SEA OF ROSARIES: Annunciation

Annunciation (oil on canvas) © 2011 Alfred Eaker

Annunciation (Thomas Merton)

Ashes of paper, ashes of a world
Wandering, when fire is done:
We argue with the drops of rain!

Until one comes Who walks unseen
Even in elements we have destroyed.
Deeper than any nerve
He enters flesh and bone.
Planting His truth, He puts our substance on.
Air, earth, and rain
Rework the frame that fire has ruined.
What was dead is waiting for His Flame.
Sparks of His Spirit spend their seeds, and hide
To grow like irises, born before summertime.
These blue thinas bud in Israel.

The girl prays by the bare wall
Between the lamp and the chair.
(Framed with an angel in our galleries
She has a richer painted room, sometimes a crown.
Yet seven pillars of obscurity
Build her to Wisdom’s house, and Ark, and Tower.
She is the Secret of another Testament
She owns their manna in her jar.)

Fifteen years old –
The flowers printed on her dress
Cease moving in the middle of her prayer
When God, Who sends the messenger,
Meets His messenger in her Heart.
Her answer, between breath and breath,
Wrings from her innocence our Sacrament!
In her white body God becomes our Bread.

It is her tenderness
Heats the dead world like David on his bed.
Times that were too soon criminal
And never wanted to be normal
Evade the beast that has pursued
You, me and Adam out of Eden’s wood.
Suddenly we find ourselves assembled
Cured and recollected under several green trees.

Her prudence wrestled with the Dove
To hide us in His cloud of steel and silver:
These are the mysteries of her Son.
And here my heart, a purchased outlaw,
Prays in her possession
Until her Jesus makes my heart
Smile like a flower in her blameless hand.

SEA OF ROSARIES: Our Lady of Cobre and the dance of the scared feminine

Our Lady Of Cobre and the dance of the sacred feminine ©2018 Alfred Eaker 

Song for Our Lady of Cobre (Thomas Merton)

The white girls lift their heads like trees,
The black girls go
Reflected like flamingoes in the street.

The white girls sing as shrill as water,
The black girls talk as quiet as clay.
The white girls open their arms like clouds,
The black girls close their eyes like wings:
Angels bow down like bells,
Angels look up like toys,

Because the heavenly stars
Stand in a ring:
And all the pieces of the mosaic, earth,
Get up and fly away like birds.

LA LONTANANZA NOSTLAGICA UTOPICA FUTURA (short film)

http://www.theindependentcritic.com/la_lontananza_nostalgica_utopica_futura

THE FILM IS ALSO TEMPORARILY AVAILABLE FOR VIEWING (WITH STATEMENT) @

http://366weirdmovies.com/la-lontananza-nostalgica-utopica-futura-2014/

IMDB LISTING

http://www.imdb.com/title/tt4258080/?ref_=nm_flmg_dr_2  James Mannan as Van Gogh in La lontananza nostalgica utopia futura. Alfred Eaker as Paul Gauguin in La lontananza nostalgica utopia futura.James Mannan as V. Van Gogh in La lontananza nostalgica utopia futura.

LA LONTANANZA SHOOT 8Alfred Eaker as Gauguin (ravaged by syphilis) in La lontananza nostalgica utopia futura.LA LONTANANZA SHOOTLA LONTANANZA SHOOT 2Alfred Eaker as Gauguin2 (ravaged by syphilis) in La lontananza nostalgica utopia futura.James Mannan as Vincent Van Gogh,  in La lontananza nostalgica utopica futuraJames Mannan as Vincent Van Gogh in La lontananza nostalgica utopia futura.

Alfred Eaker Paintings

Alfred EAKER 'Our Lady Of The Mermaids%22 oil on canvas © 2011 Alfred Eaker “Our Lady Of The Mermaids”©2011 is a 3 ft x 4 ft oil on canvas. Over the years, I have painted numerous Madonnas, born full grown from a painter’s brow, yet I feel it is this one alone, from 2011, in which my very personal tradition and theological tenets crystallized most lucidly. I have attempted, since then, to paint her again as I did here. Predictably, it has proven futile. Although, Our Lady wears a thousand different skin tones, a thousand names, and a thousand costumes, she stands uniquely untamed in this canvas. This is no Madonna, subjected to patriarchal erasure, no demure, chaste cabbage. Our Lady is imbued with wild sensuality, diaphanous compassion, and revolutionary divinity. She is our lush, boundlessly expansive sanctuary of fearless truth-telling; the fiery daughter of primal white goddesses and Sophianic Mother of the brown mermaids.

