Christmas 2010

Saint in Gothic Frame, Terry Nelson, Acrylic on wood panel (3" x 1.5"). 2010

Years ago I found these wonderful resin frames which enclosed a small mirror. I removed the mirror and used the frames for reliquaries and small panels with painted copies of images of the saints from famous Florentine altar pieces. In this case I embellished the frame with crystals.

Merry Christmas

"Giotto Madonna" Terry Nelson, Acrylic and gold on wood. 2010

I finished the plate just in time for Christmas.

Nativity Angels

I painted these angel panels for a Nativity presepio last year. Looking back on the photos of the panels this year, they don't seem as bad as I thought they were. I almost could have made them into Christmas cards or something. At the time of installation I was somewhat embarrassed about the paintings - thinking they were too schmaltzy. I never was asked back to paint more panels, so I wondered if the work I did wasn't quite right - it may not fit in with the display as it evolves from year to year now. I wasn't at all insulted about not being asked back mind you - I was more than content to do the work and move on.

Giotto: Madonna and Child (Detail, Scrovegni Chapel)

What I am working on now...

About 25 years ago I bought many wooden objects to paint for a Christmas shop in a chic little store.  Among the items I purchased was a blank wooden plate.  I gessoed and sanded it and laid out a design based upon the Giotto frescoes in the Scrovegni in Padua.  I got as far as laying the cartoon (drawing) for the painting, and painting in the lapis background.  I lost interest in the panel after I was unable to meet my deadline for the design firms Christmas cocktail opening.  Everything else was ready save for this.  Long story short - I began work on it once again about 3 weeks ago.  I'm painting with a very small brush and the work is quite detailed - and it is taking awhile to finish. 

St. Catherine of Alexandria Carried By Angels To Sinai

More of what I have been working on...

.

I of course believe many pious legends - one being the story that angels carried the relics of St. Catherine to Sinai.  That said - I'm not sure many people witnessed the miracle - in fact God loves to reveal himself in a cloud of unknowing - hence my depiction of the Saint transported in a mysterious cloud, which, as one might imagine, not only concealed the relics of the holy virgin, but the angels as well.  Some like to say monks did the work, but I say never attribute to men, much less monks, the good only to be found in God.

St. Xenia of Petersburg

What I have been working on.

.

I recently finished this little icon of St. Xenia, a Russian Pilgrim/Fool for Christ Saint.  It is a 5 x 7 panel which fits nicely in a hand carved wooden architectural frame.  I wish I could say I carved the frame, but I didn't.  I bought it about 25 years ago.

Xenia is depicted in her husband's old military coat, which she is said to have always worn.  She made her home in a cemetery in St. Petersburg - a true desert saint - hence one may understand my prejudice when it comes to modern hermits.

Descent Into Hell

Descent Into Hell, Terry Nelson  1990

Acrylic, gold leaf on canvas (36"x48")

I finally re-photographed this piece after so many years.  (The photography is not done well - I shot it outside on a cloudy day and the canvas appears warped - or the problem may be the mount on the surface supporting the panel - either way, it's off.)  I painted it in the style of an 'altar-piece' or a classical icon with scenes from the life of, which is why I sometimes like to subtitle it "A day in the life of..."  Most people ask why I used the lyrics and titles from the Beatles' Abbey Road album throughout the piece.  Aside from the fact I found the medley and lyrics of some of the songs on the album to fit whatever I was documenting at the time, I also listened to the album obsessively while painting.  (If you click on the photos you may be able to read the titles on the close-up.)  Abbey Road has been important to me since its release, and the painting was an intense project for me - that's all I can say. 

The panel documents a difficult life and the subjects attempt to understand it.  The two allegorical figures in the niche on either side of the title panel - The Descent - Sebastian and Samson respectively, represent two related curses:  abuse and addiction.  I used classical anatomical figures for the 'statuary'.  St. Sebastian was first martyred by being shot with arrows - left for dead - he subsequently revived to face a martyr's death later.  It is with that understanding Sebastian was chosen to represent the effects of abuse, and specifically sexual abuse, which can be likened to a sort of death of the spirit in those who experience it. Samson has often been referred to by spiritual writers and in allegory as an example of the soul enslaved by sin, or as secular culture describes in modern psychological terms, addiction. 

Without going into much more detail, let me just say the panel isn't meant to be described in total for the viewer, except to point out that each scene represents/documents an aspect of abuse, molestation, seduction, temptation, rape, sin, isolation, alienation, dying, conversion, confession,  and finally reconciliation .

Note:  The painting was in the collection of a former gallery owner who is now deceased.  His estate returned the panel at my request.  The panel is currently scheduled to become a part of the private collection of a collector of outsider art.

My apologies to those offended by the subject matter.