State Of The Art-s-s-s: When Is ‘Perfect’ The Enemy Of Good Enough’?

 

This week, I attended a Pittsburgh Society of Illustrators business meeting on the techniques of digital illustration.The presenters were several of my fellow illustrators, each specializing in a different area of our industry; editorial, technical, and medical illustration. I couldn’t help but be impressed with their talent, tech savvy and sense of adventure as they demonstrated many of the new digital devices and techniques available to us illustrators. Still, the evening had awakened the old beast of doubt in me, turning up the volume on many issues, even considering my long freelance illustration career. 

I’ve been working ‘tra-digitally’ (a blend of traditional drawing/painting with digital enhancement) for a number of years but came to this approach slowly as I grew more familiar with design software and accepted its promise of production efficiency. What I couldn’t anticipate was the seductiveness of a process that, like coffee, has since become a daily necessity for me as I produce assignment work for clients and publish my own books.

In fact, my use of digital techniques seems to be overriding my love for the unpredictable results and sensual feel of pen, pencil and/or watercolor on paper. Moreover, for better or worse, it has changed the way I think about and ultimately set down an image before declaring it finished.

Though I’ve become accustomed to exercising the endless options of digital ‘tweak-ability’, I now understand that these very options have caused a breach in my self-confidence when I must revert to drawing an image on paper for purposes other than print reproduction such as commissioned portrait.

Where once I was easily satisfied by the look and feel of my early creative efforts, I now automatically examine my work for ‘irregularities or imperfections’ that can be ‘fixed’ with Photoshop instead of appreciating those expressions for what they are; manifestations of my imperfect human creativity. With that thought, the question in the title of this essay, (‘when is ‘perfect’ the enemy of good enough’?) comes into play. Because it is becoming increasingly difficult to decide when an image is finished, the simple answer is ‘always’.  

I’ve often wondered whether working this way causes me to overthink my work, questioning its ‘rightness’ even as I embellish it with seemingly relevant images and stylistic details to the point where its core story or idea is obscured.

At such times, when I become obsessed with locating just the ‘right’ reference image or am impatient with the complexity of creating or digitally editing an illustration for print, those who have known me and my work for many years often remind me that I actually seemed more efficient when I produced my art traditionally from my imagination without the aid of digital software. They are probably right.  

With assignment work, I must consider my client’s requests concerning an illustration’s political and/or social ramifications. This often leads to extensive editing or discarding the image altogether. If I choose to retain the image, it sometimes has to be stripped down to its simplest form to satisfy the requirements of the assignment. This always precludes it from revealing the marks of my thinking/working process. Additionally, I am required to design and size my images so they may be set within a pre-determined space.

Certainly I’ve had to adapt to the tenets of graphic design which embraces the elegant expression of visual splash or memes as powerful as a Twitter ‘tweet’ for instant consumption as opposed to the detailed storytelling subtleties expected of traditional illustration. Is this a good thing? I’m not entirely sure. Yes, it forces the eye and mind to focus on the ‘message’ but perhaps something of its original concept’s character and intent has been lost in translation. 

I have to admit that I do enjoy a major benefit of digitally preparing my illustrations; it grants me more control over my finished printed product as opposed to the old mechanical methods where I had to depend on others for my desired outcome.

Although the new products are now able to simulate every known drawing and painting technique and have enabled me to become a ‘one-stop design shop, I still have questions. If I go totally digital with my art, will I be able to shed my prejudice against creating images on a glass surface that is less sensually direct than paper or canvas? And, should it matter anymore whether I no longer have a frame-able, completely ‘original’ work of art as ‘evidence’ of my efforts? 

One presenter at the meeting proudly proclaimed that he’d fully embraced digital illustration and had ‘gotten over’ his need for original tangible art products. Having appreciated the beauty and intense craftsmanship of his original works, I could, from a pragmatic standpoint, understand why he might have felt that way.

Corporate art collections have diminished over the last few decades while museums and most galleries rarely offer highly promoted exhibits to lesser known artists, preferring to host more profitable exhibits by either box office name artists or long-dead old masters.

