Ad Astera

– a piece of writing from The Diary of a Tree Standing On It’s Head

Ad Astera


the stars now singing
across my soul a song
do they, great beings, all light and fire and mass,
who I see as a remote and pulsing brightness,
do they perceive me as a speck of distant darkness?
a black dot dancing upon great luminous eyelids
closed against the internal glowing abyss of their being

I sense the song singing
dreaming into my soul's slumber
heard by spirit into spirit waking
Everything's own sonorious drawl
near and warm as seems my blood
distant and cool as seem the stars:

oh, my beloved, oh, my heart
do not be afraid, I am for you now
you, who have been thinking you are too slow
too slow of your hands you thought
and your feet and your heart you thought
too slow in your great labors you thought
but I say, no, not slow enough, no not yet
the trees are slow and the rocks still more
the earth prodigious in slowness
but not yet you, you must be slower still

oh, image, oh, self-discerning self
you, who have been thinking
that you have become too small
too obscure and too insignificant
you who have been thinking
that you can measure meaning
by size and shape and outward things
but I say no, no, not yet have you become truly small
not as the small beings whose life doesn't weigh on the moral scales
you must become as obscure as the undiscovered
as insignificant as the poor
no not yet, my dear, you must be smaller still

dearest dear, heart of my own heart
you who have been thinking that you are too foolish
foolish beyond what is acceptable, even for an artist
even for a fool, and what miracles are there
to make it ok?
but I say no, not yet
you are not yet foolish enough to contain me
be foolish until all is lost and squandered
and as a fool go on, and then we'll talk
I am not far

oh, beloved god-knowing self
you who have been thinking
that you have failed too often
and too greatly too grievously
you who have been thinking much
that I will disown you
that I would spit you out
because the great practice you have made
of failing and of shame
but I say no, not yet
you have not failed enough nor greatly
not yet enough to receive me
when I come like water and
when I come like fire
fail still, fail and fear not
I will not abandon you
fail and do not abandon me

I hear the star's laughter now
like children they laugh without derision
for joy they laugh
and for love, they twinkle
like stars in the sky


The Great Beast

Exploring the Recurring Theme of the Great Beast and the Prone Man

I thought it would be interesting to take a look at the recurring image of the Lion/Dog-Chimera/Beast standing guard over the prone man in my work from the past 2 1/2 decades. The Beast Himself shows up in many other works, but today I am concerned with His appearance specifically over this lying-down (dead?)man; an obscured self-portrait echo of Hans Holbein’s Dead Christ.

When I first started making these images, I was very uncertain of the beast. Is he good or evil? Is he standing guard to protect the man from being devoured or to devour him himself? As time has gone on plenty of uncertainty remains, yet I feel that the beast transcends the duality of good and evil- I could even venture that he transcends it as goodness.

Pushing a bit harder, I might say the beast is the Angel of the Holy Spirit- if that’s too far, I can retreat to the ground that he is “messenger”.

Entering into the imaginal space of these images, the land of spiritual vision, allows their merger with memory and experience. That’s a leap into what some call the realm of the unseen. As for me, I say it is a seen realm, but with other eyes. They are my memories and experiences.

The man, is he alive or dead or both. He begins to be folded into the Earth in later drawings. And fully inhabits the worship life cycle of growth and decay by the last image. The relationships have matured a little bit perhaps? Time will tell.

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

An Interview With Elizabeth Duffy

detail of Go On, John the Baptist, oil on panel, 2008

detail of Go On, John the Baptist, oil on panel, 2008

Elizabeth Duffy has been posting parts of an interview she began with me last spring and summer.  To date, this interview consistutes the clearest and really, only articulation of the beliefs and values behind my work.  I hope that you will take the time to read it.  The interview will ultimately be posted in it entirety on this site, but for now, here is part 1, part llpart lll, and the final bit part lV.  Please take the time to read some of Elizabeth’s writing as well.  She is authentic, humorous, and insightful.  Her wit and self-effacing style reveal a woman on a significant journey with valuable things to say.

From the Dust I Came

CRY THE BLOOD

I began as dust, heavy with the sweat of God’s fingers as He formed my flesh;  a heap of particles still ringing from the sound of His voice.  His breathe came as a holy wind, compelling me to breath, myself.

“i am erth.”

In my senior year of high school, the man who had been my art teacher since fourth grade, gave me some advice.  I was struggling with the conflicting dreams of pursuing the hope of becoming a musician or studying to become a visual artist.  His counsel was simple and wise:  “you can’t do both.”  At that point of decision, it seemed that since I was largely a self taught musician, I could conceivably continue to be so.  Instinctively I knew that there was so much that I needed to be taught and learn and so much time I needed to devote to the disciplines of drawing and painting.  So, I chose art without regret.  The music, however, has never left.  I have outgrown (mostly) the delusions about being a famous musician.  It has become an intensely personal discipline.  It is a language through which I speak to my God and through which He speaks to me.  It is a language I bless my children with.  It is a language I use to share my heart with those that are close to me.   Times have changed and technology that did not exist or was just emerging when I was young has made it possible for me to share what I have largely kept to myself, my family and my close friends.  It was not an easy decision to share publicly what has been so private.  But this, I have done.

