Israel: Jerusalem: Western Wall


The Western Wall, or kotel, in Jerusalem is considered the most sacred place in Judaism, and has been a pilgrimage site for Jews since the 4th century. A wall of enormous blocks of Jerusalem limestone is all that remains of the Jewish temple built by King Herod in 516 BC, after its destruction by the Romans in 70 AD. When writing about holy Jewish and Muslim sites in Jerusalem, every sentence is a political statement. Even the previous sentence is loaded, since some Muslims believe that Judaism has no religious claims to anywhere in Jerusalem. When discussing the area around the Wall, it becomes even more difficult. Under Jordanian rule, from 1948 – 1967, Jews were forbidden to come to the wall. When Israel conquered Jerusalem in 1967, they liberated the wall for Jews in an emotional celebration, and demolished the Muslim neighborhoods that surrounded it in the now non-existent Moroccan Quarter.


Politics aside, there is no denying that the Western Wall is an incredible pilgrimage site for millions of Jews around the world. This pile of stones, with no special aesthetic value above any of the other stone walls around the ancient city, is made sacred only through the prayers and connections of the millions of pilgrims that place their hands against its cool, hand-worn surface.

 

In contrast to the solemnity and darkness of the Church of the Holy Sepulchre, the outdoor Wall Plaza is often full of singing and celebration. Bar mitzvahs, celebrations for boys entering manhood at age 13, are held in front of the wall every Monday and Thursday.

 

Boys beam from ear to ear as they carry enormous Torah scrolls with the men of their family. 
 

After the ceremony is complete, the congregations erupt into swirling circles of dancing and singing of the hora, as female relatives and onlookers peer over the divider between the men’s and women’s sides of the wall and toss candy as tradition.


Another Jewish tradition, tefillin, which consists of small black boxes containing verses from the Torah, and leather straps wrapped around the head, arm, hand, and fingers, is worn by observant Jews during weekday morning prayers. The origins of tefillin in the Torah are fairly vague in their symbolism, but they are described as a reminder of God’s bringing the Israelites out of Egypt and a protection against evil thoughts.


There is a stall near the plaza that will wrap the tefillin for you, to experience the prayer. The man asked if I would like to try it, and I asked what the meaning behind it was. He described the leather strap, which runs from the parchment scroll box, around the arm tightly down to between the fingers, serves as a symbol of connection between mind, heart, and hand. It is a physical reminder that a person should strive to connect his thoughts and feelings into action.


I saw a group of soldiers from the Israeli Army have the tefillin tied and the talit, prayer shawl, draped around their shoulders. They all then prayed at the wall, and several of them also wrote notes and put them in between the cracks of the stones.


Most of the moments at the Wall, though, are of quiet, personal connection. Young men and old men alike place their hands and heads against the Wall in quiet prayer. Proud fathers lead their sons to touch the wall for the first time.


Men often leaned against the Wall for so long, eyes closed, sometimes with tears falling down their cheeks, that when they opened their eyes, the sun was too bright and they looked like they had awakened from a trance.


The cracks between the stones burst with prayers and wishes written on scraps of paper and pushed as close to holiness as possible.


It is these spaces in between the stones that are sacred, physical reminders of hope. Like the plants that grow from in between the stones, there is the potential for life.
 

The Wall stands, not as a monument to a temple that existed two thousand years ago, but as a monument to tradition, hope, and connection.

For more of Evan Turk's travel illustration, check out the link below: 

Gay Pride Seattle/Gay Marriage NY in 'Understanding Illustration'


I am excited to announce that my reportage of Seattle's Gay Pride Parade and the passing of gay marriage in New York were featured in the book 'Understanding Illustration' by Derek Brazell and Jo Davies! Inside are several of the images from the reportage and an interview/essay about the process and meaning behind them. The book was released in the UK last week, and came out today in the US.


I received my copy, and the book is beautifully designed and curated, with 37 different artists whose work is examined in-depth to look at how they communicate through images. I am so honored to have been included in the book, and hope you will all take a look, as there is a great collection of artists inside. A big thank you to Derek Brazell for including me in the book!





You can take a look at my original posts on the events below, from my Picture for 1000 Voices Project on gay rights:

Gay Pride Seattle
Gay Marriage NY



Grandfather Gandhi


Today is the release date for my first children's book, 'Grandfather Gandhi'! Written by Mahatma Gandhi's grandson, Arun Gandhi, and author Bethany Hegedus, it is the story of a young boy learning to use his anger to create change, with the guidance of his monumental grandfather.