In addition, many galleries have upped sales commissions to sometimes more than 50%. The internet has also become a formidable rival to brick and mortar exhibit spaces. It offers an enormous marketplace with affordable entry fees that is overwhelmingly democratic for all creators. So we don’t really depend on exposure through museums and galleries anymore for our livelihood. For this reason, I don’t even carry around a weighty portfolio when I can post my work to potential clients and collectors on social media.

Historically, the disciplines of illustration and graphic design have worked together for both print and digital media. Now, I suspect that the internet (beneficial to our business as it is) is also a great disrupter. With its endless cacophony of sensational news, information, music and images it has of necessity rendered graphic design the dominant force over illustration in order to accommodate our tragically dwindling attention span and capacity for remembering things. 

From this perspective, I suppose I should be discouraged from pursuing my craft in the manner I’ve been trained to do; creating illustrations that intrigue the eye and mind on multiple levels with traditional materials. Of course I can still make intricate images with digital assist but they will appear obscure beside the flashy visual memes that are our current brain candy.

It’s been said that great art reflects the era in which it was made, yet the artist in me refuses to cave. My illustrations and drawings will inevitably emerge as they must because of the question that nips at my conscience; will today’s visual flash preserve and continue to tell future generations the myriad complex stories of who and what we once were or will they require an entire field of scholarship to create a new Rosetta Stone? 

A Left-Leaning Quandary

When we come into this world, we are an enigma, unaccompanied by an external users manual but driven primarily by need and instinct. But if we imagine that a users’ manual  is embedded within us as a script which guides us through the roles we play in each phase of our lives, we soon learn its limitations. It may open our awareness of the world relative to our physical and emotional development but if we are to surmount the obstructions that occasionally beset us in our relationships, careers and our own physical/psychological health then we must work to interpret the nuances between its lines.

This week, following the surgical repair of my right rotator cuff, I sit here, with said arm in a sling, thinking about how, when we are in good health, we easily assume that our bodies exist to serve the requests and desires of our minds; quietly and without complaint.

Yet when we encounter illness or injury to our bodies, the inverse dominates our days and nights. Like a willful child, my mind desperately wants to leave the confines of this injured body, inhabit another one like a change of clothing, thus enabled to resume the life it has long known.

In my current state, the mix of patience and impatience of my spouse as he tends to my needs in addition to his own has only emphasized these ideas. Though many crises, large and small have punctuated the course of our long marriage, these have only served to focus my awareness and gratitude for his love and dedication.

Though I write and draw with my left hand, I am right-hand dominant for most other actions, particularly the digital aspect of my illustration. Consequently, my work will be fairly difficult over the next few months but physical therapy should eventually make a difference. Until then, an illustration from my recent book, Notes From London: Above & Below (Imaginarius Editions, 2015)*, shown above, and a detail from ‘Worlds Within‘(Codex Gastropoda series, 2012) shown below,  seem apropos at the moment..

So, even as my left hand and arm are doing double duty with no little complaint, I am imagining the new drawings and essays to come upon full recovery. I’ve posted these observations as encouragement to any of you who might be experiencing a similar situation and simply because I am unaccustomed to being completely idle. The latter is probably a directive from my own internal users’ manual which may look like this:

Further interpreting its nuances also reveals a new perspective on the trajectory of my own life. Though each incident that occurs seems discrete, it is not. Rather, it is only one of the links forming a sort of tight rope that resonates with the music of uncertainty, fear, challenge, sorrow, love and joy.  Accordingly, I must continually balance my roles as daughter, wife, mother, artist, illustrator, writer, teacher and designer in order to create and maintain the lyrical narrative that keeps my eyes open to the myriad possibilities ahead…

*Notes From London: Above & Below (Imaginarius Editions, 2015) may be ordered at: http://magiceyegallery.com/BookPage.aspx?id=3

An Illumination Of Blessings Is For Real!

Dear Backers of An Illumination Of Blessings:

As of this past Monday, September 15th, I am pleased to announce that with your generous support and encouragement, this Kickstarter project is done and delivered! It’s been a wonderfully challenging year and a half of research, writing, design and illustration for these 36 illuminated blessings including the  interactions with all of you throughout the process. Recently, I’ve been asked whether another edition of blessings will follow to bring us closer to the originally intended count of 100. Perhaps, if there are a significant number of requests for it. But for the moment a bit of recovery is in order as I contemplate a short list of options (which include both Judaic and secular themes) for my next project. Your questions and suggestions are welcome!  Again, thank you all from the bottomless-ness of my creative well: I look forward to continuing our creative conversations and collaborations!