* Our Lady was chosen for the 2014 cover of Aurora Literary Magazine.

 

Alfred Eaker %22Annhilation%22 (Sufism. Meditation on Christ casting the money changers out of the temple) oil on canvas. ©2014 Alfred Eaker “Annihilation” is a 2014,  40 x 48 oil on canvas. It stems from Sufi meditation. “Christ casting the money changers out of the temple” is that figure’s moth to the flame moment. It is the only time we see the gospel figure losing his temper and it is this act, which gets him killed and inevitably transforms him. It is lack of love that Christ is responding to. Rather than the traditional depicted action narrative, usually attached to the subject, “Annihilation” is filtered through Le Pointe Vierge; the innermost secret heart.

ALFRED EAKER Prelude To A Day Of Wonder. Oil on canvas. © 2010 Alfred Eaker.

“Prelude To A Day Of Wonder” is a 2010, 36 x 48 oil on canvas. That it is a prelude is key. Pure,  emotional reaching… upward. A day of wonder is a day of attainment.ALFRED EAKER %22Annunication%22 oil on canvas © 2011 Alfred Eaker

“Annunciation” is a 2011, 3 ft x 5 ft oil on canvas, painted while I was in grad school seminary. It is the prologue to the Magnificat. The Marian figure is young, ethnic, sensually caught up in her mystical hour, manifested through the celestial visitor.   Alfred Eaker PIETA (2011) oil on canvas © 2011 Alfred Eaker

“Pieta” is one of numerous oil on canvases (3 ft x 5 ft) I have painted on the traditional subject. This interpretation is from 2011, and directly followed the above “Annunciation.” The same figure is aged approximately thirty years. Again, she is endowed in her Hour. Her Son, reduced to Corpus Christie, is being lifted to Her by John the beloved and Joseph of Arimathea.The author of the Beatitudes is clearly the son of the Magnificat’s author. In the gospel narrative, Christ cried out to His Father: “Why have you forsaken me?”  Father turned His face from Son. Yet, Mother faced Her son directly. As painful as it was, She did not look away. She did not forsake Him and wears a shirt of arrows for Him. Alfred Eaker %22Stations IV%22 Christ Meets His Mother On The Way To The Cross. oil on canvas 5 ft x 5 ft. ©2011 Alfred Eaker “Stations IV. Christ meets His Mother On The Way To The Cross” is a 2011 oil on canvas and on of six Station paintings. All are 5 ft x 5 ft. Again, I dispense of a narrative per se and channel the event through a purely emotional, almost musically mystical filter. This is a homage to the teachings of Fr. Justin Belitz. Alfred Eaker Barenboim conducts the Bruckner 7th . oil on canvas ©2014 Alfred Eaker “Barenboim conducts the Bruckner 7th” is a 2014, 3 ft x 4 ft oil on canvas. It is a reinterpretation from a sketch I made during a Chicago concert of that symphony, conducted by Daniel Barenboim in the 1990s. The 7th is the most personally mystical of Bruckner’s symphonic output. Barenboim is a pronounced romanticist and a visceral Brucknerian, shaping the composer’s intimate sanctuary. Alfred Eaker %22Pieta%22 oil on canvas © 2014 Alfred Eaker “Pieta” is a 58 x 48 oil on canvas from 2014. Revisiting the subject, I concentrated on the relationship between the Madonna and Her slain Son in a celestial, communal setting. Alfred Eaker Yellow Resurrection. oil on canvas. © 2008 Alfred Eaker

