atkinson. The Kybalion. New
York: Jeremy P. Tarcher/Penguin, 2011. Print.
32