Commissioned painting: Thoughts on Angels and Light

Over the past couple of months, I have taken on a commissioned painting which takes an Angel as it's subject. This painting is large: just under 9' high and 6' wide.... large enough that I am painting it on-site. During in-depth interviews with the client and a couple of hundred pages of study on the subject, we came up with a direction and I had some imagery formulated in my head.

Angels, according to Judeo-Christian tradition, are messengers and beings of light. The word "angel" itself comes from the Greek and Hebrew words that mean "messenger". Through my studies, I came up with keywords that helped me characterize some visual qualities of Angels: light, fire and movement. In the Bible they have always been portrayed like men, while our visual heritage through centuries of painting shows them with wings. It is interesting to note that up until the forth century, angels weren't shown with wings, and then the first paintings show them with black or dark wings like birds.

For this painting, the client had a specific vision of an angel in action. One of her keywords for the painting was protection... a warrior angel protecting his charges and taking care of God's business. She was looking for the angel in a specific act... the Angel was going in one direction when suddenly it sees someone that needs help... the moment is of a change of direction in mid flight. This Angel was to have white wings.

The painting process is an interesting one, and working closely with a client on-site poses great opportunities for debate, stimulating conversation, brainstorming, and also opportunity for creative conflict.. After a couple of weeks, we had a discussion about the direction I was taking visually. At this point in the painting, what she was looking at and where I was going seemed to be two different emphases. I am attempting to create a painting of a being of light. Her desire is that I capture the intent of that specific moment. I realized that in this instance, she was reacting to what was on the canvas in front of her, while I was painting what I knew it was going to look like in a month. I could see the end result but she wasn't able to see where I was going.

Moments like this are defining moments in a project, and sometimes a career. She asked me to change what I was doing, and I was going to comply... it is her painting after all, on her wall, and she was paying me to create something for her. I was at a point where I was contemplating rolling up the canvas and starting over on a new one... one that I knew would be beautiful but that wouldn't have the magic I originally saw. I would just take this one back to the gallery and finish it there the way I knew it was 'supposed' to be.

I am fortunate to have a client however, that is sensitive and has seen enough of my work to have faith and trust in the process of the painting and the workings of the Spirit. She called me the next day and asked me to continue with my vision... she would trust that the outcome would be born of the Spirit. It was also an  excellent point within the painting process;   she was able to clarify for me that the intent of the figure was the key for her, but she realized that her vision would be different from mine.

Below are images of the progression of this canvas. With respect to the light rays, it is probably somewhere between 30% and 50% done... with the layering techniques I use, I expect the figure to be painted, then light painted through, and the figure again repainted. This has already happened a couple of times, and could occur multiple times as the process continues. The layers and light are important elements, and my goal is that as a viewer moves through the room, the reflective properties of the interference and pearlescent paints I am using will change and move with each step, both from within and without the figure. With the layering, the viewer will literally be looking through the glazes, making for depth in the movement of light as well.




The image that I am painting comes from my belief that if we were to see angels as they really were, spiritual beings, they would be a glittering and glorious sight to us that would leave us in awe, or fear and trembling. Since light is made up of all colors, this piece will have to have an array of color/light as well. Painting a subject like this leaves one to contemplate:  if Angels are said to be the lowest order of God's created beings, then they are merely a dim reflection of the glory of He who is actually "clothed in light".

Quite a thought to try and get one's brain around.

The beginnings of a trial version

Each time I do a painting, I usually have a strip of canvas where I can do trials of lettering. Most of the time with imagery I don't do a "real" comp but rather I just sketch and paint directly. In this case I  have that canvas strip, but I decided that I will do another complete painting that will act as a comp and where I can experiment, a  "small" canvas about half the size of the project. Here I have the 4' X 6' canvas laid on the floor on a tarp and am working out some painting techniques using a 10" drywall blade.

These strokes done in gold, white and  pale sienna will be repeated in layers and glazes over quite a few days with lettering and other imagery in between and there will be color washes throughout. They are abstracted to convey the feeling of movement. Later there will be various shades of gold powders mixed and applied in glazes as well. The final result should have the feelings of movement, fire, power, majesty, etc. The image of the angel will then be painted over this ground.

There is not much to decipher of this wrinkly canvas at this stage.  Because the canvas isn't on a frame or stretcher bars, it will go through various stages of buckling as the paint dries unevenly. It will eventually become flat again as the whole surface is covered. This is all part of the process... I am not looking at what is on the canvas today, I am looking at what will be there in 2 weeks. The most important aspect now is to establish that feeling of movement and power.