“Yellow Resurrection” is a 30 x 48 oil on canvas from 2008 and an entirely different variation of previous Pieta-like themes. My BlueMahler character serves as a narrator, composing an exotic interpretation of the Easter theme. Alfred Eaker %22Christ and the Woman at the well.%22 oil on canvas. © 2014 Alfred Eaker   “Christ and the Woman at the Well” is a 2014, 3 ft x 4 ft oil on canvas. It is painted in monochromatic hues. No water well is depicted. I forgo a narrative in favor of an emotional interaction. Although Christ is recognized as prophet, He learns from her. She teaches him her humanity and it is a vulnerable sharing. Alfred Eaker Escape to a Mysterious Freedom. oil on canvas. © 2007 alfred eaker

“Escape To A Mysterious Freedom” is one of several paintings inspired by my time in New Mexico. It is a 2007 oil on canvas and depicts a lone, female rider. It is a surreal variation of Gauguin’s Riders On The Beach. The woman is on a tension-filled promenade and the freedom which awaits her is an unknown one. I had read St. John of the Cross’ “Dark Night Of The Soul’ shortly before painting this and that certainly factored in. Alfred Eaker Prayer for a perilous descent. oil on canvas © 2007 alfred eaker

“Prayer For A Perilous Descent” is a 45 x 60, 2007 oil on canvas and companion piece to the previous painting. A family is depicted: A mother and father, shielding their children, through a perilous descent while Holy Mother prays for their safety. Alfred EAKER Blue Fugue oil on canvas © 2007 alfred eaker

“Blue Fugue” is another 2007 companion to “Escape To A Mysterious Freedom”  and is 3 ft x 4 ft. St. John Of the Cross and Gauguin inform the painting’s theme and milieu. A lone, male figure rides into a terrain of infinite shadows. DIGITAL CAMERA

“Passion of Perpetua and Felicity” is a  30 x 40, 2008 oil on canvas, taken from a gnostic text of martyrdom. It is a literal, narrative interpretation, but one saturated with paradoxical emotions, including divine eroticism. Alfred Eaker Married in the Faucet. oil on canvas. © 2007 alfred eaker

“Married In the Faucet” is a 3 ft x 4 ft 2007 canvas, named after a line from a poem by John M. Bennett (who acted in two of my films. He was Satan in “Jesus and her Gospel of Yes” and George H. Bush in “W.”) The BlueMahler character is depicted in an unconsummated marriage. DIGITAL CAMERA “Finger Paint Viscosity” is a 3 ft x 4 ft, 2007 oil on canvas, named after  Cheryl Townsend poem (Cheryl played Jesus in my “Jesus and her Gospel of Yes” film). BlueMahler conducts the non-narrative narrative (as he did in the film). Cheryl herself is depicted. Her form echoes the eroticism inherent in her words. There is an Alexander Scriabin-like insect quality to her sexed-up figure. * All paintings are for sale. For pricing, serious inquiries may contact us at: pinkfreudbluemahler@msn.com

2. Alfred Eaker Hay que caminar„ soñando ©Alfred Eaker 2013

“Hay que caminar, soñando “is a 40 x 60, 2013 oil on canvas, named after a musical composition by Luigi Nono, translated (roughly) as “Wanderer, there is no destination, but you must travel the road.”

1. Alfred Eaker Risonanze erranti (Resonances wandering) ©Alfred Eaker 2013

 

“Risonanze errant” (Resonances wandering) is a  x 33 x 52, oil on canvas from 2013, named after a musical composition by Luigi Nono.

5. Alfred Eaker Omaggio a Luigi Nono. ©Alfred Eaker 2013

“Omaggio a Luigi Nono” is a 3 ft x 3 ft oil on canvas, and homage to Luigi Nono.

4. Alfred Eaker Io, Frammento da Prometeo ©Alfred Eaker 2013

“Io, Frammento da Prometeo” is a 48 x 48, 2013 oil on canvas, named after a musical composition by Luigi Nono.

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“Shifting Sanctuaries” is a 2009, 30 x 48 oil on canvas of the BlueMahler character.

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“Fragments From a Crepuscular World” is a 30 x 48 oil on canvas from 2009.

ALFRED EAKER Self Portrait of the artist as a middle aged man c.2009 alfred eaker

“Self Portrait of the artist as a middle aged man” is a 3ft x 4 ft oil on canvas, from 2009.

 

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“Without World” is a 4ft x 4 ft oil on canvas from 2009.

** A portion of all sales will go to the Franciscan Hermitage.