The book has been a dream job, especially for my first job out of school, and it's so wonderful to finally have it out in the world!

Below is the book trailer with narration from authors Arun and Bethany, music by Ustad Ghulam Farid Nizami, and animation and illustration by yours truly!


(Trailer also available on YouTube)

The reviews so far have been wonderful, including a starred review from both Kirkus Reviews and Publishers Weekly! Here are a few quotes about the art from early reviews:

Turk mixes carefully detailed renderings with abstracted expressions of emotional struggle, achieving a powerful balance. - See more at: http://books.simonandschuster.com/Grandfather-Gandhi/Arun-Gandhi/9781442423657#sthash.kCROT9aI.dpuf
"Turk mixes carefully detailed renderings with abstracted expressions of emotional struggle, achieving a powerful balance."
-Booklist, December 2013

"Turk’s complex collages, rich in symbolic meaning and bold, expressive imagery, contribute greatly to the emotional worldbuilding."
-Kirkus Review, starred review

"Turk’s illustrations are stylized, strikingly patterned, and rendered in contrasting purples and golds, blues and creams, blacks and whites, highlighting the tension between anger and peace. Dynamic visuals and storytelling create a rousing family story that speaks to a broad audience."
-Publishers Weekly, starred review


Also, check out the site for the book GrandfatherGandhi.com where you can read posts about the book, its creation, and its themes from myself and the two authors. You can also take a Pledge inspired by the message in the book, to Live Your Life As Light.


More to come soon on this blog about the making of the art and illustrations for Grandfather Gandhi!

 (Atheneum/Simon & Schuster)

Israel: Jerusalem: The Church of the Holy Sepulchre


My next three days of drawing in Jerusalem were at three of the most important holy sites for Christianity, Judaism, and Islam. These three religions were all born out of Jerusalem, and throughout the past several thousand years, each of them has claimed and reclaimed holy sites all throughout the city. Mosques, churches, synagogues, and religious pilgrimage sites of all kinds were built right on top of each other as the ruling powers changed. For instance, above the tomb of Biblical Hebrew leader King David is the hall of Jesus’ Last Supper, and above that is the dome and crescent of the E-Nebi Daud mosque, from Ottoman rule (which is now drawing controversy with its possible conversion into a synagogue).


My first stop in my own pilgrimage around Jerusalem was to the Church of the Holy Sepulchre, one of the holiest sites in Christianity, where Jesus is said to have been crucified, buried, and resurrected. Christian pilgrims from all over the world come to follow the road of the Stations of the Cross through Jerusalem, to reenact Jesus’ final hours, culminating in a visit to the Church.
 

The church is dark and filled with echoes. Smoke from incense and candles hangs in the air, and people wander through the various shrines of each denomination of Catholicism present in the winding church. Up a narrow staircase to the right of the entrance is Golgotha, where it is believed that Jesus was crucified. From up over the entrance, you can see the streams of pilgrims entering and winding their way through the maze-like church.


Here, pilgrims wait in line to enter a small shrine on their knees, underneath a flat silver Jesus on the cross, to pray. Nearby, dozens of candles are lit in prayer, and collected by the priests as they basins fill up.


What interested me most was the different ways in which people worshipped upon entering the church. The most popular was the Stone of Anointing, where it is believed that Jesus was laid and prepared for burial. Pilgrims wipe the stone with oil, kiss it, put their forehead to it, lay their hands on it, and anoint themselves with the oil.


Some delicately touched the surface with their fingertips, while another was using her kerchief to wipe up every bit of oil, dabbing between and mopping up in between the cracks. Another woman I saw took about a dozen souvenirs she had bought and rubbed each one on the stone to bring back home. There were all different styles, but everyone seemed very intent on making sure they came away with a bit of the holiness rubbed off on them.


Around the church, people stop in front of various places and portraits, crossing themselves, kneeling to pray, and often reciting prayers from their iPhones.


Olive-wood crosses are ubiquitous and often you can see people deep in thought simply smiling and stroking the cross.


 There is a solemnity and compulsiveness to the way people proceed through the space, like they are moved by magnets.


