Informal Non Structured Joy Painting

paintings

Informal Non Structured Joy Painting, acrylic and chalk pastel on repurposed Starbucks wallpaper, 54 by 55 in. Emilia Kallock, 2018

Some elements in this painting are: Xingfu, or Happiness in Chinese, a twinflower (known for female reproductive health, named after taxonomist Carl Linnaeus), a snail for taking time, Robot DJ for providing good music, the masked apple from Magritte’s painting, and reishii mushrooms for health and longevity. Non Structured in the desire to introduce themes in an unconscious, automatic, free flow way. Starbucks wallpaper purchased from Skagit Salvage, a 2nd use building supply store in Skagit Valley.

An experiment in love

amor, paintings, portrait, process

This new painting revisits my interpretation of romantic love by experimenting with the space of being in love. I was programmed to follow societal, parental and cultural definitions of the way love should progress. If it doesn’t go in this fashion, quick are we to dissect each other in shortcomings and failed expectations, however nuanced they are. When we follow this linearity, it becomes almost second nature to explore feelings of scarcity and inadequacy. With this painting, I’ve decided to flip that entire scenario and create an alternative space to contemplate love. I want to sustain a different consciousness where we can nurture the gift of love in whatever quantity or capacity it appears, without the need to define it. Here, the painting itself becomes a totem to this new approach, and the very act of painting becomes an exercise in pausing, to serve as meditation about all the ways love becomes a contribution. And when we amplify this path, unexpected avenues may appear.

Reception for new painting October 20th, 2018 5-9 pm

The Hideout, 1500 Boren Ave, Seattle, WA 98104

The Walking Eye

fantasy

The Walking Eye, acrylic on industrial wallpaper, 47 by 53 in. Collaboration by Emilia Kallock with Verenice and Max, 2018

The Puzzle of Love and the Mysterious Blue Man

flowers, human figure, landscape

The Puzzle of Love and the Mysterious Blue Man, acrylic on industrial wallpaper, 47 by 53 in. Collaboration by Emilia Kallock with Verenice, 2018

The Wish Painting, for More Love, Eco-Compassion, Forests, and Flowers

human figure, landscape, northwest art

A large piece, the little heart squiggles are each representative of wonderful wishes and creations, the two figures in receptivity and gracious prayer. A giant nasturtium in the background and giant crystals of all types in the front.

Swan, Music Notes

Uncategorized

Swans and Music Notes Series, Notes from a turn of century voice lesson book- swans have already migrated North. A flower in the background.

Protection

sketches

Flower: shade forest flower, arms painted with watercolor and charcoal taken from old growth cedar tree stump -remained from clearings 100 years ago

Gratitude

flowers, human figure, nature

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)

human figure, landscape

Untitled (Norwegian Gargoyles), charcoal and acrylic on industrial wallpaper, 68 by 53 in. Emilia Kallock 2017

Post navigation

2016

2018

Widgets

Paintings

Portraits

Bio

Contact

Press

Videos

Murals

Blog

Blog at WordPress.com.


Follow

<img src=”https://pixel.wp.com/b.gif?v=noscript&#8221; style=”height:0px;width:0px;overflow:hidden” alt=”” />

The central, dual walking figure in this painting represents someone learning to face deep fears, as represented by the lower figures- all modeled

Happy Birthday

Americana, amor, animals, painting

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.

I saw her on the metro, and other romantic musings-

amor, sketches

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?

My Scene, (Crear)

Uncategorized

My Scene (Crear) watercolor on paper, 9 by 12 in. Emilia Kallock 2017

THREE LOVERS ON A RIVERBANK IN THE PACIFIC NORTHWEST: A SMALL ADVENTURE

amor, northwest art, short story

It was late summer. The summer the great forests burned throughout the lands North and West. We got in the car after some deliberation, after a sense of unease, after a feeling that the ghosts of the morning may not loosen their grip on the rest of the day, but I got in the car anyway. Bridge (we’ll call him that for all intents and purposes because lately he’s been a bridge between the light and the heavy) really wanted to explore the delta. The river spot had called to him for years. He had always imagined looking across the rail road tracks over where the tall trees grew, where the river called to be explored. I said, “Wow I’ve been thinking the same thing for years also!” which was true.
Now we are walking, on the foot trail atop dike that contained and paralleled the river. We passed an older couple who didn’t engage until I said hi. Bridge looked tall, and good, and confident. Different to whom he had been previous the encounter with the optimistic wise woman. We continued on, seeking to break from the deafening trains and highway noise. This lead us over the decayed rail road bridge, and past the two teenage party spots, and further along the gorgeous river bank. The trail made it’s way through deciduous woods and then a clearing and began to disappear and reappear, to the left and then to the right. We had to duck numerous times under blackberry bushes that caught our hair and our clothes. We continued this way until at last Bridge found a spot where he was content. He was looking at an immense log jam stacked by the currents into a near traversable mass on closest branch of the river.

I laid out my homemade neoprene picnic blanket (the traditional red checkered square pattern) on the bank and we munched on organic chips and carrots as Bridge Google-Earthed the delta. Sure enough, the log jam was against a little island on which he was determined to set foot. I sat in the cool shade and watched the immense volumes of water swirl deceptively slow, sparkling, reflecting dark and quietly. The trees rustled in the cool breeze, and yet still, in this idyllic spot, I could not stop thinking of Lights. (We’ll call him that for all intents and purposes because he still manages to illuminate my thoughts.) I hadn’t seen Lights in years, and we only communicated in a strange pictoral and telepathic way, indescribable because I had never experienced anything like it before.

Bridge began to build a bridge. Precariously jumping between two long fallen trees, across a sizable gap of quiet, fast moving current, Bridge proceeded to balance, carry and throw 70lb plus logs to build a traverse back to the riverbank where I sat. I watched this as if watching a movie, detached and consumed by thoughts of Lights and his sublime influence, and of recent social theories adding beauty and nature to innate human needs. I soon snapped out of it and realized what a fun little adventure it would be to cross Bridge’s bridge, which I did. Then we jumped cautiously from log to log and emulated tightrope walkers across another by holding long branches.   Once on the island, as our footsteps sank into the soft sandy bank, the beauty and privacy of the location began to take hold. I thought how Lights would also cherish this river landscape.   We found a flat sandy spot near the banks with a generous vista down and up river and I laid my head on Bridge’s lap where he massaged my head and helped me focus my thoughts. Allow for receptivity, my mind repeated. Let this day on this riverbank be a gift from paradise, a gift from nature. We were both there at that moment, on a Friday, mid afternoon. We weren’t on a highway. We weren’t at work. We weren’t in our homes. I reached higher, higher, reaching for full receptivity. I quieted my mind and allowed for the gift as day. We took our clothes off, laid down his coat and made love.