Ilene Winn-Lederer, September 18, 2014

Eden’s Edible Blessings

Although we are told in Genesis/Bereshit (1:29) that “God said {to Adam}, “Behold, I have given you every seedbearing plant on the face of the earth, and every tree that has seed-bearing fruit. It shall be to you for food,” no specific varieties of fruits or vegetables are named. Not even those on the Trees of Life and Knowledge whose fruit was off-limits for human consumption. Legend suggests that the Tree of Life bore every type of fruit necessary to maintain health and immortality but did not indicate whether these properties were the benefits of one type of fruit or many. Similarly, the mysterious fruit of the Tree of Knowledge was said to provide the sort of self-awareness that led to human mortality.

Legend* relates that Adam was named ‘Adamah’ (Hebrew for Earth) because he was made of the dust gathered from the four corners of the world. His naming seems ironic because if this proto-human was constructed to be welcomed at any place on Earth where his death would occur, did G-d know His creation better that we suspect and that expulsion from Eden was inevitable? These concepts are painted with an unimaginably broad brush opening the way to endless interpretation and speculation.

Nevertheless, Adam was considered the ‘crown’ of Creation and was appointed caretaker of the world, with a caveat; that he must be utterly dependent on it for his basic needs. So, as fruit trees and edible plants serve those needs, they become a metaphor of our relationship with our environment.

It is probably safe to venture that the fruits and vegetables we eat today are not wildly different from the those in the Garden of Eden with the the exception of our cleverly cultivated hybrids; the results of our scientific manipulation of those original species. We may have paid a terrible price for our knowledge, yet we have prevailed and, over the centuries, created taxonomies for naming them while making astonishing discoveries of both their nutritive and medicinal value for our bodies.

So what does this have to do blessings? Nothing if you are a strict evidence-based rationalist, believing that all life on earth evolved of its own unscripted volition and that we are so intelligent that we’ve figured out how to use it to our advantage. But if, by acknowledging the divine source of our intelligence behind the beautifully intricate design and purpose of each fruit of the tree or ground that we consume, then reciting a blessing for these creations is surely in order.** Particularly if we consider that such foods exercise our senses of sight, smell and taste, helping to provide our souls with healthy habitats.

As a child, I existed pretty much as a creature of instinct and need, unaware of the many ways by which we can acknowledge and understand our lives. Most of us, I suspect, still do so. Especially in a country such as ours, where religion has become a power tool, abundance is easily taken for granted, time represents money and we are deluded enough to imagine we will live forever.

But as I slowly realized all the ways we can choose to enhance and maintain ourselves even as we understand our physical limits, I now prefer to stop and think before taking that first bite of apple or tomato and murmur a little thanks to our Source for our partnership that makes it all possible.

These concepts and sentiments formed my decision to include the blessing for fruits of the tree and ground as #34 of 36 in An Illumination Of Blessings.

For this illustration, the choice from among the myriad fruits and vegetables available to us was quite difficult, especially knowing that I needed to include representatives of both tree and ground. As an artist, I limited my choices to those whose shapes and colors were visually harmonious or, as Eve/Chava put it, ‘pleasing to the eye’. These were designed and placed to form an intricate border around the blessings. Tiny versions of several of them serve to enhance the initial letters of each blessing. Finally, I’ve placed everything against a black background of ‘earth’ from which all originates and is renewed.

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To learn more about this successfully funded Kickstarter project and pre-order your own book and prints, please visit:
http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings
and: http://winnlederer.com/blessings/index.htm
PLEASE NOTE:
When you visit my Kickstarter page you will see that the top reward level of your $500 contribution towards this project entitles you to have your name included on my Dedication page! This offer will stand until July 15, 2014 when I hope to have the book ready to go to press! You may contact me with your offer at: ilene@winnlederer.com.