Orthodox priests glide through the halls like big chess pieces, sometimes chanting and wafting smoke out of lanterns.


 In the central rotunda is the Aedicule, which houses the Tomb of Jesus. Long lines form outside the tiny entrance for people to go inside and pray, as outside pilgrims light candles.


Unlike the Stone of Anointing, where people seek to take something away, the glowing lines of candles around the shrines were all left behind as burning prayers. The site of the church itself felt secondary to the constant flow of the exchange, with each person taking something with them and leaving something behind.

For more of Evan Turk's travel illustration, check out the link below: 


Israel: Jerusalem: The Mahane Yehuda Market


I recently returned from a two and a half week trip to Israel both with the Jewish heritage program Birthright (Taglit) and a week-long excursion in Jerusalem afterwards, on my own. My introduction to Israel and the situation there began with preparing for the trip, and trying to go in with both an open and skeptical mind. As a person who is, in general, not overly political and is not religious, it was very interesting to me to go to a state where everything, even its own existence, is inherently tied to politics and religion.

My short journey was only an introduction to a place that has thousands of years of history, coming from a myriad of cultural viewpoints that are often disputed and completely contradictory, and that are intricately tied to the mythological histories of three of the worlds largest religions. Since I can’t hope to understand more than a few drops in an ocean, I’ll do my best to describe the few windows I had into trying to see this unique place.



My week in Jerusalem began with a visit to the Mahane Yehuda Market, or shuk, where hundreds of people from all over the city cram into a tightly packed set of streets lined with over 200 stalls selling ripe, bursting pomegranates, sticky dates, cheese, halva, eggs, braided hallah, gummy candy, and practically anything else that can fit in a stall.


The Market is a jittery tapestry of shifting layers and different worlds overlapping with each other, all in the simple interest of doing some shopping. Since its creation in the late 19th century, under Ottoman rule, it has been a nexus of colliding people and cultures in Jerusalem. 



Arab and Jewish merchants sell and shout to every sect of life in Jerusalem. Orthodox Jews, secular Jews, tourists, Israeli soldiers, haredim (ultra-Orthodox), and non-Jews all bump and shove through the narrow alleys and haggle for the lowest price.
 

I came to the Market on Friday morning, before the weekly Jewish celebration of Shabbat, when the shuk is at its most crowded.

 
People come to the Market on Fridays to shop for their Friday night Shabbat meals and capitalize on the falling prices as the shopkeepers prepare to close early for the next day and a half. Hiding out in corners, tiny restaurants, and in stalls that had already closed for the holiday, I stayed still in the current as the river of people swirled past me.

 

Despite the hectic bombardment of the senses for an outsider, there is a peaceful rhythm to the way the locals move through the crowds. But in Israel, there are always reminders that things have not always been, and will not always be peaceful. The Market was the site of suicide bomber terrorist attacks in 1997 and 2002. Most patrons are Jewish, as the Arabs tend to shop in the markets of East Jerusalem. Soldiers carrying their machine guns saunter through the streets with their friends shopping for candy, a reminder to kids and parents of the fact that most youth in the country will have to serve their time in the Army.
 

For people in Jerusalem, every aspect of daily life, even grocery shopping...

 

...lays over the bristling reality of the politics and religion that are deeply embedded in the soil. But daily life moves on like the steady stream of people through the market, with a frenetic vitality and eagerness.

For more of Evan Turk's travel illustration, check out the link below: 


Life Drawing



I just finished an amazing workshop with Dalvero Academy, drawing from the model for four days straight. It doesn't get any better than great teachers, great friends, great models, and tons of drawing! It's always a great place to explore and try new things. Here are a few of the drawings from last weekend.






Bethesda Terrace: Part 2


On today, which is hopefully the coldest day of the year, I decided to go back and think warm thoughts and look at warm drawings from the heat of summer. Above, is a drawing of the Winter seasonal landscape lining one of the staircases at Bethesda Terrace in Central Park, where I spent a few weeks this summer drawing and painting with pastels (See Part 1 Here). The birds look a little stressed and cold, I think.
But that's enough winter!


Let's all just think nice warm thoughts...of weeping willows, laying in the grass, and sun-dappled reflections on the water...


...of running outside in the early morning, gentle breezes (with no wind chill) rustling the leaves...


...relaxing in a gondola as the water, trees, and clouds drift by...


