The Painting "Pascal"

All this time, I thought he was "Pascal". With an "S", not Pacal. I was wrong.

I named this painting after the Mayan emperor Pacal whose tomb inscription read to me like layers in my artwork. Turns out, somewhere along the line, I dropped in an "S".

When Eric and Andy got the painting "Pascal" they asked if I would send them a little something about the piece; an artist's interpretation, or comment on the work.

Now that they have returned from a year trip around the world, and are about to have a baby, ahem.... yes it has been years, I thought it might be time to finally deliver the goods.

The first thing to report is that the painting was meant to be called Pacal. Now that it's been years, I suppose the purple figure with his arms outstretched (who's namesake is the painting) will continue to be called "Pascal", as will the painting:
************The Painting Pascal******************

The painting Pascal was one of the first I did using the concept of pouring plastic resins, most commonly used for making sculpture, onto canvases into shapes outlined by caulking. The technique of using caulking to shape an image in plastic on canvas, to my knowledge, is still original.

The first layers of Pascal were lots of my own glyphs done in pen. Each layer of the painting is building up to the creation of Pascal, the figure. Each layer of abstraction is "striving for identity of self" as we all are when we are in the process of attaining consciousness.

Pascal is on a journey; a journey into new worlds of the unexpected where he will encounter new beings and new experiences. Some will challenge him and he will grow, others will validate his passion for his existence.

In the painting, his full sense of intuition, seems to extend out like a cone from his third eye. His intuitive center is clear and beaming. That lighter shade of purple inside his head that looks like a reflection is made of pearlescent pigment powder that I sprinkled onto the plastic resin as it was drying. The pearlescent powder extends down his spinal column. At his root chakra, again we find clarity and light.

The figure's arms are outstretched, almost as if he is using his hands to control his direction. With eyes wide open to experience, and with a firm sense of being held by fate, Pascal has his hands on the controls of his choices. He is going to other worlds, other paradigms of existence where his intuition, root and power of choice will guide him.

My intention with this painting was to represent and honor the Mayan Emperor Pacal's powerful disposition towards his actively changing reality.
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And now that it's been years and Eric and Andy have returned and are embarking on a new journey. Transformation abounds.

Blessings to new life.

Pacal: The Mayan Emperor

I came came to grips with the image of Pacal's tomb when I arrived at my guesthouse on my stay at Tikal in Guatemala. The rooms were white clay pods and an American Vietnam veteran lived in the back spending his nights staring out through his telescope at the stars. Someone had drawn with a black pen, a perfect representation of Pacal's tomb on to the white clay wall of the pod I slept in.

As I fell asleep I would see the outline of Emperor Pacal, reclining but with his head forward, moving his arms, surrounded by magical forms and dancing symbology.

Tikal is one of the greatest jungle-pyramid worlds that one can visit. While I prefer the vastness of Angkor Wat, I was enraptured by the detail of information and glyphs that depicted the Mayan's deep understanding of life, science, and spirituality. Mayan astrology is interpretted here.

Pacal's tomb was discovered in Palenque (in Chiapas, Mexico) in 1952. The Emperor Pacal died on August 31, AD 683 at eighty years of age after ruling for 63 years. detail picture of Pacal's Tomb

Interpretations of what the figure of Pacal on his tomb meant have been helpful, for instance:

• In the Maya dialects, "bone" and "seed" are synonymous.
• The bone piercing Pacal's nose as the symbol of rebirth.
• The object depicted above Pacal is the Tree of Life from which he is said to be falling.

However, he is not falling.

He is no more moving than the universe around him is. The object below him that gets interpreted as the setting sun is escorting him. He embraces his fate. His arms navigate the changing complexity of his surroundings.

Falling asleep with the glyph of Pacal painted on the wall, I found the that the inscription on his tomb was not so much about death, but about the process of transformation, any transformation.