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* The Creation Of Adam from Legends of the Bible: Louis Ginzburg, p. 28

**For a tree-borne fruit to receive the ‘Ha-Etz’ blessing, it must come from a perennial tree that doesn’t renew its stem or grow too close to the ground, such as apples, figs, dates and plums. Fruits of the ground that receive the ‘Ha-Adamah’ blessing include all vegetables, legumes, pleanuts and any fruit that is not covered by the Ha-Etz blessing such as melons, bananas, pineapples and strawberries.

Beastly Blessings

I’ve long been fascinated by medieval illuminated manuscripts and their history, but the tiny details in their margins and the
inventive illustrations that accompany the painstaking textual calligraphy are elaborate weavings of words and images that
continue to influence my illustrations for this current Kickstarter-funded project.

This week, for An Illumination Of Blessings, I present one that originates in Judaism but is universal in content. It acknowledges
the Creator by virtue of the unusual creatures that inhabit our world and can be recited upon seeing a rare or unusual animal.

As I considered how best to interpret this blessing yet reconcile it with my love of drawing all sorts of creatures both real and fanciful,
my imagination teemed with images, all begging to inhabit the page. It seemed to be a difficult choice until I came across references in
the Talmud (Berakhot 58b) and Shulchan Aruch (225:8) which offered some parameters for interpretation.

As one of two similar blessings for observing living phenomena, it recognizes and praises the Creator for the various
strange and extraordinary forms of animal and human life that are not conventionally beautiful. The other blessing is recited upon seeing exceptionally beautiful people or animals and praises the Creator for placing such beauty in the world. A commentary in the Gemara* specifies that the first blessing refers to the sighting of a monkey or an elephant. One rather strange explanation is offered; that humans were transmogrified into elephants and monkeys as punishment for their participation in the Tower of Babel débacle! Is this anti-evolutionary tale not a great plot for a horror flick? An idea with greater appeal to me was that monkeys and elephants are considered to resemble humans; the monkey for its body shape and manual dexterity and the elephant for its smooth, hairless skin and a trunk which it uses as though it were a hand.

While monkeys and elephants are common sights today at any zoo, in medieval times they were considered exotic and rare, inspiring the creation of special blessings. Since travel to foreign lands beyond Europe was undertaken primarily by nobility and merchants, these creatures were often represented in manuscripts by illustrations that interpreted word-of-mouth descriptions by such travelers.

Complicating the medieval artist’s task was the Second Commandment prohibition against creating ‘graven images’. However, because creativity is in itself a force of nature, these artists were not discouraged and gave free rein to their imaginations as they incorporated fantastical beasts and homunculi into their manuscripts.

One other reference finally clarified the concept of my illustration for this blessing; a discussion of the elephant as a metaphor of the Torah presented by Dr. Marc Michael Epstein in his classic book, Dreams of Subversion in Medieval Jewish Art and Literature (Penn State University, 1997)**

After reading this enlightening chapter, I began to wonder why elephants were often shown saddled with ‘howdahs’ that sometimes resembled castle towers. Further reading revealed that the word ‘howdah’ is from the Hindi and Arabic languages referring to portable shelters used for travel but also for hunting and military battles. Carvings of elephants wearing howdahs are often seen as pieces in chess, the symbolic game of war.*** Taking this idea a step further, I imagined that a howdah could also represent a sort of portable synagogue; an ideological ‘castle’ as its own metaphor of Jewish history.

Accordingly, the first blessing for strange animals is illustrated here with a monkey riding an elephant whose ‘howdah’ or ‘turret’ recalls a medieval synagogue. It was inspired by an illustration in a 15th century volume of the Mishneh Torah written by Moses Maimonides in the 12th century. A decorative border of fanciful flowers and dragons surrounds them in tribute to the master medieval illuminators
whose timeless work continues to inspire my own.
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Dear Backers: The Blessing For Rare and Extraordinary Animals is the 32nd of 36 blessings to be completed for An Illumination Of Blessings! We’re almost there!
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Please Note: Even if you are not a backer on this Kickstarter-funded project, you may still pre-order your copy (ies) of An Illumination Of Blessings and/or prints from its illustrations here: http://winnlederer.com/blessings/index.htm   Also, if you visit my Kickstarter page at: http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings you will see that your contribution of $500 to the top reward level of this project entitles you to have your name included on my Dedication page! This offer will stand until July 15, 2014 when I hope to have the book ready to go to press! You may contact me with your offer at: ilene@winnlederer.com.