...and listening to the resonant sounds of strings and choral voices echoing through the warm, dewy air.


Above is the seasonal birdscape for Summer...don't they look happy and relaxed?
Let's keep that mindset going...


(One of the many benefits of working from home, is that on a day like today, I can do as the cats do: Curl up in a too-small shipping box near the radiator and pass out.)

Magnolias and Mosaics



Recently, my boyfriend Chris and I took our first mosaic class with Yakov and Angele Hanansen at Unicorn Art Studio. The two have been doing large scale mosaics for over 30 years, and were kind, insightful, and extremely knowledgeable teachers. Both Chris and I have become addicted and can't wait to do more!


This piece was based on a drawing I did this spring (above) at the Brooklyn Botanic Gardens when the magnolia trees were in full bloom, dropping their thick, fleshy petals onto the newly sprouting grass. Behind them, hillsides of daffodils glittered in the distance. It felt like a big quilt of different patterns, colors, and textures. I then turned that drawing into the design for the mosaic, below.


The process of translating a drawing into hundreds of cut pieces of stained glass is extremely meditative.


It forced my mind to think in new ways about drawing, because in a mosaic, everything must be considered. The color, size, shape, and direction of every piece and pattern is important. Intention is everything.




I had a lot of fun creating different patterns, and layering and weaving different marks and colors throughout the image.


Finally, the act of grouting was a very nerve-wracking, but exciting, and transformational experience. After working on putting the pieces together for many, many hours over 2 months, you have to smear the dark grout over all of your hard work. Then you wipe it off and see how everything has been transformed by filling in the gaps. I was surprised by how much the image changed!



Above is a little video I put together of all of the progress shots, showing the growth of the mosaic.

 

And now, finally, it is home, hanging proudly in our living room. I can't wait to start the next one!

The Charles W. Morgan: The Main Topmast: Part 2


For the second part of my day at Mystic Seaport, we were able to see the crew pull the Charles W. Morgan out into the river and turn her 180 degrees towards the shipyard. Quentin Snediker, director of the restoration, offered us the chance to ride in one of the small boats in the river for the operation, so my friend and fellow Dalvero Academy member, Jennifer Kiamzon, and I jumped at the chance and hopped in. Other Academy members were onboard the Morgan itself or perched on top of some nearby scaffolding.


Seeing the enormous ship from the water was such an exhilarating experience! The tiny boats like the one we were in rotated around the Morgan like a school of little fish around a giant whale. The little one in the drawing above had a powerful motor, and hooked itself onto her bow and began pulling the Morgan into the river.


We drifted peacefully away from the whaleship as the other boats pushed and pulled her massive heft into the river. Suddenly we heard Quentin shout the name of our boat over the walkie-talkie and the driver gunned the engine and headed for the Morgan's hull.


Before we knew it Jen and I were flailing back as Paul, aboard our boat, leapt over us and braced himself against the hull of the Morgan as our boat rammed into her side.


We peered up at the towering masts as Quentin surveyed the boats over the side of the Morgan and shouted orders to push and rotate her into place.


We moved away, and then rushed in several times for Paul to leap forward and press against the boat.


As the Morgan finished her rotation, the boats dispersed and we headed back to dock.



She now faces in towards the shipyard with her monumental prow jutting out over the dock.



For a couple of landlubbers it was an amazing experience! Peering up at her towering masts from the water made me imagine what it must have been like for the sailors in the whaleboats on the hunt, seeing much this same view as they prepared for a grueling, cruel chase in the open ocean. One behemoth looming above them, and another diving beneath.

The Charles W. Morgan: Main Topmast: Part 1


This weekend I had the opportunity to go back to Mystic Seaport and see them adding a taller part to the middle mast, known as the main topmast, to the Charles W. Morgan, the last wooden whaleship in the world. All three lower masts were in when we arrived, and they were preparing to attach the extension with an enormous crane.


The crew began prepping the rig.

 

Quentin Snediker (front left) oversaw the production as the crew worked and the crane loomed overhead.


A tall spindly ladder was hooked onto the crane and swung around onto the Morgan so that Alex, one of the key crew-members for this installation, could climb up to the very top of the lower mast to perform the installation.


 
This is not a job for those afraid of heights.



A block of concrete bricks was hauled onto the ship as ballast to help stop the Morgan from listing.


Alex climbed to the top of the mast and secured the necessary ropes before they brought the top portion of the mast to install.


