Prints of Jacob Wrestling With God

Archival Prints of Jacob Wrestling With God Are Available for Sale!

We have produced two limited editions, one large and one small, reproducing the oil painting I made of Jacob Wrestling with God.  These reproductions were painstakingly digitally edited and then individually printed by my good friend Mike Schultz in his Portland, Oregon studio.  The image is printed on a satisfyingly thick Epson hot press bright white paper using Epson inks.  The colors are vivid, rich and archival.  Each print is personally signed and numbered.

As stated above, we’ve made two sizes of prints, and they are available for sale in our online store, Baumwerkshop.  There is a listing is for the larger of the two, which is 17″ x 20″, and a listing for the smaller, which is 8 1/2″ by 10″.

The original painting of Jacob was made in 2012.  I have continued to be amazed and humbled by the impact the painting has had on people.  I often receive heartfelt messages from individuals expressing to me how the painting has helped them through a difficult season, or has helped to illustrate challenging and meaningful theology.  The image has even found its way onto album covers, book covers, and countless church bulletins.

As a result, many have expressed a desire to have a reproduction of the painting available for sale.  This is the first time I have attempted to produce and sell reproductions of any of my paintings.  I hope that the final product is a blessing to you.

The Spiritual Mechanics of Labor and Rest

(And the Kingdom of God?)

The Spiritual Mechanics of Labor and Rest, 12″x18″, ink on paper

When drawing becomes a prayer, the image becomes a repository for the questions and thoughts offered to God, which then settle on the page. At first like a fine dust. Then into ridges and furrows. Then into fields and gardens.

I thought I had some language to accompany these developing drawings, but they are dissolving into new perspectives without words.

Spirit and Truth, Labor and Rest, 18″ x 12″, graphite on paper
center detail
detail of Mary Magdalene
Detail of the Martyr, Antipas

Trestle Table in Black Walnut

I delivered this table to my client’s office last week. It is good to finish a piece and be able to celebrate it. In spite of this I tend to experience a wide range of emotions and second guessing when I finish a job. One thing that never changes though is the gratitude I feel at the opportunity to be a woodworker, one who engages the authentic witness of the trees. They always have a real story to tell about our God and His majesty and faithfulness.

Trestle Table in Black Walnut

Discovering Design

The discovery of the life within the wood and the relationships they form is exciting to uncover. The early decisions are heavy. Every other act in the process is a response to these chalk marks as they try to hear and echo this walnut tree’s voice.

Underpinning Art with Discipline

The romance of the craft is backed up by countless hours of “mundane” work- the discipline that builds skill, and makes up the real life of labor. Days are spent creeping up on this scribed relationship and the foundational joinery. It’s a blessing to work, and to rest in the presence, at the same while striving towards the goal. Don’t mistake me, I’ve only had enough meager success at it to know it’s possible. 

Technology – Joinery

One side of the natural edge was curving away on bottom edge so I had to cut a shallow rebate in order to have a solid joint as well as cleanly scribed edge. This edge was reinforced with dominoes. The opposing edge curved towards the bottom edge and could be cut square. For it I made a floating contoured spline from Baltic birch. Assembled dry all is tight and solid.

Visualize and Establish Form

Finding a way to visualize the elements in a design is an engaging challenge. Krenov spoke of “composing”, and I’ve adopted his method and language -clamping up and mocking up relationships as the process moves forward. I don’t recall if he used tape, but I recently switched from using blue tape to white tape to mask off shapes- the difference is remarkable. 

Labor – Engaging Harvest

The last bit of joinery for the individual trestles is the horizontal rail completing the “H” form, which will eventually carry the longer rail that will join the two trestles together.

I’m grateful for this job, this material, this process. I heard a song that had a line which proclaimed “I am the record of His grace”.

Almanac of the Wheel of Life: The Farm at Mid-Winter

What does it mean to be a steward of life? It is an unspoken question threaded through my days. Each winter we carry more lives through to the hope of spring. It is the nature of a farm and a family grow, a response to a holy invitation. In our stewardship, we learn to leverage the outward death of winter to build the inner life. Roots and bones. Back to the earth in the compost of the old year, manure and trampled hay, sawdust and wood shavings, in cover crops and dormant roots, even the bones of the dead under the heap or in the earth. Those failures of the past year kindle study and deeper investigations into the principles of agriculture and life. The wheel of life rolls away as a witness to the nature of God, always redeeming death and turning it into the living.

The oblique light comes with a more subtle potency not felt in the haste of summer, illuminating details made bare by the dearth and otherwise overlooked. It is not all romance of slanting light. There is the mud and the death and sickness. There are the broken systems and the unfinished jobs, and the detritus of unclean life scattered everywhere. The butcher sighed and smiled and cried “Ahh, life!” and thanked God as he cut the throat of the lamb. It seems that to live is to accept and know death, and to die is to understand and accept life. It is a mystery that I don’t claim to understand.

“For I know that this shall turn out to my salvation through your prayer and the support of the Spirit of Jesus Christ, according to my earnest expectation and my hope that in nothing shall I be ashamed, but that with all boldness, as always so now also, Christ shall be Magnified in my body, whether it be by life or by death. For to me to live is Christ, and to die is gain.” Philippians 1:19-21

Building an Image

The first glazing layers on Thomas Touching the Side of Christ

figure of Nicodemus from Thomas Touching the Side of Christ

After years of working on the underpainting, this autumn has seen the first  color appear on my painting of Christ and Thomas with all of the disciples gathered in a room together.  I am taking a lot of cues for the colors in this painting from Rogier Van Der Weyden’s famous Descent from the Cross in Madrid’s Prado museum.   

Thomas’ robe in process

It is a clunky and halting phase of the process, trying to use the appropriate colors, and the right medium, and the right balance of medium to paint ratio.  I’ve had to rub out hours of work at a time, when I’ve come back the next morning to realize the color isn’t working.  

You can see the uneven blotchiness in Nicodemus robe.  This will be resolved with subsequent glazed layers.  

It is tempting to render the layer to a finished state, even though I know there will be subsequent layers.  It is foolish to carry detail too far just yet, and it is difficult to leave certain problems alone until a more appropriate time.  I caught myself over-rendering the blue of Nicodemus’ robe and had to stop myself midway through.

The darkness of the grayscale layer underneath determines a good part of the value of the glazed colors

Glazing takes advantage of the semi-transparent nature of many pigments when mixed with linseed oil as a binder.  By building up multiple thin layers of paint, it is possible to achieve unique and special color and luminosity in a picture, especially in the correct light. 

various mediums, and their component parts on the pallet.
Thomas’ garment is a mix of Alizarin Crimson, Quinachradone Red, Burnt Sienna, and Cobalt Green.

This painting is a huge learning experience.  They didn’t teach this sort of thing in art school while I was there, so I am having to work through a lot of discovery and failure, even while taking advantage of the many written treatises on painting throughout the centuries.

The relationship of the blue and yellow is particularly nice