Beginnings

I get pretty excited when I embark on a new painting. There is something wonderful and compelling about a blank, unprimed and unstretched canvas which cries out to an artist of it's need for the creative process to begin. I can feel it when I am there: there is an anticipation of that first mark, that first brushstroke, that beginning.

The new project is substantial, and I have a sense that it will be important.

The subject will be challenging and rewarding if I can manage to capture the feeling and convey it into the space... to allow the people who inhabit the space to get the sense of a presence there, or to be reminded of the unseen.

An interesting subject, Angels. Something I hadn't taken a large amount of time to study. They speak of protection and assurance that the message they carry is true. 

The image above was something that came fairly quickly... or as quickly as large letters can come while dipping a black bamboo carved pen into ink and attempting to lay down letters on raw canvas. One of my favorite times in a painting is this exploratory stage, trying things out on practice canvas to see how it translates. The table below the painting is ancient by today's standards... there is speculation that it may have been in the Notre Dame Cathedral at one time. I know not if this is true, but this image of the cross comes from the center. Like those who take rubbings of inscriptions, I laid the canvas down on the carved-relief cross and made a rough sketch. 

Beginnings are always interesting... the start of a new journey. I am looking forward to what is around the bend.

Illuminating The Word: The St. Johns Bible Exhibit, Santa Fe, NM

The weekend of November 5th I was scheduled to go to the New Mexico History Museum to do some demonstrating for the exhibit of the St. John's Bible. Well, true to New Mexico style, a road worker decided to dig up a main power line causing a blackout at the museum and the demos were cancelled that day. Fortunately, the lecture and presentation the following Monday were not.

The St. John's Bible was an idea that germinated in 1995 as Donald Jackson, England's preeminent calligrapher to the Queen, proposed the project to the St. John's College board of trustees. After signing a contract in 1998, artwork on the 15 year, $12 million project was begun. Reaching it's culmination in 2011 with the final book of Revelation, this multi-volume hand lettered and illuminated work of art is magnificent to behold.

The St. John's Abbey in Collegeville MN is founded on Benedictine principles. They assembled a multi-faith team consisting of "artists, medievalists, theologians, biblical scholars and art historians¹" to provide background and direction to Jackson and his team for each illumination, though the artistic execution rested ultimately on the shoulders of Jackson and his chosen artist-illuminators.

The bible itself was constructed using both ancient and modern techniques; the huge folios are written on calfskin vellum using goose and swan quills and 19th century Chinese stick ink. Text layout and some design were done utilizing computers to make sure that each scribe knew where the text was supposed to end on each page, since these were all written in loose folios.

With a goal of making the work a relevant one for the reader of today, the illuminations (illustrations of text) incorporate contemporary imagery and bold graphic quality that are executed with astonishing skill and confidence. These artworks are even more impressive when it is considered that they were done after the pages of text were written, leaving no margin for error.

Suzanne Moore (American) Sirach Folio

Donald Jackson came to Santa Fe's Lensic theater to speak about the project and the associated exhibit. In his hour long talk he spoke of the process of the written page, having four main scribes learn a common script that was developed to allow ease in modern readability and yet impart an sense of the sacred to the text itself. "Calligraphy is something that visually gives words importance" he said in his lecture, and Jackson certainly seems to have a sense of this project and it's place in history. He spoke of the communication that happens between the artist and an artwork as he tried to apprehend the text to be illustrated, and bring the artwork into contemporary understanding. An example is the "Revelation" folio below, where the valley of dry bones shows not only bones, but human industrial detritus as well such as one might see in a junkyard.

Donald Jackson (English) Revelation Folio - Dry Bones (click to enlarge)

Jackson and his artists used recurring, modern themes as imagery throughout the work, such as the textured DNA framework in a gold leafed pattern that pervades the genealogy page of the Gospel of Matthew from background to foreground in layers of artwork with depth and complexity throughout the stylized menorah.

Donald Jackson (English) - Gospel of Matthew Folio (click to enlarge)

The exhibit itself at NMHM is one of the best I could conceive of, with curator Tom Leach taking a personal interest in having brought the bible to the museum after a 6 year negotiation. The current exhibition is titled 'The St. John's Bible and The Contemplative Landscape", and is exhibited in the round with a circular configuration of interior walls. The bible is displayed along with an exhibit of photography of a contemplative nature that compliments the spirit of both bodies of work. Cases were constructed to exhibit the Bible folios that allow a viewer to get very close to view details of the works.