The crew on the ground hooked the mast onto the crane.


The crane swung the topmast, as big as a tree, over our heads and above the Morgan.


Perched atop the mast, Alex and Matt guided the topmast into its locking position and began securing the two together.


The top of the mast now has two "spreaders" which look like outstretched arms. 


With each new addition, the Morgan becomes more and more stately and grand. After she was lowered into the water at the launch in July, the ship felt a little short and squat, with less of the immense impact she had out of the water. But as she grows taller and taller with each new piece, you get closer to seeing how impressive she will be with her full rigging and sails.

Stay tuned for Part 2 where I get to ride in a small boat in the river as the crew actually moves the enormous whaleship!

Grandfather Gandhi


This past year I was able to do the illustrations for an upcoming children's book called Grandfather Gandhi (Atheneum/Simon & Schuster), written by Mohandas Gandhi's grandson, Arun Gandhi, and YA author Bethany Hegedus. It was a wonderful experience and it is so exciting that the book will be out this March.

Arun speaks to the choir.

I was able to finally meet Arun Gandhi this past weekend at an event for the Keystone State Boychoir in Philadelphia, where I donated a print from the book for a fundraiser and Mr. Gandhi was their guest of honor.

The choir is made up of students of diverse economic, racial, and ethnic backgrounds and offers dedicated members a chance to travel all over the world and experience new cultures through their gift of singing. This December, a group of 60 of the boys will be traveling to India to learn about the culture and about Gandhi, as well as to perform. The talented group sang many songs, including a Muslim hymn sung in Urdu, an Indian raga, and Arun's grandfather's favorite hymn, Lead, Kindly Light.

Arun translated the significance of the Namaste gesture and greeting in India as "I bow to the divine spirit within you."

Arun listening to the choir.

It was beautiful to see how all of the kids in the choir really responded to having Mr. Gandhi there, and how he was also humble, gracious, and very touched by their appreciation. It is not his direct lineage from someone great, but his own inspiring efforts to live by his grandfather's teachings as an individual, that make him worth listening to. He cautioned against people simply revering his grandfather without remembering to turn his teachings into practice. Arun's lineage gives him this platform to live by example and sow the seeds of those teachings in himself and a new generation of young minds.


It is a similar lesson to one offered in the book, Grandfather Gandhi, in that one does not have to be perfect to do great things. In the book, Arun wonders how he, with all his anger and imperfections, could ever live up to his revered grandfather. But Gandhi teaches Arun that everyone, even the now legendary peace activist himself, experiences anger. It is what a person does with that anger that counts. I thought this was a beautiful lesson to pass on to the kids, who are just starting out and are learning to allow themselves to dream of what great things they might be able to do one day.

Arun, his grandfather Gandhi, and his sister Ela.

It was a wonderful experience, and I am very appreciative to Julia Rasch, Steve Fisher, Martha Platt, Arun Gandhi, and everyone else for welcoming me and inviting me to be a part of the weekend with a great group of boys. I'll be posting more about the book as its release date gets closer!


New York Dog House Mural - Meet the Artist


I'm very happy to announce that a restaurant/bar New York Dog House in Astoria that I painted a 3-wall mural for earlier in the year has just opened for business! I had a great time working on such a large scale and getting to experiment with the industrial of the restaurant in the textural paint and design. The mural is called "Astoria Swing" and is a jazz-inspired vision of the dynamic and vibrant industrial landscape of Astoria and the elevated subway tracks of the N-Q line.

NY Dog House is hosting a "Meet the Artist" event on Friday, October 18th starting at 6:00 pm. I'll be there, as well as some delicious food and great drinks, so I hope to see you all there! Also on display are some of my reportage drawings from around New York City with originals and prints available for purchase.




Preparatory drawing for the mural.

Colorado Flood Relief Fundraiser

I am a Colorado native, and I happened to be back in my home state for my brother's wedding while the unbelievable flooding was happening near the mountains. While we experienced only heavy rain in my neighborhood, up in 15 other counties the damage was crippling. 8 people were killed, hundreds were missing, 19,000 homes were damaged, and over 1,500 were completely destroyed. It's going to take a long time, and a lot of help for people to get their lives back on track.

