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.

Landscape with figure.

"Priest" Terry Nelson 2010
Acrylic on canvas.

Cappa Magna Americano

Cappa Magna Americano - Terrance Nelson, 2010
8 x 8 acrylic on canvas.

An American Archbishop who enjoys his job.

Memento Mori

The Life I live Now - Terrance Nelson, 2010
8 x 8 acrylic on canvas.

Adapted from an Owe Zerge memento mori, I interpreted his composition to suit my concept. I replaced the Franciscan habit with a pair of my blue jeans, used Zerge's skull and book of hours, and added my rosary. The quote from the poetry of John of the Cross reads: "The life I live now is no life at all".

Untitled

Untitled - Terry Nelson 2010
Acrylic on 8 x 8 canvas.
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My apologies that the colors are so washed out - it was difficult to capture the panel with my little camera.

(After Simon Marmion.)

St. Simeon Stylite

Simeon Stylite - Terry Nelson 2010
6 x 12 acrylic on canvas

Another painting of an icon depicting a type of early ascetic. A type of stylite monks descended from this saint, the first recorded to have lived an ascetic life atop a pillar. According to early accounts the reason Simeon adopted the life of a pillar ascetic was to avoid the crush of people who sought his prayers and advice. Since he couldn't flee to a more remote spot, he ascended. The pillar was raised over time to sixty feet, holding a twelve foot square platform, surrounded by a balustrade. The saint's meager ration of food was raised by basket, while the needs of nature were said to have been relieved off the side as needed. The saint is said to have lived thirty-six years atop the column.
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Luis Bunuel made a film based upon the saint's life. An atheist, Bunuel was impressed with the authentic, albeit radical faith of the early desert saints. In his film he pulls together much of the wisdom expressed by the writings of the early desert fathers, creating a remarkably accurate depiction of the spiritual combat engaged in by the early ascetics. Interestingly enough, the film ends with the saint transported into modern society amidst a noisy disco. It is a scene at once evocative of some of the temptations of the early desert fathers, as well reminiscent early prophecies regarding monastic life in the later times, not to mention the secular intellectualism which seemed to dominate institutionalized monasticism after the Council.

The Skipper

"Untitled" - Terry Nelson
8 x 8 acrylic on canvas 2010
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Sort of a homage to Magritte.