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* rabbinic teachings compiled after the 70 C.E. destruction of the Second Temple
** The Elephant and the Law, pp. 39-69
***I remembered seeing this image as a sculpture in London near the Elephant & Castle Underground station.
   This image is part of my blog at Imaginarius: https://imaginarius13.wordpress.com/2010/08/23/the-tragic-beauty-of-ideas/

Codex Gastropoda #7: Between The Pages Of Reality

Codex Gastropoda: #7

Yesterday afternoon, in appreciation of an unseasonably warm January day, my better half and I went for a walk on Pittsburgh’s South Side. Heading east on Carson Street past a barrage of  bars and nightclubs led us to City Books, a venerable remnant of Pittsburgh’s once lively independent bookstore market. Inside the old shop, a wrought iron spiral staircase punctuates two levels of floor-to-ceiling wooden bookshelves whose old and rare inhabitants speak volumes on an array of subjects that include philosophy, art, science, math, history, foreign languages and vintage fiction for adults and children. A little schmooze with the owner, Edward Gelblum and his elegant assistant whose name I did not learn, was intriguing enough to provoke my tentative climb up the spiral staircase to inspect their impressive philosophy, science, foreign language and Judaica collections.

Their intimate knowledge of such collections within this timeless, musty ambience reminded me of an Imaginarius post of December 19, 2010, written upon completing the third drawing in my Codex Gastropoda series, ‘The Unbearable Slowness of Reading’. You can access that post here:https://imaginarius13.wordpress.com/2010/12/19/codex-gastropoda-3the-unbearable-slowness-of-reading/

During this little reminiscence, which inspired the new drawing above, I began to think beyond the act of reading; beyond the physical properties of books to their metaphysical attributes. Does their power to manipulate our minds and hearts come from our literal interpretation of the words, from the images they may contain, or from the associations and ideas inherent in both? Despite the proliferation of electronic media, there is a magnetic attraction to words and images on paper that I can’t trivialize as a mere Luddite denial of technological reality.

Though the written word bound in book form has been likened to ‘conversations with great minds,’ etc., I wonder whether books can be more accurately perceived as vessels made to contain the power of alternate realities? Does encoding these realities in language and 2D images make them more approachable? It seems to me that even if these ‘realities’ could be experienced directly with all ‘six’ of our senses as the human modus operandi, we would still be overwhelmed. The ‘arcane’ technology that enables cinematic ‘reality’ via animation/CGI effects has brought us closer to a total sensory experience. Even so, marvelous as it is to watch movies like ‘Avatar’ or ‘Lord of the Rings’ , we are served generous helpings of the detailed, brilliant imagination of others with little left for our own to play with. Maybe this is why the power of books to evoke and provoke our own emotions and memories remains its own distinctive experience. It is also why I think that bookstores will never disappear completely; despite the fact that the majority of Mr. Gelblum’s sales originate online. Just as great food deserves to be presented beautifully in a warm and welcoming environment,  so does a warm and inviting shop remain necessary to contain and disseminate the literary treasures that continue to define us.

Note: Codex Gastropoda #7 is available as a gicleé print at: http://www.magiceyegallery.com

A Cultural Anomaly: Hasids@Harrods?

Waking up this morning, a thought floated past: how would one define consciousness? Is it a continuous series of ‘snapshots’, so to speak, strung together in our minds to form an infinitesimal portion of the big picture? And might that portions’ relationship to the greater reality only be understood in retrospect? Maybe. Maybe not. Perhaps, to prevent short-circuiting, we’re not meant to be conscious of consciousness, but before I get lost on this existential tangent, I want to share a drawing that was completed last night; a ‘snapshot’ that may have prompted those thoughts…

One rainy afternoon in 2002 at Harrods, I sketched a quick impression in my journal of these two men in black. Their incongruous presence in London’s poshest department store was a stark contrast to the colorful array of culinary delights for which Harrods great food hall is world renowned. Upon further reflection, this sighting revealed another level of strangeness. It seemed that by some trompe l’oeil, they had been transported through time from a cobblestone street in 17th century Poland to our era of consumer opulence and gastronomic bounty. Taking in their stuffed shopping totes, I wondered if they were still committed to their ascetic culture as they searched for a way out? And where were their wives? Questions, questions; but what fun would life be without mysteries like this?

