One of my all-time favorite flowers is the peony, especially tree peonies. This
is the grand and regal variety you see embellishing delicate Chinese vases and
elaborate paintings of Japanese gardens. I often use them as a theme in my
work.
Treasure Island Triptych 104" x 132" Natural Pigments on Brazilian Linen
Years ago I had the opportunity to present a solo show at a wonderful location
in Tokyo–an old Tokugawa Era building in a park-like setting called Sho’u'en (蕉羽園), sponsored by Kosansha. The inside of the building was being re-gold leafed in
anticipation of an international publisher’s convention (Kodansha is one of the world’s wealthiest publishers and they own the building). I would be the next program
in line.
In anticipation, I went to Tokyo to check out the space, take measurements, and
bask in the potential. One of the walls in the room was painted much like a
folding screen, gold with a colorful landscape of flowers. I decided to tie
into this theme and to fill the large tokonoma with a piece designed just for the spot (above).
I offer many interpretations for the imagery, as the mood strikes me, but the
one I’m sticking with (for today) is as follows: Ships in Japan are often symbols for
good tidings, an emissary of knowledge, culture, and treasures of all sorts.
Lions are often shown with peonies–the lion as the grandest of all beasts, and the peony as the most stately of
flowers–each capable of holding their own. My lion is winged, as St. Mark is often
depicted in the West, representing Truth. The ship is leaving, having dropped
off its passenger. As it turns out, there were already Many Truths occupying a
very important niche in the Island’s ecology, frolicking among the Flowers of Indigenous Beauty. What will be the
outcome of this intercourse?
Window with view to outside and painted peonies below.
Fast forward two years, the day of installing the show. In the last minute rush
in seeing to all the details involved, I somehow managed to leave the
right-hand panel of the triptych at home in California. Well, what can you do
but charge on?
As it turns out, I measured the tokonoma wrong in the first place and only two
panels would fit in the space. I was so glad that it wasn’t the center panel left behind!
Two dear friends are shown helping me with the show (right), Sunny Hara and
Cheryl Lawrence.
Weary of Packing (Don't mess with me!)
As mentioned above, this piece was dyed entirely with natural pigments. The vast
majority of that dye (by volume) was made with rust. To prepare the dye, I
first gather it from a hand-dug well on my property. We have a high magnesium
content in our water. The magnesium-laden-water is filtered through the soil
and collects on the side of the well when the water table drops as the summer
advances.
Installing the Reformed Triptych in the
Tokonoma of Sho'u'en
This pigment is so pure and fine that it doesn’t require any further grinding or processing. I mix it into a paste and then add
more water to create a dark solution. I allow it to sit for quite a while to
allow the heavier particles to settle to the bottom of the container. (The
image at the left show the liquid backlit to exaggerate the difference in
concentration.)
The rust/water mixture is divided into two different containers. Care should be
taken to not unsettle the concentration of pigment at the bottom of the glass.
Soymilk is added to act as a binding agent to hold the color to the cloth. The
soymilk also helps to protect the fiber from direct contact with the metal, and
to encapsulate it and help to retard further oxidation.
Heavier Iron Rust Particles Allowed to Settle to Bottom of Vessel
The thinner solution was used to dye the pale rose background of the triptych
above. The darker solution was used for highlights and for blending with other
colors to darken them.
By examining the warrior piece below, perhaps you’ll gain a better appreciation for the range of shades available. Some indigo and
yellow iron-oxide has been added for contrast.
Iron Rust Solution Shown in Two Different Concentrations
Iron rust comes in many forms and colors. It has been mined for thousands of
years for use in everything from cave paintings to cosmetics. Below is a
yellowy rust I made by pouring rainwater over old iron nails and allowing it to
evaporate away. A rusty powder was left behind on all of the surfaces which I
gathered for later use.
The range of variations in colors may be increased by simply super heating some
pigments.
On the left is iron rust as collected from old nails, on the right is the same
pigment baked in the oven.
Pigment Storage Facility
Gives new hope for the honey-do sitting in the front yard, doesn’t it?
Ujigawa-Gassen by John Marshall, Natural Pigments on Silk
copyright John Marshall, 2001