(click to enlarge)

The use of gold, according to Jackson, catches a viewer's attention, and gives a sense of importance to the text. It asks a question and invites exploration into the meaning of it's use. Indeed, as one walks through an exhibit such as this, the eye is continually attracted to the next case as the gold changes in the light the closer one gets to the next artwork.

I was impressed not only with the St. Johns Bible artwork, but the conceptual quality of the thought behind the work. Commentary is made through imagery of our world today and also into the consciousness of the preservation of the planet. The folio below of armageddon shows not only the horrors of war but also some of the roots of war and the degradation of our atmosphere and environment, combining biblical plagues with images of oil wells and modern tanks.

(click to enlarge)

It is not often that I long to return to an exhibit to study imagery more, but this is one that I will return to again.

Many Artists and Calligraphers were a part of this project, including Americans Thomas Ingmire, Diane Von Arx, and Suzanne Moore. Friend Izzy Pludwinski of Israel was also involved in the titling of the books of the Tanach.

¹"The St. John's Bible; http://www.saintjohnsbible.org/process/principles_bible.htm

Film Review: Transformation and redemption in "Wasteland"

It is difficult to watch people in difficult circumstances. More than a dramtization of events, a documentary introduces you to the actual participants and allows a gut level reaction, and an identification that allows empathy as you hear the story.

Wasteland was a difficult film for me to watch. I didn’t like seeing the dirt and the filth in which people were forced to work. Yet I had respect for the reasons some were there: honest work, to stay off the streets, to simply try to earn a living vs. stealing. Vik Muniz’ vision of giving back to this sector of his community is a grand gesture to bring to light a hidden society. What he didn’t count on was that he would become involved and care about the lives of his participants.

Muniz’ original idea was to do a project that would benefit the hidden society of Jardim Gramacho in Rio de Janiero. This site is the largest landfill in the world, and is a virtual island of garbage  where the catadores, or garbage pickers, earn their living. Many of the workers originated from lower middle class circumstances, as did the artist himself. Muniz decided to use his photography and alternative-materials art concepts to create works that would be sold and the resulting profits donated back to this community.

His concept was to find models for the imagery, create scenes to photograph for use as artwork, and then use the garbage to form works of art. The process involved projecting a photographic image on the floor of his studio and having the workers and models themselves place the garbage in the light and shadow areas as he directed from a high platform above. Areas that needed shading would be tended to by Vik with dirt and a sifter. When the image was complete, he would then photograph it.

Some very interesting things happened. At a certain point of working with the catadores, a couple of them declared that they never wanted to go back to work at the land fill. A scene of a discussion between Vik and his wife and partner centered around having the workers in the studio. Were they giving them too much hope? Was it better to just let them stay in their own circumstances and not wish for things they couldn’t have. Was it cruel? It was an interesting process to watch, and a brilliant addition to the film because it is the age old controversy… who are we as individuals to decide what information others should or should not have? In the conversation Vik makes the assertion that hope is a good thing for anyone and could be a motivating factor in a transformation for some in the community.

As the project is finished, Muniz chooses a piece (based on “The Death of Marat” by David) to take to London for auction which features Tiao, a worker who has formed an association on behalf of the catadores. He takes Tiao to London to witness the auction at which the artwork sells for 39,000 pounds. It is an astonishing experience and a broadening of worldview that would affect Tiao for the rest of his life, in addition to the proceeds that would help with his community.

Back in Brazil, Muniz has an opening at the Rio de Janiero Museum of Modern Art for all the work he completed, and the workers can now come and see the whole body of work in which they were involved. The monetary result of this show is that over $250,000 is raised on their behalf.

In the end, the transformational process was distinct. Some of the workers declared that they could never go back, and some returned to their life, richer for the experience, and some, like Tiao, used the tools they had gained to expand help for the community. Especially poignant were some final scenes where the artist brought these museum quality pieces of art and presented each participant with a portrait of themselves to hang on the walls of their humble living circumstances. It was a fitting ending, and the contrast of setting was as impactful as the process of transforming garbage into beautiful works of art.

This film illustrates what is truly important about a successful work of art: the ability to deeply touch the emotion and wonder of the people it comes into contact with.

The Baron Journals

I am privileged to be working on a project that involves the fusion of artwork, calligraphy and poetry. 