An Illusory Freedom: Choice & Consequence

A favorite trope of philosophers and religious scholars from ancient times to ours has been the concept of free choice. Does it exist as a vague tenet of traditional religious entitlement so we may feel free to question our ‘destiny’? Or is it merely a glib, convenient dodge for questionable behavior? Either way, acting upon it is never without consequences for the present or the future, both of which we like to think we can influence even if that influence may be illusory in itself. One of the stronger arguments for the consequence of interpreting the concept of free choice is found in Parashat Shemini, this week’s Torah reading in the Book of Leviticus/Vayikra.

In the illustration above, called Choice & Consequence, a scale is suspended from a mystical winged yad (Torah pointer). One pan holds the sephirah of Chesed (lovingkindness) that has been damaged and unbalanced by the sephirah Gevurah, (strength and power) in the other pan. The status of these qualities lies beneath the many vivid examples of victory and tragedy in the Torah narrative. One of most heartbreaking events was the dramatic deaths of Nadav and Avihu, the sons of Aaron, High Priest of Israel. The young men were also godsons of Moses, Aaron’s brother. The Talmud and Kabbalah offer multiple interpretations of this incident. The most familiar is the brother’s unauthorized offering of incense or ‘strange fire though not requested to do so. According to Louis Ginzburg’s Legends of the Bible 1, they were killed upon their offering by two filaments of fire that flashed from the Ark in the Tabernacle. These split into four flames, pierced the nostrils of the young men and incinerated their souls. The bodies are shown intact for the legend also claims that after the event, no external injuries were visible. My imagination rode this story back to an earlier example of an unacceptable sacrifice; that of Adam’s son Cain, his rejected harvest offering and subsequent murder of his brother Abel. God’s rejection of Cain’s offering makes this tale equally tragic despite God’s vague attempt to justify his action to an angry and vengeful Cain. Though the later sacrificial system was designed to short-circuit the expression of these emotions, the loss of these young lives remains a scar on our history. One of the stranger postscripts to Cain’s murder of his brother is that God chose not to destroy Cain for his misdeed. Instead, he was condemned to live with his crime for an extraordinarily long lifetime while bearing an enigmatic stigma. Rashi, the medieval French Torah commentator asserts that this ‘mark of Cain’ was a horn that protruded from his forehead eventually causing his death by a hunter who mistook him for an animal. Another interpretation in the Zohar(Book of Splendor) associates this mark with the Hebrew letter ‘vav‘ because the name Cain or ‘qayin‘ in Hebrew, means ‘hook’.2 Was this ‘vav‘ or ‘hook’ meant to connect Cain to God during his journey towards spiritual redemption? Since both of these assertions intrigued me, I decided to combine them in one image showing Cain’s horn emerging from the ancient Hebrew letter ‘vav‘. The design of his horn was suggested by the ‘horns’ of the mizbeach or sacrificial altar.

I often marvel at how everything is connected in strange and subtle ways. Though created as a stand-alone post, last week’s drawing, ‘Innovasion'(detail shown above) whimsically explored the theme of unusual eating utensils. Coincidentally, the other important theme in Parashat Shemini, happens to be the laws of kashrut (kosher eating practices)regarding animals; laws that clarify which animals may and may not be eaten with any utensils. In my book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009), the illustration for this section of Parashat Shemini, called Sanction & Censure was my final choice for the book. Yet, I thought it might be interesting to show an alternative option I considered at the time.