To help in any small way I can, I am going to be selling prints for the next 2 weeks (through October 20) with proceeds going to the American Red Cross disaster relief in Colorado. The selection of prints includes 3 drawings/paintings of the beautiful Colorado landscape done in Boulder and Rocky Mountain National Park, two of the hardest hit areas of the floods. The final selection is a drawing for an ongoing project on the history and future of the settling of Colorado and the west. This image is available in its full, panoramic format, as well as in three smaller sections.

All prints are signed and printed on gallery quality rag paper with archival inks, ready for mounting and framing. Price of print includes cost of printing materials and shipping, with the entirety of the rest being donated to the Red Cross. I will wait until the fundraiser has ended and send one large check. Payment through Paypal to evan@evanturk.com
Please e-mail me with your selection AND your shipping address, and send the donation through Paypal. (E-mail me with any questions as well)



"The Flatirons"
8.5 x 11 - $35
11 x 17 - $60


"Purple Mountain Majesty"
8.5 x 11 - $35


"Rocky Mountain Sunset"
8.5 x 11 - $35


"The West"
9 x 44 - $180



"The West: Settlers"
8.5 x 11 - $35
17 x 11 - $60


"The West: Collision"
8.5 x 11 - $35
17 x 11 - $60


"The West: Beginning"
8.5 x 11 - $35
17 x 11 - $60

 Please let me know if you have any questions!


Animal Kingdom


My favorite park in DisneyWorld is always Animal Kingdom. Having dreamed of going to the African Serengeti since I was little, Disney gives me a little taste of it to hold me over until I can go see the real thing. There is something about the art, the music, the landscape, the culture, and the animals of Africa that feels rhythmic, honest, and full of personality.

The sable antelope is the symbol of the Harambe Wildlife Preserve, where the safari tours take place.

Wildebeest nap in the shade, a mother elephant and her baby stroll past a baobab tree, and okapi and bongos hide amongst the leaves in the forest.

Giraffes lope gracefully along the open hills.

Hippos bob like corks in the river.

Rhinos, zebra, and ostriches dot the grasslands in a vibrating tapestry.

Deeper in the forest, the shy okapi nibble on leaves.

Brilliant yellow weaver birds flicker through the dense canopy.

Blue cichlids glow in the cool, shady riverbed.


Disney's Electric Light Parade



I just returned from another wonderful drawing workshop in DisneyWorld, Florida, with Dalvero Academy. 9 days of drawing and study in the hottest place on Earth! I decided to post a series of cut paper sample posters I did of the Electric Light Parade in Magic Kingdom from my trip last year that never got posted. It's always a lot of fun to hear the beeping and whirring come down the street, with all the main lights off and just the twinkling of the parade and the outlines of Main Street USA. Plus, the retro video game music kind of puts you in a trance after a long day of drawing.



 

 


(I am not affiliated with Disney in any way, nor are the posters. They are just for fun.)

Patterns: Woods Hole Film Festival Award Winner


I just returned from a drawing workshop to DisneyWorld to the very exciting news that my animation "Patterns", about the Charles W. Morgan whaleship, won the Audience Award for Animation or Experimental Short at the Woods Hole Film Festival. I wasn't able to attend due to the drawing workshop, but I'm very honored that my animation was so well received! Thank you to the Woods Hole Film Festival 2013 and to everyone who saw and enjoyed it!

You can check out the trailer and more stills from the animation here:

The Launch of the Charles W. Morgan


“Human beings have always celebrated resurrection, restoration, renewal and return.
The only thing greater than the miracle of life itself can sometimes seem to be
the miracle of something brought back to life…"
 Ric Burns, Mystic Seaport, July 21, 2013


This July 21st, the 172nd anniversary of the Charles W. Morgan’s first voyage, the last wooden whaleship in the world was lowered back into the Mystic River after 5 years of painstaking restoration.

I have been documenting the restoration of the Morgan with Dalvero Academy since 2009, so it was a very exciting day for us to be able to witness and document her return to the water. Our show, Restoring a Past, Charting a Future, will still be on view at Mystic Seaport through this September.


We arrived the day before to see her out on dry land one last time, this time perched at the edge of the pier on her stilts.


The Morgan boasted a fresh new paint job since our last visit, with numbers on her bow that we knew would soon be submerged in the river. 


Most of the ship we had drawn and explored for 4 years would soon be gone, and I couldn’t help feeling a bit of melancholy along with the excitement.



