Painting Lions

Art is a fluid language that flows from the artist, to the viewer, and back to the artist. Art adapts to the time and place of viewing- ever changing to meet people where they are. What we see and feel from a painting today may be different from how we thought of it yesterday, and how we’ll see it in the future. Therefore, we may have different answers to the questions in the headline above, depending on when we’re asked (What story do we want to tell, what emotions do we feel, what impact do we want to make?). We may also have different answers to those questions from the perspective of the viewer, including the artists themselves who become viewers as well (What story do we hear, what emotions do we feel, what impact is it making?).

Whatever our answers, art is personal, intimate, and we might change our hearts and minds seconds after we’ve settled on a direction. I can tell you what these paintings mean, but not what they mean to YOU. My perception about my art changes over time, so even though I’m the artist, I’m not an authority on art, not even my own. Once a painting is shared, art belongs to everyone.

Eyes can appear kind and wise. It’s all in what we see when we look into them. When painting eyes, it helps to imagine what we want the eyes to show and use our brush strokes to reflect that. Rounded shapes express gentleness, purity, innocence, and goodness; whereas sharp edgy strokes bring a sharp quality that expresses the opposite.

Layering with colors and highlights brings a flat painted eye to life. A fleck of white in the pupil is a “life spot“, according to my dad. He used to tell me to never forget that. Aiming for a small pin-point white dot works, but when the white fleck ends up as an organic, random “splotch” that doesn’t match exactly the life spot in the other eye, it has a more natural effect, so I try to resist making it too tidy. Light is generally not perfectly reflected or evenly cast.

Soft velvety texture on the lion’s face contrasts with the heavy paint strokes that become progressively more primitive as the mane extends to the canvas edge. What story, what emotion, what impact? Imagine running your fingertip down the bridge of that fuzzy nose, or a giving the lion a pat on that heavy golden mane. Is he gentle? Might he be dangerous? Would he hurt you? Would he protect you? What kind of lion is he, and what does he represent? Strength, wisdom, patience, victory over enemies? The story is up to the viewer, but an artist can steer the viewer toward asking questions. Contrasting elements give art a dynamic that is active, seeking, inquiring.

This mythical winged lion was inspired by a resin Guardian Lion statue in Savannah, Georgia. I imagined the griffin as made of gold, and “alive” (yet still maintaining the qualities of a statue). Again, it’s all about the contrasting elements, as this second painting also begs inquiring minds to ponder what this art means to them. The rigidity of the lion, its fixed expression, stern lines, and monochromatic coloring contrasts- and almost opposes- the soft terrain, wispy fantasy landscape, streaky brush strokes and colorful palette. The only movement is water spray hitting the cliff edge where the lion stands watch. What is the story, emotion, and impact? Do we feel safe? Is this lion in control, even over the elements, the sea?

“Lion and the Lamb” was inspired by stained glass windows in the historic Cathedral of John the Baptist in Savannah, Georgia. I wanted to paint religious art of my own, even though this isn’t in the style of the stained glass window art. My metaphorical intentions weren’t very deep (precious lamb, sacrifice and meekness; contrasting with mighty warrior lion and King). I guess we could bring that into a greater theological discussion about duality and the divine, but to be honest, I only imagined this art as a peaceful story, like the illustrations I have fond memories of from children’s Bibles when I was a little girl.

My Irish Gran used to dress up in her pink dress and sometimes she’d have a hat. If I was lucky to be at her home when she had a church event planned, I’d get to see her in her Sunday best. These memories are all caught up in my perception of Bible stories, which accounts for my peaceful and nurturing interpretation. However, I have received feedback from several viewers who have put quite a lot of thought into what they see in this metaphorical painting, and even took an entirely different path than I even knew existed. While I find their perspectives interesting, I still only see a gentle strong fatherly lion with an innocent meek lamb. Sometimes I paint on one level, while views take the art to much deeper levels. Art is a language that transcends, even if the artist is completely unaware.