![]() ![]() And too, the trauma and losses of the AIDS epidemic. The subject called to me, summoning the death of my own father, and my long-time interests in the Hero’s Journey, shamanism, nature spirits, and Death and Resurrection. ![]() As soon as I saw the first postings about Dark Movements I became entranced. In the new series, Dark Movements, Clive explores and expresses a more transformative, and quite colourful, outcome.Ĭlive has a blog Artlog: views from the artist's studio on which his followers can witness and comment on the creation of his works from concept to finished art. But in some sense the grief and terror remain untransformed in the end. The Mare’s Tale is shocking, terrifying, and powerfully moving, incarnating Trevor’s end days employing the characters of Trevor, a young man I interpret both as a young Trevor and Clive, and the Mari in her age-old trappings intensified into the macabre. Clive had discovered when his father Trevor was dying in 1999 that he had been terrified of the Mari Lwyd his whole life, and was being visited by her in his death throes. Both painting groups have at their foundation an ancient Welsh New Year’s mumming or wassailing tradition involving a spectral mare, the Mari Lwyd (a person costumed traditionally with a real operative horse’s skull, a white shroud, ribbons and bells), accompanied by a band of the walking dead. The new series of paintings were to embrace the same theme as the earlier series, but with a difference. ![]() Suddenly the Jordan project morphed into a re-visit to an earlier theme entitled The Mare’s Tale (2000-2001) which had manifested as a group of quite large monochromatic black, blue, and gray conté drawings. We committed fairly quickly in November 2014 to work on a project Beastly Passions, paintings and poems which would take as their theme, in Clive’s words, “the darker, Penny Dreadful realms of Staffordshire pottery groups, in which unspeakable doings such as murders by brutes and savagings at the sharp-ends of escaped menagerie beasts, were commemorated in naive imagery straight from the world of the Regency toy theatre.” One image and poem were completed.Īt that time Clive was engaged on other projects too, one involving a dancer in New York, Jordan Morley. She was convinced that Clive and I should work together. Many poets have been drawn to Clive’s work and there is even an anthology of poets’ responses, including work by Marly. Clive has contributed phenomenal art for a number of Marly’s books. ![]() Jeffery Beam: Welsh painter Clive Hicks-Jenkins and I were introduced, virtually, by a mutual friend, novelist and poet Marly Youmans. TER: Tell us what inspired your ekphrastic book, Spectral Pegasus/ Dark Movements, in collaboration with artist Clive Hicks-Jenkins? How did the project ignite in mind, and what brought it to fruition? The Ekphrastic Review Interviews Poet Jeffery Beam Darrell has tallied a third of a century as communications editor for the University of Wisconsin-Madison, 40 years as a father (six years as a grandfather), and almost a half century as a husband. Darrell Petska's poetry has appeared in Muddy River Poetry Review, Chiron Review, Star 82 Review, Verse-Virtual and widely elsewhere (see ). ![]()
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