The next morning, we arrived early to see the set-up, only to be greeted by giant storm clouds and intermittent downpours. We huddled inside sheds, under overhangs, and under the tents watching as the ship’s crew prepared for the day ahead.


The crew toasted her rebirth with a swig of rum, and then passed the bottle to us, like part of the team.


Finally the clouds parted, and crowds began to fill every corner of the shipyard. 


Quentin Snediker, the head of the shipyard and our guide through the restoration process, attended to the preparations with stoic calm.


More and more spectators filtered in, buzzing with anticipation.


State troopers surrounded the center platform as curious kayakers began to flock around the river to watch the ceremony.


The speeches began with the president of Mystic Seaport, Stephen C. White, as he proclaimed the magnitude and the significance of the Morgan’s next journey.


Camera crews swirled as the dignitaries gave their speeches, with the keynote from documentary filmmaker, Ric Burns.


The honor of the christening of the ship was given to Sarah Bullard, the great-great-great granddaughter of Charles W. Morgan himself.


Bullard’s granddaughter, little Polly Morgan and her family waved to her from the crowd. She will be the next generation to inherit the Morgan and her legacy.


The snowy haired duo, Quentin Snediker and Sarah Bullard, stood beneath crowning bow of the ship, like proud parents sending their daughter off into the world.


The ship would be christened with water from each of the seas the Morgan sailed, and a drop of rum for luck.


With a crash, Bullard inaugurated the Morgan's descent into the water, and a cheer erupted from the shipyard and the river.


We all watched as she began to disappear into the river, and I noticed Quentin looking on. Only he and the shipwrights could know the thousands of hours and hands that went into carefully shaping each timber and plank of wood that now disappeared beneath the water, gently cradling the ship and keeping her afloat. At the end of her slow descent, the numbers on her bow vanished, one by one into the water. As the '9' broke the surface, the call went out "She is afloat!" and again the crowd burst into raucous applause.


As she went beneath the water, I imagined all the hands and souls that left their mark and went down with her. I watched her there, half submerged, hoping that the generations to come will know how far her depths reach below that water.


Monet's Gardens


 

The next stop for drawing after the Canson Prix was to Monet's Gardens in Giverny, about 45 minutes outside of Paris. My mom, Chris, and I took the train out to the country early in the morning and spent the whole day wandering around the house and the extravagant grounds that Monet created.


Outside the house, the gardens are so thick with flowers that it's hard to find the paths in between the flowerbeds. From fence to fence, there are irises in every shade of purple and yellow, as big as grapefruits, peonies the size of basketballs, and poppies bigger than dinner plates resting on the ground because their comparatively puny stems can't support them.


It is a wonderland for an impressionist, with every color, mark, and shape imaginable, crammed into a beautiful plot on the French countryside.


With each flower more spectacular than the next, it was hard to focus on one thing for very long. I felt like one of the lucky Giverny honey bees flitting from flower to flower, trying my best not to sting any dazed, ambling tourists that got in my way.


Every once in a while a single flower happened to jump out.


Compared to the rowdy mob of flowers near the house, each shouting for attention, Monet's famous waterlily pond was like a quiet conversation between friends about how pretty they all are.


The tranquil pond, ringed with weeping willows and irises, and dotted with lilies and baby ducklings, is like a fairytale (stuffed with as many tourists as can possibly fit). It is easy to see how Monet could have spent the last years of his life needing nothing but to contemplate the little oasis he created for himself.




"Patterns" at the Woods Hole Film Festival


I am very excited to announce that my animated short "Patterns" is an official selection for the Woods Hole Film Festival in Cape Cod, and will be screening there August 1st.

This carved wood animated short tells the stories of hundreds of years of life, death, and rebirth etched into the wood of the Charles W. Morgan, the last wooden whaleship in the world. The whaleship is currently being restored at Mystic Seaport, and will be put back in the water July 21st. The animation was created as part of a group show with Dalvero Academy at Mystic Seaport. I think it's a wonderful place for a festival premiere, because the Morgan will be sailing to Cape Cod after its restoration is complete! You can view the trailer below:


You can take a look at more stills from the animation here:
 Patterns

The screening information is below:

August 1, 2013
5:00 PM
Prior to "The Roper"
Lillie Auditorium
Cape Cod, MA

To purchase tickets, please visit the festival page for the film here: