Finished Nature Goddess Sculpture

 In each of the places I've lived in North America I've encountered nature spirits. Inside the mysterious trees and brush one thing can often look like another at first glance. Have you ever walked in the woods and mistaken a log for an animal or caught unexplained movement out the corner of your eye? Some say that the cautious creatures of magic in the woods disguise themselves to avoid capture. Who can say if they are really there or not? I wanted this recent sculpture to have that ephemeral feeling of both natural and supernatural that makes one take a second look in curiosity. If it has a meaning greater than that then we'll ponder on it together.

close-up of "Hamadryad" by Tree Pruitt

In a previous blog entry I shared an assemblage statue I'd begun titled at the time as, Nature Goddess Sculpture, well she's finished now and enjoying a spot on a curio shelf. From the base of the marble stone to the painted tip of the highest feather she stands thirteen inches tall. Click the link to see pictures in the old post of how this piece began. She has become a North American hamadryad, with her head-dress of native bird feathers; red cardinal, yellow finch, and black raven are represented in her crown.

Wikipedia informs us that hamadryads, "are Greek mythological beings that live in trees. They are a particular type of dryad, which in turn are a particular type of nymph. Hamadryads are born bonded to a particular tree. Some believe that hamadryads are the actual tree, while normal dryads are simply the entities, or spirits, of the trees. If the tree died, the hamadryad associated with it died as well. For that reason, dryads and the gods punished any mortals who harmed trees."



"Hamadryad", sculpture by Tree Pruitt



My Hamadryad statue could be understood by some to be an unhealthy tree because of the plethora of bracket tree fungus she wears up her trunk, but I don't think of this fungus as a death symbol. Also known as Artist's Conk, this particular species is Ganoderma lucidum, which is a type of fungus I've personally observed on living trees. This species is a hard textured annual with a shiny red -brown top surface when dormant. The underside of this "Artist's Conk" yields a mat surface like a dusting that darkens when touched or scrapped. Marks will become permanent, allowing artists to express creative images on the surface. I've enjoyed watching this species shape itself to the contours of tree trunks over the years, as if poured into place, until it becomes a very firm part of the tree; attempting to remove them is quite difficult and harmful to a living tree. Overall, it may be harming the ash and locust trees I've observed it growing upon, but they've thrived for well over forty years so far, with the fungus growing only in the low shadows.

 
This sculpture is considered by myself as an "assemblage". An assemblage is simply taking parts already made and putting them together to make something else. It certainly has been an assemblage of inspirations! Here, though the surface is carved and formed similar to a traditional sculpture, the body is made of different parts. A pine wood dowel rod runs upwards, and this isn't just a support structure because I've left a portion visible as torso. The foundation is a base of marble chunk. The clay is attached to this base making it a permanent part of the piece.

I was nearly sad when this assemblage sculpture was finished. I had great fun working on this piece. Paperclay as a medium has proven to be very versatile when mixing into my 3-D artwork. I enjoy the final results of this project, and I hope you've enjoyed it too!

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http://en.wikipedia.org/wiki/Hamadryad
http://botit.botany.wisc.edu/toms_fungi/march99.html
*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use.

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Carved Willow Magic Wand

My enthusiasm has gotten the better of me, so I must tell you about a wand I'm near to finishing! This wand is designed especially for use in Wicca magic and rituals. Even though my old camera will catch better images in the daylight, I've included some snap shots here. Made of weeping willow wood, it features a hand carved Mother Earth Goddess and pyrography burned symbols. I had a hard time holding back from the fun of adding detail to the human like figure so that the stick didn't become too fragile in the center; it's still as strong as willow can be! The natural under-bark is still in place in areas and some spots have indents that strongly remind one of certain female anatomy that is sacred -- indeed vital -- to birth, and I've accentuated those to emphasize the importance of the natural Yoni like symbols.

There's a lovely light catching quartz crystal shard at the top, but I chose to end the tip of the wand with a spiral rather than a stone. I think the spiral is one of the most important of the Wiccan religious mysteries. The spiral of life is where we often find ourselves in the same places we were in the past, but on a different and hopefully more progressed level or layer of the spiral. Bettering one's self for the benefit of all should be the goal of every Wiccan; this is selfishness through selflessness, (helping others helps yourself in the long run).

On the wand, Wicca mysteries are further alluded to by more symbolism. The tangle of hair the Goddess sports represents the web of life. The open carved space in the middle of the hair is the Center of all being where energy is waiting to be fulfilled to being. The handle portion of the wand holds simple line glyphs for the Elements of Earth, Air, Fire, Water, and Spirit; indeed ALL of the Elements were involved in crafting the wand. The reverse side has words the symbols stand for burned into the wood too. At the foot of the Goddess is the double crescent and circle symbol that most commonly represents Her in the Triple Goddess aspects of Maiden, Mother, and Crone.

