Glade Swope: Paintings

Journey Beyond The Starry Night!

It's the kind of thing movies are made about! One day, as if on a passing whim, Glade decides to buy some cloth and paint, and this is what happened!

Journey Beyond The Starry Night
(C) May 21, 2011 Glade Swope


Scene One: Stations of Creation
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Scene Two: Innocence Rising
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Scene Three: The Village of Spirits
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A review by Michael Connor, c.o. Strange Maine


On Glade Swope's "Journey Beyond the Starry Night"

Who could've anticipated that the "surprise" Glade Swope had in store for his upcoming show at Strange Maine would be a series of three paintings that he recently authored? Though painting is new to the oeuvre of Swope, it is but a new aspect of the visual end of his output, which includes covers of an impressive discography of albums released on CD, a YouTube channel, movies, and album covers. But his inaugural paintings that comprise "Journey Beyond the Starry Night" mark a refreshing change of pace for the visual art of Swope, a loose, and spontaneous departure from the rigid polish of his digital photo manipulation and pixely graphics and electronic wizardry, yet still quite deliberate in intent.


It is tempting to place one type of work of a multi-media artist into the context of his recognized virtuosity, or, indeed, to shoehorn the work as part of the artist's life as a whole. For the purposes of this review, I will recognize the above parameters as a given. I will leave the reader to explore Glade's music and video recordings, attend his live sets, or even navigate his fascinating website on his or her own and perhaps derive deeper meanings than I will write about here, and strive to adhere to considering the works on their own terms. Any speculation I may include will come from the evidence on the canvases (and perhaps, influenced by the honor of having been enthusiastically invited by Glade to have a secret preview of his paintings, and to do this write-up!)


"Journey Beyond the Starry Night" must be considered a whole work in three parts, a triptych (or "trilogy" in Swope's terms) though the variance of size and aspect ratios and plasticity of presentational possibilities of the the three canvases may cause struggle with one's expectations of the conventions of the tradition of multi-paneled pieces. (Indeed, given this author's background as a practicing comics illustrator as well as an adherent to Sequential arts theory, I am biased towards sussing out a narrative, however overt or implied, through the simple reality of juxtaposing images together.) Thankfully, in the case of this piece, the sequence is purely intentional on the artist's part, and we are invited to have full play in the possibilities of tales that abound in viewing the three as a whole. Yet, in the interest of a critical analysis, I shall begin with exploring the three components of "Journey Beyond the Starry Night" individually, and therefore sequentially:


I. The first panel, "Scene 1: Stations of Creation" is a dark cosmos of deep blues, violets, purple and black, riddled with a cast of diminutive figures and stellar orbs and masses of white. Even were a viewer to overlook or ignore the Van Gogh allusion in the title of the series, he or she could not ignore the deliberate "design" in Swope's work. His brushstrokes trace stars' paths, nebulas, and cosmic gasses, the motions of celestial bodies. Vigorous, spontaneous dry strokes of color trace the structure of the heavenly sky, and though structured, this is not a rigid field of isolated bodies. Boundaries of all entities blur in the smudgy, dry brush technique. As if to underpin the depicted cosmic unity, Swope has used added a moderate amount of glitter to his acrylics, (as we shall see in all three panels,) portraying a universe where all existence from the high to the low has a spark of the divine.

This is no chaotic universe, but neither is it a scientifically- ordered universe. On the left of this panel is a "creator", a gently-posed figure rendered that he merges with the cosmos )or does the cosmos merge with him?) He seems to be a protector, or a guide, cloaking a group of smaller, blue-clad figures. To the right of this creator, just noticeable, is a cross, signifying that the figure's higher rank is spiritual in nature. To the upper right of the creator's head is a torch-bearing figure, who, larger than the blue-clad figures below, seems to be the creator's angelic host. This torch-bearer gestures upward to a white "island" just above the dead center of the composition. Is this the final destination of these celestial travelers?

Indeed, this "white island" is flanked again on the right by another "torch bearer" who leads a procession of more blue-clad figures. These figures, which Swope has rendered in icon-like economy, are turned away from their guide, and the "white island." (Perhaps they are averring their eyes? Or perhaps their attention is dominated by the large, blue orb in the upper right, the earthly realm? Does the blue of their clothing tie them to the earth as much as it places them int the context of the sky?

The blue-clad travelers on this upper tier seem much more contemplative than the active travelers below. on the left of the canvas, at the foot of the creator on te bottom of the canvas, out of 'nothing' comes a readily-identifiable bridge arching toward an earth-like blue mass. On this bridge is a strange group of travelers: a blue-clad person, then a nebulous yellow figure followed by a green "hunch back" then a blue person riding a white horse. Under this 'bridge' is an uncertain-looking green/white figure, who perhaps got lost on the journey. The bridges blurs out, ending with a worry-faced figure reminiscent of the one famous on Munch's "The Scream." Fortunately, this bridge doesn't end abruptly but flows into the welcoming earthly blue on the right and the maroon 'ship.'

This maroon ship is another possible stage of the journey of the travelers, should they choose to accept the offer and are willing to pay the fee, much like Charon's ferry on the river Styx. Unlike that mythic passage into the afterlife, this seems more warm, womb-like, cradle-like.


II. Scene 2: "Innocence Rising"

Continues the structure of the universe established in panel 1, but much more concrete, tangible. This panel feels more primal than the first, using a bold, triadic color scheme of blue, yellow and red, peppered with green. Here Swope is certainly using the Van Gogh painting as a direct point of departure with a tiered sky layered in a more shallow, picture-planar space, as if the land were carved out of the sky and the sky were carved out of the land. This is must more pastoral, readily habitable, most notably in the element that dominates this canvas: the large red building placed in the exact center of the composition. Red heart/womb, continuing the journey of the first panel, but in a stationary, meditative manner. There 3 or 4 are other such, smaller red houses on this canvas, one descending from the sky as if it's a gift from heaven. (This leads me to consider that each panel in Swope's trilogy is a composition of vignettes, tracing the narrative progress of certain gropes of figures, or, in this case, the red house.)

The Large Red House is sited at the boundary (albeit diffuse) of the main two realms of this piece; the sky and the field. The house seems to negotiate a peace between the two very different realms, or perhaps provide a gateway (both visually and thematically -if we are to believe the house is a meditative center, a hearth, a place of worship, a by-product of human labor) between the sky and the land. In any case, the house provides a good visual anchor. The sky on this canvas is quite Van Gogh in spirit, especially on the left side of the canvas, tracing lines from the sun/moon sky orb in well-defined, mosaic like daubs of color. Indeed, this active sky undulates and swirls much like the river, with which it merges.

The yellow land has an activity of a different sort. Less engaged in its own activity (like the sky) it is composed of vertical brush strokes, pointing toward the House and the Sky, almost in exaltation. Swope's use of isolinear perspective on this idyllic landmass makes it seem as ethereal as the celestial concert above: here is a place where the four seasons might occur, inhabited by people go about their activities, but it is not a place where strife or death and decay can occur. Again, the use of glitter throughout underscores the unity of the more 'earthly' realms with the more properly starry sky above.

Swope's airy brush style and iconic rendering are well-suited to a theme of "innocence." Using a largely red-yellow-blue pallet helps define this realm, and his brushwork keeps it from being harsh in color and rigid in form. Populating this harmonic scene with Legoland-like blue-clad people adds to the peacefulness. A red-haired, green-clad "angel" (proportionately larger than the inhabitants) stands as protector and guide to the left of the Red House; it is an optimistic, safe world embraced by and permeated by the starry sky above. When this world 'rises' everyone will go at the same time, for it is a world of generosity and cooperation.


III. Scene 3: "The Village of Spirits"

This vast, panoramic picture concluded Swope's "journey." In contrast to the charming hamlet of Scene 2, and the cosmic voyage of Scene 1, this is an almost tumultuous realm densely populated by beings, souls and corporeal people alike. In fact, the figures divide the space of the canvas and define the individual zones as much as the landscape and architectural features do. This is the final destination of the souls who pass though the turnstile of Van Gogh's "Starry Night" as depicted by Glade Swope.

The upper left (I start with this since, though I am encultured to read a picture like a book to a degree, this panel unfolds much like a book) is a throng or mass of murky black or blue/green figures. In fact, we only recognize them as figures since their yellow faces and eyes 'star' this mass: the bodies are almost primal marks, vigorous slashes toward the land below. This os a crowd, almost like a stampede, almost-people who have virtually no identity (with the exception of the puzzling "lady in Red" at the center who has a cross expression, almost like Mr. Sluggo…) or awareness save their determination to move forward.

This throng is making its way across a huge bank of archways that spills across practically the entire width of "Village." This is a prominent feature of the village, yet the top hill in the center blocks the passage of the dark souls of the upper left. In many ways these hills suggest a further extent of the work of the blue-clad people of Scene 2, a hobbit-like infrastructure merging architecture with landscape, built into the hillside harmonious with nature.

Indeed, beyond the river at the foot of this hill is a field that echoes the previous canvas. Perhaps this is where the denizens of Scene 2 have 'risen' from innocence to make true accomplishments by the fruit of their labor and cooperation. This yellow/orange field has just been harvested, made of darting hatch marks, like a farm in late autumn. There is even a sheaf of hay or wheat. The people of this area are Swope's most concrete, defined. First is a 'child' in green with an inquisitive, but uncertain look, gesturing toward a tall blue-clad man. The tall man is standing over a tree, looking down, happy and proud (again, his face has the economy of a Legoland figure) presumably at his community and its harmonic stewardship of the land. Echoing this tall man, i the same stance but without the exaggerated legs, is another blue figure, smiling at the harvest, smaller than both his counterpart and the sheaf of wheat. Perhaps these two figures are aspects of the same symbolic man, both superior to nature and able to use and shape it, while subservient to the land and humble about his efforts.

Yet the next figure on the right dispels any fixed notion of Swope portraying mere symbols. Here is his most-defined figure yet, his face parallel to the picture plane (all others have been in profile) and we can see the whites of his eyes and a nose suggested by nostrils. He's got a definite smile, looking toward us and gesturing as if to show off his 'cat' on one side and gesturing towards the river or maybe all the land in a celebrating, even inviting expression.

The River in question is a major element of this composition, winding its way across this entire village. On the side of the river opposite the harvested field is a red field… or is it? Closer inspection reveals that it's comprised of figures: the vertical red strokes are in fact figures, evidenced by the yellow dots -Swope's deft visual shorthand for faces, peppering this field. This is a field of souls, having crossed the River (Styx?) into a deeper level of the afterlife. Indeed, their procession is joined by another group of pilgrims, blue-clad people emerging from the Red Cave on the right of the large hill. Are these purified souls, the spooky, primal souls populating the upper left who have undergone some transformation to emerge garbed in the sky en route to the heavenly city? This seems possible, for there is a definite bridge over the river, joining the harvest field to the hillside: the implication is that the the almost people souls can join the harvest field and, perhaps, attain a deeper spiritual definition.

Whatever the real role or identity of these souls is, it is certain their destination is the heavenly city of red buildings across the river on the right of this canvas. Though dark and nocturnal (this is the only area properly rephrasing the "sky" of the other Scenes) the buildings feature white windows, inviting beacons to travelers in a nightly realm. These buildings seem to be more-honed versions of the structures of the hillside, or the more earthly dwellings of Scene 2. A tall, blue-clad figure -another angel (if we are to accept that as an established convention following the two previous canvases) stands near a 'temple' (or church, for it is adorned by a cross) holding a candle to light the way. In the vista we can see a comet-like arc of light. Between that and the hill, is a tiny blue dot, perhaps the travelers last glance of the Earth as they arrive at the celestial gates.


Are we meant to consider this a sequel to Van Gogh's painting? Surely we are to some degree, given Swope's direct allusion, "Journey Beyond the Starry Night." Arguably the Van Gogh work is one of the most iconic images in art history (and even popular culture) So Swope has inescapably created paintings with this in mind, depicting a message can be conveyed to an audience with knowledge of the Van Gogh work, popular or scholarly. Swope's own musical work, can even enter into an interpretation with his signature heavy subject matter providing an inviting, concrete context in which to place the "Journey Beyond the Starry Night." At any rate the "Journey" can be considered on its own terms.

With such heavy narrative developments, it's inviting to consider the "Beyond" nature of this "Journey" to be taking liberty with the premise of the Van Gogh work, i.e., depicting "what happens next…" Perhaps after witnessing the earthbound view of Rhone at night in the Van Gogh work, Swope invites us to take a deeper look beyond the capacities of fallible senses and cold, scientific instruments. After this initial invitation (Scene 1) Swope unfolds his cosmic journey of earthly harmony and spiritual pilgrimage.

Or is this sequence taking place just out of sight of the Van Gogh canvas, as though if one were to pan out quite a bit one would see this epic taking place above …. in the Firmament. Is Swope extrapolating on his own careful study of the Van Gogh painting? Is this an homage to Van Gogh? Or is it Van Gogh-like terminology co-opted to depict Swope's personal cosmology and inner worlds?

With Van Gogh, we have a painter educing the cosmic, the divine, from earthly matter like an animist projecting his intense, sensual experience in beholding the world before him upon a canvas, recording and translating that experience. With Swope we have the inverse: making the cosmic and divine tangible in pictorial form. Both artists are translating their inner experiences and use visual (and especially narrative in Swope) styles that provide evidence of the experiences of their respective artist, while being open enough to allow many interpretations and a personal experience in each viewer.

I've had a joy delving into Glade Swope's VERY FIRST PAINTINGS in writing this! I invite, you, too, to come see them at their DEBUT, Saturday, June 11th, unveiled as part of his already legendary music set (and who would want to miss out on a legend?) A feast for the EARS, EYES, and most importantly the MIND!

-Michael Connor, May 2011


In GS's own words:
'Twas May 21, 2011 when I had finished all three paintings, and in deciding what to name the series, gazing into the paintings it "just came to me." I could feel a direct connection to Vincent van Gogh's most influential piece. I knew what this was! "Journey Beyond The Starry Night!"

And, of course, you can't forget to check out the prequel to this trilogy...

You know, the one from the 80's!

The 1880's that is!

The Starry Night