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.
Untitled, charcoal on newsprint, 33 by 40 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.
Daydreaming of Love, acrylic on canvas, 26 by 32 in. Emilia Kallock 2017
Painting from Facebook, acrylic on industrial wallpaper, 47 by 55 in. Emilia Kallock 2016
The Painting from Facebook
This turned out to be an interesting piece. It’s a collage from a ‘call for ideas of what to paint’ query among my Facebook friends. In this sense it is a collective piece, and not my own. Among the donated images I used an elderly woman as the central character, and formed a narrative from there. From what I can see, she abnegates all that which exploits life in an unethical and unsustainable way.