Wicca Willow Magic Wand

Don't think, however, that only the feminine divine is expressed here. The circle and crescent symbol of the God, often thought of as the Horned God, is directly balanced in opposite to the Goddess sign on the reverse. Wicca can often seem very Goddess centered, but because of the theory of Force and Form the God is always present even if not as visually represented as His female counterpart. The complexity of Force and Form can be summed up as the God provides the force, or driving energy, of the universe and it is the Goddess who gives it form and shape. In this wand the God is present through the sun's energy that allowed the willow tree to grow, the strength in my muscles as I carved the wood, and even the power of change that was required to make the metal hand tools I used. Though the Goddess features most prominently on this wand, I feel there is a good balance between all of the most important Wiccan symbolism.
There's little that's left to do before this 13" wand is offered for sale. I still need to buff on a finish of carnauba wax for a natural muted shine. I like using varathane because it's such a durable finish, but I think that would be too shiny for this wand. The hand rubbed finish will still be water resistant but will also have a lovely tone and feel. After the finish is applied I need to do the "core". This wand will have a magickal core which will work in a similar fashion to a totem animal medicine bag; No whimsical dragon scales or firebird feathers though! I have a very special bit of naturally shed elk fur that I'm considering placing inside the small hole I've burrowed into the handle of the wand. I'll likely consider appropriateness of the metaphysical energy of several other materials too before capping the hole closed with a tiny gem stone, sealing the core inside. It doesn't require much of any given thing to add to the magic because it's simply the blessing of the energy involved that counts. I'm always careful not to use anything dangerous, illegal, or unethical in a magical core -- that would defeat the purpose -- but I won't make final decisions until the action of "doing" is in hand. This is without a doubt the most elaborate wand I've ever crafted! I'm sorry the fun of the project is nearly over, so you can bet that I'm already contemplating another.

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Celtic Goddess Epona

The goddess Epona is particularly a goddess of fertility, but is well known as a loving protector of horses, donkeys, and other animals. She is also a goddess of sleep, dreams, hope, ambition, and is helpful in manifesting dreams into reality. Epona is known as a good protector when venturing on a new path in life and indeed the leader of the human soul in the after-life ride. Although originally a Celtic goddess, she was accepted by the Romans and eventually incorporated into the Imperial cult by being invoked on behalf of the Emperor, as Epona Augusta or Epona Regina.



Celtic Goddess Epona Mini Statue Sculpture

I've recently finished making this miniature statue of Epona, depicted sitting side-saddle on a horse. It's an original design based upon an authentic ancient relic, sized at a wee 1 5/8" tall. It's sculpted in Paperclay® modeling material, which is a great product that dries very hard. I glazed it with a wash of thinned acrylic paint and sealed it with several layers of durable clear varathane varnish. The colors are the natural cream beige of the clay and brown umber.

 It's a one of a kind. Check store links for availability.

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Latest in Dance with Moon ACEO Series

The figures in my playful Dance with the Moon ACEO Series are created spontaneously through free movement of the media; I let the images happen in the moment, without an under-drawing. Thick paint strokes make up the first two in the series, but for the third card I allowed Prisamcolor Pencils to have some of the fun. Card #3 is a tree filled landscape scene created from wild lines and vivid colors.

Visit an earlier post here to learn more about the series, including what inspired them. See all of the available cards in my new Artfire Studio. Each Dance with the Moon ACEO painting will remain OOAK, having no reproductions made now or in the future, and includes an acid free Strathmore paper envelope with a clear sleeve protector.

ArtistTree Buy Handmade

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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Start of Minoan Priestess ACEO Painting

An ACEO is tiny artwork, reproduction or original, in the format of an art trading card. My newest ACEO involves collage again, but a collage of hand drawn images rather than magazine cut-outs. A scan of the drawing stage is included here.

In the center of the card stand the famous Minoan Poppy Priestess, or Goddess. The small statue the figure is based upon holds two snakes in her hands with the heads pointed down, (see image at left). I can't explain quite why, but this feels wrong to me, so I have drawn my sacred serpents heads up. In the sky of my drawing, on the right hand side, hovers a Mediterranean bee in flight. The bottom left shows an upright dolphin, splashing out of the waves of the sea. The lower right corner sits an octopus, referenced from recovered Minoan pottery, and fitted curling into the tiny scene, (shown at right).

When working with paper, it's important to be careful with the graphite. Too much graphite from the drawing pencil, and eraser marks, can stop later paint layers from sticking to the paper, often causing a blurb or muddy looking spot. A spray fixative will stop all migration of graphite, but textured papers can still be difficult to get a clean erase. Pressing too hard when drawing will leave indentations, so a light pressure was used. Notice on the left hip of the figure is out of alignment. Due to the heavier amount of graphite, and the small work space, I'm going to need to correct those lines with paint later. This would have been avoided with better planning before getting started, but this was one of those instances inspired by doodle play; I didn't really know what the picture was going to be when I began. Anything in art can be "fixed" with skill and an open mind, knowing the inward mental picture must be altered to the action taking place.

The first layers of thin paint will pull on the drawing lines and mix with the graphite. With care this can be used to create under-painting tones of shadows and highlight. Fellow artists may find it interesting to note that Prismacolor Pencils also mix slightly into the paint. Notice in the background I've lain in a light color tone of blue and green pencil. The paint softened the pencil strokes and filled in the bumpy textured areas of the paper surface. This was achieved by thinning an already thin bodied acrylic paint 50/50 with clean water. A small medium bristled paintbrush is loaded and white paint floated onto the paper. Working a small area before it dries, the paint is lightly scrubbed into the pencil pigment blending it about; this works with all water media. Each layer after that will be more opaque, and the graphite will mostly disappear to the eye. By keeping early paint layers thin, paper buckle will be avoided, and later thicker strokes will stand out (pop) giving greater depth.

These are methods I use for any sized image on paper, and indeed often when painting my Spiritkeeper Stones too. I wouldn't have considered myself, in the past, to be a painter of miniature art because my Spiritkeepers are something just outside of art to me; being closer to a spiritual experience. I don't think much about size when painting on rocks, but it is obvious the tiny world of art collector cards isn't all too different. Hopefully you'll enjoy seeing how the Minoan Priestess ACEO turns out.

*Original art images ©Tree Pruitt, unless otherwise indicated. Contact the artist prior to ANY use or for purchase information.

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