My friend Chris Baron is a poet. His body of work includes writings about Romanian roots and his identity being raised in a Jewish home in Brooklyn, writings around his impressions of a trip he took to Israel and Palestine, and writings that concern history including the holocaust.


I will attempting to interpret selections from a series of his poetry, and in the process working with programs like Adobe inDesign in order to create a more finished presentation and also to explore the fusion of digital images with the artwork in order to enhance the effects. I have worked on this project for a class, and will continue to work with Chris over the next six months or so to add poetry and artwork. I am using the large watercolor journals I love to work in, with artwork in mixed media including acrylic paint, ink, graphite and colored pencil. Below is our first prototype that includes the initial poem I have selected to begin the volume.


Chris' "Life Unworthy for Living”, seemed to be the text to begin this journey. The concept of the smooth stone emerges in this selection, and I have begun to attempt to explore the significance of stones; they correlate closely to Chris’ poetry as symbols of reverie, remembrance and memorial. This symbol will carry through the volume to tie pages, poems and themes together.


In this volume, I asked Chris to write an intro to his first poem; because the text in the book will be harder to read at the size of the preview, I have included the intro below, as well as the poem. Be sure to click on the full screen icon in the bar below the book to view at the larger size. 


I hope it speaks to you, and I will look forward to posting updates as new poems are completed and included over the coming months. - RH


In a Brooklyn apartment on Ave P and Quentin, a seven year old boy, after a long and guttural Hebrew prayer, is sent to play in his Grandparent’s bedroom. He waits at the door and listens. In the stillness, the sounds of words wrapped in tears turn to a slow hum and a desperate pleading. They are watching a film about the Holocaust. They are remembering. His young eyes are not allowed to see them, but the sound overwhelms him. Soon enough, he would see it, and the images would break him. They are mothers and fathers. They are children like me. Trains, and dust, and smoky starlight. After, his father walks in, holds the boy in his arms, and he whispers, “Never forget.” He never did, and the truth of his heritage became real.

Life Unworthy Of Living

- “lebensunwertes Leben” -

©2007 Christopher Baron

I am quiet

in my own history.

I walk a smooth stone

between my fingers

along my hand

in utter silence

writing poems

about the Holocaust.

It’s been six decades

I wasn’t even there, yet

my mind won’t let me believe

what my heart is living through.

The memories rise

in the voice of my grandfather,

so I go there again, and this time,

as children. This time

not alone.

I’m on my knees holding you.
You are looking into me.
It is cold,
but we are outside,
and our coats are torn.
There is a man in a dark hat,
his eyes are made of wood,
his hands are clothes pins.
He is hanging us on his line one by one
Tells us that we are...
“life unworthy for living”.
I pull you close to me,
whisper in your ear
at that same moment
not to be afraid.
“G-d will look after you.”
But in this deep place
of utter silence
I can only hear
the scrape of the train
coming in,
over the voice
of the clothes-pin man,
the iron wheels grinding,
and the shreiks of the train whistle
so loud that it is utterly silent.
Yet even in a memory
which is not my own
I follow the steam up and up
where it circles against a dark sky
and for a moment breaks the clouds
where starlight pours
into stillness,
a silence that veils
a people, visible, invisible,
who have always lived
who will always breathe
in the still
and sovereign
glory of life
worth living.

this time, not alone... by Christopher Baron, Randall M. Hasson | Make Your Own Book

Many thanks to Alice Hancock and Michael Clark for taking the time to give me much needed feedback and input on the layout process!

The Parable of the Talents

We all have pieces of artwork that have made an impact on us personally. One such work was on display at the International Lettering Arts Conference "Celebrations" held at Ohio Weslyan University in 2003. 

Nancy Culmone's "Parable of the Talents"* fairly shined through it's glass display case. I don't know what attracted me initially, and I didn't even get to look through the book itself... just a couple of pages that were displayed. I guess I didn't really need to see the whole thing because I could feel the whole thing already.

Nancy Culmone "The Parable of the Talents" ca.1990 #3 of 3

What made the impression on me was the correlation of the word "talent". That word for a biblical unit of money had never impressed me before as something personal like it did that day. Yet there it was, staring me right in the face. (For those of you who are unfamiliar with this parable, I have included this text at the end of this page).