By way of explanation, the diverse array of creatures categorized in Parashah Shemini as kosher and unkosher provided an intense artistic challenge. As I began to draw these creatures, I was as delighted as a child to be depicting representatives of the vast array of life forms inhabiting our planet. Digging further into the laws of kashrut, however, these restrictions seemed way too complex to be arbitrary. I wondered about their true meaning for us beyond straightforward obedience. Though I personally understand and observe the basic tenets of kashrus, my imagination is simultaneously attracted to the esoteric. So, upon closer examination, if the animals I have drawn seem to have unique personalities, they do. Their ‘personalities’ were suggested by the Hasidic idea that each creature deemed ‘kosher’ contains ‘sparks of holiness’ and that when properly blessed and eaten, those ‘sparks’ are released, inviting the Divine Presence into our material world. Accordingly the creatures appearing fully colored underscore this idea. Those appearing in neutral grey tones within the black chessboard grid are considered inappropriate to be eaten and for the performance of commandments (mitzvot). Surrounding the ‘chessboard’ are emblems representing four of the spiritual worlds (atzilus,beriyah,yetzirah,asiyah) and elements associated with them (air, water, earth, fire). I thought these should remind us that free choice may not exist merely to reassure our need for independent thinking, but rather we should understand it as a way to reaffirm our connection to creation and to each other.

The Alphabet Angel

In The process of developing my Alchymy of Alphabets series at The Magic Eye Gallery (www.magiceyegallery.com), I came across an old journal entry from 3 December 2001: “Had a brief exchange with an elderly woman at the Carnegie Library in Squirrel Hill. She had just come from her afternoon yoga class. As we admired the array of hand-drawn classic scripts and illuminated quotations that comprised a local calligrapher’s guild exhibit, she remarked: “Do you think these are just a collection of pretty letters or some sort of secret message?” “Uh, good question; don’t know, maybe…” I shrugged to humor her, because you never know when someone might be a bit off. Then, beneath her mischievous green eyes she offered a twinkly smile . “Well, I believe that letters in themselves symbolize worlds of meaning that are only secret until you learn how to look at them.” She abruptly turned and sauntered away, leaving me to quickly sketch her in my journal and ponder a mystery that more than ten years later I am still decoding…

A Little Thing That Knows One Big Thing

When I spotted this strange young guy emerging from an alley off of Randolph Street during a 2010 visit to Chicago, his spiny-gelled coiffure was enough to plant this image of a ‘HeadHog’ in my imagination which then became a sketch in my trusty Moleskine journal. In the two years following, it remained unfinished as I developed other projects that included my Codex Gastropoda drawings. Several of these appeared in a series of posts here that were dedicated to the ‘appreciation of small things’. That appreciation led me to rendering ‘HeadHog’ this week but also piqued my curiosity about the animal and its legends.

In tracing this line of questioning, I came upon some pieces of folklore that attribute various qualities to these creatures, including a notion that hedgehogs can outsmart foxes and predict the weather by the way they build their nests. Then there was a Brothers Grimm fairytale about a magical hybrid hedgehog-child called ‘Hans My Hedgehog’, which could easily have influenced my drawing had I been aware of  it.

However, a 1953 essay by Isaiah Berlin (1909-1997), the British intellectual and historian of ideas eventually piqued my interest. Entitled ‘The Hedgehog & The Fox’, Berlin wrote a playful riff on a quote attributed to the 6th century BC Greek poet-philosopher Archilochus: “The fox knows many things; the hedgehog one great thing.”  In it, he posits a cultural/intellectual divide between writers and thinkers by employing these two animals as metaphors of two types of human beings. He compares hedgehogs to those that embrace a single, all-encompassing construct of ideas of which they are the undisputed authority. For him, foxes are those individuals who choose a more wide-ranging aestheticism in pursuit of self-knowledge and by extension their understanding of universal existence through a cultural bias. Yet, I suspect that Berlin’s sly cleverness does both animals and those attributes a generous measure of injustice for in my opinion, these attributes are as inextricably intertwined as the concepts and manifestations of good and evil.

Though our natural tendency is to categorize our behavior and intellectual/creative processes to clarify our understanding of them, I think that  writing vs. thinking, art vs. science, science vs. religion or for that matter, illustration and fine arts (see Imaginarius post of 28 February 2012) are not discrete categories. They are only pieces in the greater puzzle that is us.

Today, I might be a fox speaking like a hedgehog. Tomorrow, who knows?