The name of the album is Cry The Blood.  The blood is Jesus’ and the cry is mine, though there are many quiet voices beside me.  I chose to recorded under the pseudonym, i am erth.  (The “a” is missing on purpose, a decision which spell check is relentless in punishing me for.)  The land is a passion of mine and a place of meeting and learning as I live as a son under God’s sky.  I am close to the erth, and it is never far from me.

For the curious:  I wrote the songs, sang all the parts and plucked every string, blew every note, squeezed every box, recorded, mixed and stabbed out every digital pulse.  It is far from perfect.  I blame myself for the flaws, you can decide if there is beauty in them. You can hear my kids, and my animals, the wind and the rain, creaks and clicks and bonks, and probably a freight train.  I’ll thank my friends who encourage me and hold me up in the testing. There is one among those who deserves more credit than any, but I know he prefers anonymity. If you want to thank him, eat a steak or go fly fishing in Montana.

Through the ideas and labor of many, this album will (if not already) ultimately be available for downloaded from major online music retailers. Below is a link to iTunes, where it is already available.

You may be interested in what Elizabeth Duffy has on her blog. Elizabeth is my friend, but she began as a stranger asking me questions.  She has been instrumental in pushing me to make the music available and has written a very encouraging review of as well.  In addition, Elizabeth has included a portion of her interview with me as a means of introduction.  It has been a rare opportunity for me to express what I believe and why I do what I do.  I couldn’t have voiced it without her asking and without the creative, sensitive and trustworthy nature of who she is.  Thank you, Elizabeth.

In a final bit of disclosure, I began an instagram feed early last fall.  While I still remain ambivalent towards much of the usage, I have come to value it as unique for sharing imagery and stories on a different platform and immediacy, it is kind of a microcosm of the posts I make here.  My user name is @baumwerkj if you are interested.

I continually thank you for your support here over the years. It has been 8 years since I began this blog. Your quiet interest has given me encouragement to continue working. All glory and honor will be and ever remain His.

Jack Baumgartner,  Rose Hill, Kansas Jan-19-2015

Go On, Obed Edom

For many years the story and name of Obed Edom have struck deeply within me.  His story in the bible is pretty short.  As with many things I have tried to make my work a path into exploring this mystery.  This print is now finished.  To go along with its completion, I have included a song that I wrote a number of years ago of the same subject and with the same goal in mind.  I hope that they are moderately fitting accompaniment to a powerful story and special man who I know very little about.

Obed Edom Print1

“I Chose You, Obed Edom” linocut, 12″x18″, sepia ink on French’s Durotone paper

Obed Edom Print2

eyes and burning “V”, feather, wheat and cedar sprig in his head covering.

Obed Edom Print3

Cherubim and Mercy Seat

Obed Edom Print6

Obed Edom’s right hand

Obed Edom Print5

three birds in his beard

Obed Edom Print4

The Holy Ghost’s wild goose, and sleeping kestrel

Small History of Flying Fish

sandstone, guitarflying fish5

If we set the little paraffin lamp out at night, flying fish were attracted by the light and large and small, shot over the raft…flying fish7

It sometimes happened that we heard an outburst of strong language from a man on deck when a cold flying fish came unexpectedly, at a good speed, slap into his face…

flying fish6

…They always came at a good pace and snout first, and if they caught one full in the face they made it burn and tingle… flying fish8

But the unprovoked attack was quickly forgiven by the injured party, for with all its drawbacks, we were in a maritime land of enchantment where delicious fish dishes came hurling through the air…flying fish1

We used to fry them for breakfast, and wether it was the fish, the cook or our appetites, they reminded us of fried troutlings once we had scraped the scales off…  Thor Heyerdahl, Kon Tiki, 1950

Flying FishThere is a boy here who has five barley loaves and two fish.  But what are they among so many people?…flying fish4Now there was a great deal of grass in the place; so they sat down, about five thousand in all… DSC_0064Then Jesus took the loaves, and when he had given thanks, he distributed them to those who were seated; so also the fish, as much as they wanted… flying fish2When they were satisfied, he told, he told his disciples, “Gather up the fragments left over, so that nothing may be lost.”

flying fish3So they gathered them up, and from the fragments of the five barley loaves, left by those who had eaten, they filled twelve baskets… John 6, 9-13 NRSV

In the dark and unlit ceiling of the Loretta Chapel there is a lonely painting of a chunky fish atop a heavy slab of bread.   At the moment Thor Heyerdahl’s balsa log raft was colliding with a dusty man breaking bread in the grass of Palestine.  The long pilgrim road leading through elder drifts, slabs of rock, mountains of hailstones, unearthly fish with a mouth like a grave.  The sign of Jonah.  Provision comes unlooked for, and fear is weathered away.

 

Visions of Jonah

DSC_0174

Walking Man and Jonah of the Ancient Ocean (detail askew)

DSC_0086

Medium #2

DSC_0071

Cobalt

DSC_0068

Tiny, there on the easel after the huge canvas that preceded it.