Though I had read and heard correlations on this passage, nothing had ever hit me so emotionally regarding my own "talent" and responsibility before... perhaps because I was finally practicing my true gift. I began to consider what I was doing with my artwork, why I was doing it, and what goals I might have in my explorations of my mediums. I made some serious personal observations, and this little encounter helped me to clarify a base philosophy of how I would attempt to "use" my talent, and that philosophy further helps me to decide on taking or turning down a commissioned painting.

Driving around today this concept of "not burying your talent" came back to me. I began to think of the many artists, actors, business people and just plain old joes like me who have taken parts of themselves and put their talent into action for a positive goal. They have used their talent for a purpose.

Randall M. Hasson - Journals

In addition to the many "famous" people who have traveled to Hurricane Katrina ravaged areas, or to Africa for various causes, I think of many of our own community who simply are involved. Mel Albhorn's Portraits for Peace series honors and remembers our soldiers... heroes. Based in New Mexico, Rick Iannuci and Nancy De Santis have an organization called "Horses for Heroes" that helps war vets re-orient to a non war society. Alice Hancock has an organization called "Greentherapie" with a motto of "Live Right" that counsels on healthy lifestyles for education and prevention of cancer. In a more committed fashion, a friend from High School, Jeff Seed, took off and went to Africa and has been serving there for over 20 years... first for CARE and currently for DKT International. He is making a difference.

These are just "tip of the iceberg" examples of people making a difference... people using their time and talent for a positive purpose... people who are making a difference in someone else's life.

Randall M. Hasson - Journals

So the question becomes one for self evaluation... it certainly doesn't have to be some big thing, some huge move. I think of my wife Valerie who found out that she was a GREAT manager and actually has made a tangible difference in peoples lives with her counsel, advice and example. Friend Don Miller who is a big-time band leader also makes a difference in his son and other kids lives by being a scout leader.  

Jennifer Hamady is a vocal coach who reveals methods for people to allow their gift to come forth through singing by understanding who they are and overcoming barriers they have set for themselves. And of course your always remember your teachers and coaches... High School classmate Doreen Barbee is making a difference to art students somewhere deep in the heart of Texas, influenced by our great High School art teacher, Mr. Jenkins.

What do you do... What are your true talents... your passions? What do you know that is your gifting? Encouraging people? Organization? Making a statement with artwork or acting or speaking or singing? Helping someone without resources to fix their house? Teaching? Where are you using your true gifts and talents? Giving usually gives the "giver" as much as the receiver. Using your talent makes giving your gifts effortless... or maybe at least less taxing! Are you using it? What are you waiting for?

A man who commissioned a painting said to me during an interview:

 "if you are doing your true passion, you'll work seven days a week and wish for an 8th".

I don't think he is too far off. 

*Note: Nancy Culmone does not have a website, however information about Nancy and her above referenced book can be found here. Examples of her books are in the libraries of Harvard, Duke University, Universities of Michigan and Utah, Wellesley College, as well as in private collections.

The Parable of the Talents

Matthew 25:14-30 (NIV)

 ¹⁴"Again, it will be like a man going on a journey, who called his servants and entrusted his property to them. ¹⁵To one he gave five talents^[a] of money, to another two talents, and to another one talent, each according to his ability. Then he went on his journey. ¹⁶The man who had received the five talents went at once and put his money to work and gained five more. ¹⁷So also, the one with the two talents gained two more. ¹⁸But the man who had received the one talent went off, dug a hole in the ground and hid his master's money. ¹⁹"After a long time the master of those servants returned and settled accounts with them. ²⁰The man who had received the five talents brought the other five. 'Master,' he said, 'you entrusted me with five talents. See, I have gained five more.'
 ²¹"His master replied, 'Well done, good and faithful servant! You have been faithful with a few things; I will put you in charge of many things. Come and share your master's happiness!'
 ²²"The man with the two talents also came. 'Master,' he said, 'you entrusted me with two talents; see, I have gained two more.'
 ²³"His master replied, 'Well done, good and faithful servant! You have been faithful with a few things; I will put you in charge of many things. Come and share your master's happiness!'
 ²⁴"Then the man who had received the one talent came. 'Master,' he said, 'I knew that you are a hard man, harvesting where you have not sown and gathering where you have not scattered seed. ²⁵So I was afraid and went out and hid your talent in the ground. See, here is what belongs to you.'
 ²⁶"His master replied, 'You wicked, lazy servant! So you knew that I harvest where I have not sown and gather where I have not scattered seed? ²⁷Well then, you should have put my money on deposit with the bankers, so that when I returned I would have received it back with interest.
 ²⁸" 'Take the talent from him and give it to the one who has the ten talents. ²⁹For everyone who has will be given more, and he will have an abundance. Whoever does not have, even what he has will be taken from him...

