Gratitude, acrylic on canvas, 63 by 56 in. Emilia Kallock, 2018
I drew inspiration for this piece from Gauguin’s “Jacob Wrestling With The Angel” 1888. Overall, it is an image to serve as a meditation guide beginning with an element of gratitude. Gratitude for trees, flowers, love, the Divine Feminine, the Divine Masculine, dancing, fish (salmon), birds and totem animals (seen behind the human figures). Gauguin stated: “Don’t copy nature too much. Art is an abstraction; derive this abstraction from nature while dreaming before it, and think more of the creation which will result (than of the model). This is the only way of mounting toward God – doing as our Divine Master does, create.”
Jacob Wresting With The Angel, 28 by 36 in. oil on canvas, Paul Gauguin, 1888
Untitled (Norwegian Gargoyles), charcoal and acrylic on industrial wallpaper, 68 by 53 in. Emilia Kallock 2017
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The central, dual walking figure in this painting represents someone learning to face deep fears, as represented by the lower figures- all modeled
Three women enjoying an afternoon on a dock on a lake. A memory of last summer and Gauguin’s Tahitian work, especially the painting, ‘Fatata Te Miti’, 1892, inspired this piece.
Happy Birthday!, acrylic on canvas, 62 by 50 in. Emilia Kallock, 2018
I drew from various points of inspiration for this piece, starting with it being the year of the dog on the Chinese Zodiac. The dog is red, like Clifford, the big red dog from school storybooks, and adapted to look like a Labradoodle, which I’ve sometimes considered as my totem animal. Dogs in general to me are creatures of play and protection, and I like them because they demand fun if you want to make them happy and are loyal companions. Mixed in its fur are Japanese paper cranes and flowers symbolizing peace. There’s rain in the background because I live in the Pacific Northwest of the North American continent, where it rains a lot.
On the way to Incheon airport on the Seoul metro, I only caught a glimpse of her face, as it had been mostly buried in a book. Her clothes and suitcases were earthier in style than the de facto black jackets and white sneakers that most everyone else was wearing. Her luggage seemed heavy but she moved it effortlessly. In that moment I fell in love with her, and then the doors opened and we all hustled away in the crowd in different directions.
Young stylish father with two sons on vespa in Hanoi, Lunar New Year 2018
A continuation of the romantic mood. How should time be spent?
Clownfish, watercolor on paper, 9 by 20 in. Emilia Kallock, 2018
Clownfish are so interesting! They have a symbiotic relationship with sea anemones- living amongst their poisonous tentacles, keeping them clean. In turn they’re offered protection. Clownfish also change genders during their lifetime. This painting is dedicated to someone I’m in love with:-)
View from the Kitchen Window, Hanoi, watercolor and pen on paper, 10 by 12 in. Emilia Kallock 2018
My fellow helpers with the kitchen window behind them.
Love, Cry, Landscape, after the poem by Hadewijch of Antwerp, 13th c. watercolor on paper, 8 by 10 in. Emilia Kallock 2017 Woman as landscape and hills, connecting earth and humans as related ecosystems.
Untitled Sketch (children and adults), watercolor on paper, 7 by 5 in. Emilia Kallock, 2017
Observing the Frontier Conference Sketch 2, pen on paper, 8 by 20 in. Emilia Kallock, 2017
The first painting is an illustration to the following poem from the 1200s by a woman from Antwerp.
Knowing love in herself.
I do not complain of suffering for Love,
It is right that I always obey her,
For I can know her only as she is in herself,
Whether she commands in storm or in stillness.
This is a marvel beyond my understanding,
Which fills my whole heart
And makes me stray wild in a desert.
The other sketch is about control, and the last two are about people coming together to talk about exciting new ideas.
Yoga Girl for my Daughter, watercolor on paper 8 by 10 in. Emilia Kallock 2017
In the Sculpture Garden, Santiago, Chile, oil on board, 12 by 18 in. Emilia Kallock
A three hour session creating the sepia layer in my first try at sfumato, an Italian renaissance painting technique that Leonardo and Rembrandt used. We’ll see where it goes from here.
Guitarist, chalk pastel and pen on paper, 6 by 10 in. Emilia Kallock 2017
Reading on the Beach, Chile, chalk pastel and pen on paper, 6 by 10 in. Emilia Kallock 2017
Paper sketches, themes from Chile