Birth of Saul, In Process

As an artist working with narrative, I find music often inspires me more than even looking at other art.This may be the case for a lot of artists, regardless of practice, but for me I believe it is because it allows my mind to wander, synthesize, and translate the ideas, emotions, and atmosphere created in the music in an entirely different form. It is something I can receive and ingest and use to fuel what I am making.

Anaïs Mitchell is one of my favorite musicians, saying a lot because I have only been following her for the past 9 months or so. I was introduced by a friend when her album Young Man in America released last year and it has become a staple in my studio. I had been really interested in listening to her 2010 folk opera Hadestown (a depression-era America take on the Orpheus and Eurydice myth) but hadn’t been able to stream it from anywhere. I recently got Spotify, which is awesome (for 48 hours during the free trial at least) and previewed it, then preceeded to buy it because, after listening to it a few times through, I decided I need to listen to it every single day of my life. It is simply amazing. I’ve probably listened to it at least 7 times through over the last 3 days and I just want more.

It’s funny, when I got Young Man in America I felt like the music was really speaking to what I was making at the time and here it is again; as Anais and Justin Vernon sing to one another from both sides of the grave I am making a painting of the birth of Saul that conflates life and death. I’ve posted some in-process, detail images of this ‘eschatological birth’ here. I hope to finish the piece within the next 2 weeks.
I love my little studio…

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