The Shema: A journey into the realms of the Spirit

A little over a year ago, a friend asked me to do a painting for him that contained the "Shema", that most ancient Hebrew prayer: "Hear O Israel, the Lord our God, the Lord is One".

This small request was interesting because I do not read Hebrew, and up to this point hadn't written it either. In addition, it gave me the excuse to embark on a course of study that was to take me into the realms and the complexity of the Jewish Faith.

In the resulting paintings, the three parts of the Shema (Deuteronomy 6:4-9, Deuteronomy 11:13-21, and Numbers 15:37-41) are written in separate pages of Hebrew, then the two pages in the middle are translated in English. The main verses are layered over all of it...

(Click on the image to enlarge)

The word "Shema" means "listen" or "hear". One of the first books I read dealt with the meaning of  the "Shema" through the context of the various cultural stages in the long history of the Israelites. One of the most interesting observations of this book was that when Moses addressed the Israelites and asked them if they would accept and practice these tenets and precepts (this way of life), they replied

"We will do and we will hear".(1)

The order of the words is very important here; this form of "hearing" is by the experience of doing; the opposite of our idea in the western culture of "knowing why" before we choose to do something. In our culture we would say "we will hear" and then "we will do". There is an element of faith in the "doing" first and then coming to an understanding later through that process. (1)

I became more and more intrigued with the roots of this ancient prayer: This is the root of our Judeo-Christian culture of faith. I embarked on a three month long course of study which included books and writings about the origins of the Hebrew alphabet, the culture from which it was born, the mysticism associated with each letter, and the spirituality associated with each word which is made up by each of these individually significant letters, and the lessons that can be taken from what we take for granted to be "just words". *

Of course, I couldn't just stop at just one of these paintings. 

My good friend Izzy Pludwinski (2), the wise and accomplished calligrapher from Israel, was extermely patient with me in analyzing and helping me to learn to write the Hebrew text. I ended up doing a series of four paintings. One common visual theme among these paintings was that I wanted the representation of "pages" to have a couple of characteristics: I wanted them to be sort of "floating" (as through the mists of time), and I wanted them to look more ancient. I had a "dead sea scroll"(3) -type look in mind.

One of the series of paintings incorporated the gems which I had studied in a  recent, previous painting called "Forever". For that painting, I had researched many of the physical, metaphysical, mystical and spiritual beliefs centered around  various precious stones.

(Click on the image to enlarge)

In the painting above ("Shema 4"),  the stones in the middle represent the 12 tribes of Israel and are the stones of the breastplate of the High Priest; they also are the same stones represented as the Foundation Stones of the New Jerusalem spoken of in the New Testamant book of Revelation.

I also found that the number 13 is a significant number in Judiasm, being (among other things) the numerical value of the word ahava (love, Alef-He-Bet-He) and of echad (one, as in the Shema, G-d is One!, Alef-Chet-Dalet).  "Echad" is such a key word in the main part of the "Shema" (referring to the oneness of G-d), that placed behind the whole composition, and out of which the whole painting "springs forth", is the larger, crystal clear "13th stone".

In addition, there was room on Shema 4 to add more to the composition, and this was done by exerpting another verse, in background texture: "You shall teach them to your children, speaking of them when you sit in your house, when you walk by the way, when you lie down, and when you rise up"(4). I just happened to like the lyricism and the rhythm of these words that, to me, speak of parenting and direction; a passing on of a sacred tradition.

I find that paintings like this are the most intriguing to me... they are a challenge on a multiplicity of levels. I love to do paintings that contain significant themes, and this one certainly opened new vistas of insight and thought for me.

I look forward to the next journey.

*More information on these paintings, including the books used in reference and larger detail images, can be found at either of these links:
http://www.randallmhasson.com/Sh'ma.htm
http://www.randallmhasson.com/sh_ma_4.htm


(1)  Witnesses to the One: The Spiritual History of the Sh'ma ~ 2006 Rabbi Joseph B. Meszler; Jewish Lights Publishing
(2) Izzy teaches correspondence course in Hebrew Calligraphy, and is a sought after artist. His website is: http://www.impwriter.com/
(3) note: the Dead Sea Scrolls had a more ancient Hebrew style of text; I opted for a more readable version of text for the current viewer of the painting.
(4) Deuteronomy 11:19 (NKJV)