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 THE WOODS

OUR LADY OF THE WOODS ©1994 ALFRED EAKER

Winter’s Night (Thomas Merton)

When, in the dark, the frost cracks on the window
The children awaken, and whisper.
One says the moonlight grated like a skate
Across the freezing river.
Another hears the starlight breaking like a knifeblade
Upon the silent, steelbright pond.
They say the trees are stiller than the frozen water
From waiting for a shouting light, a heavenly message.

Yet it is far from Christmas, when a star
Sang in the pane, as brittle as their innocence!
For now the light of early Lent
Glitters upon the icy step –
“We have wept letters to our patron saints,
(The children say) yet slept before they ended.”

Oh, is there in this night no sound of strings, of singers!
None coming from the wedding, no, nor
Bridegroom’s messenger?
(The sleepy virgins stir, and trim their lamps.)

The moonlight rings upon the ice as sudden as a
footstep;
Starlight clinks upon the dooryard stone, too like a
latch,
And the children are again, awake,
And all call out in whispers to their guardian angels.

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.

SEA OF ROSARIES: Our Lady of Kibeho

Our Lady of Kibeho ©2018 Alfred Eaker

Canticle for the Blessed Virgin (Thomas Merton)

Die, Boreas,
And drown your ruins in the gaudy sea,
December, clash your cymbals once again
And put them away.
The crops come thronging from the ground.
The land is green with strength.
The harvests sing like confidence
In the ascetic earth.
Let there be no more patience
With your iron music, death:
Stand, continents, and wear the spring your crown!

The ox-eyed land,
The muted lakes,
The cloudy groves that praise you,
Lady, with their blooms,
Fuse and destroy their lights
And burn them into gold for you, great Virgin,
Coining your honor in the glorious sun.

The skies speed up to meet you, and the seas
Swim you the silver of their crests.
If you delay to come, we’ll see the meteors, by night,
Skimming before your way,
Lighting the time of death’s dismay
In lights as lithe as animals.
And God will blaze your pathway with the incandescent stars.

But oh! Queen of all grace and counsel,
Cause of our joy, Oh Clement Virgin, come:
Show us those eyes as chaste as lightning,
Kinder than June and true as Scripture.
Heal with your looks the poisons of the universe,
And claim your Son’s regenerate world!

Because your Christ disposed Orion and Andromeda
And ordered the clean spheres,
And interplayed the chiming suns to be your toy,

Charm you with antiphon and psalmody
And canticle, and countersong;

Because your Christ
Fired the fair stars with argent for your raiment,
And charged the sinner’s tears
With clean repentent lights –
(As on the day you found me in the dens of libraries
And crushed the jeweled head of heresy) –
He gave you every one of the redeemed to be your dowry
And angels for your crown.

Come from the compass quarter where the thunder sleeps
And let the pity of those eyes
Rout all the armies of our million dangers
Here where we lie in siege:
For you unlock the treasures of the bleeding Wood.
You hold the Mass-keys, and the locks of Calvary,
And All-grace springs in the founts of your demand.

Lady, whose smiles are full of counsel and theology,
Never have you withheld those seas of light
Whose surf confounds the keenest eye.
Grace me to be the soldier of your Scotus,
Arming my actions with the news
Of your Immaculate command.

You, who have saved me from the ones about to break me
On the iron wheels of sin,

And brought me from the torturer
With all the florins of the Parasceve:
If Christ will burn me clean
Of my red-handed perjuries,
Win me His Blood again, and blazon me His priest.

But if my hands that one time wore the stench of death
Are too unworthy of the Liturgy
That speaks our deathless Pasch in veils of Bread,
Make me, until my death, His priest in secret
Offering Mass in all-day’s sacrifice.

Teach me to take all grace
And spring it into blades of act,
Grow spears and sheaves of charity,
While each new instant (new eternity),
Flowering with clean and individual circumstance,
Speaks me the whisper of His consecrating Spirit.
Then will obedience bring forth new Incarnations
Shining to God with the features of His Christ.

Tower, stars, and oh! You sun in Aries,
Shatter a way for her through the embattled weather,
Until the hills
Tidy their fields, and fill them full of flowers
For those Annunciations:

And hell shall melt his onsets
Faster than January’s brawling clouds
Doomed by the music of her chariot.

SEA OF ROSARIES: Our Lady of La Salette

Our Lady Of La Salette © 2018 Alfred Eaker

La Salette

(Thomas Merton)

It is a hundred years since your shy feet
Ventured to stand upon the pasture grass of the high
Alps,

Coming no deeper in our smoky atmosphere
Than these blue skies, the mountain eyes
Of the two shepherd children, young as flowers,
Born to be dazzled by no mortal snow.

Lady, it is a hundred years
Since those fair, terrible tears
Reproved, with their amazing grief
All the proud candor of those altitudes:
Crowning the flowers at your feet
With diamonds, that seized upon, transfigured into
nails of light
The rays of the mountain sun!-

And by their news,
(Which came with cowbells to the evening village
And to the world with church-bells
After not too many days,)
And by their news
We thought the walls of all hard hearts
Had broken down, and given in,
Poured out their dirty garrisons of sin,
And washed the streets with our own blood, if need
be –
– Only to have them clean!

And though we did not understand
The weight and import of so great a sorrow,
We never thought so soon to have seen
The loss of its undying memory,
Passing from the black world without a word,
Without a funeral!
For while our teeth were battling in the meat of
miracles and favors,
Your words, your prophecies, were all forgotten!

Now, one by one,
The things you said
Have come to be fulfilled.

John, in the might of his Apocalypse, could not fore-
tell
Half of the story of our monstrous century,
In which the arm of your inexorable Son,
Bound, by His Truth, to disavow your intercession
For this wolf-world, this craven zoo,
Has bombed the doors of hell clean off their hinges,
And burst the cage of antichrist,
And roused, with His first two great thunderbolts,
The chariots of Armageddon.

RED MEAT THEATER: THE GOSPEL OF CHRIST, OUR MOTHER (featuring Cheryl Townsend as Christ, and Donald Trump, his Admin, and the Alt-Right as her murderers) opening October 14th, 2017 at Thunder-Sky Gallery

Thunder-Sky Inc Gallery

4573 Hamilton Ave, Cincinnati, OH 45223

Opens Oct 14, 6-10 pm

Alfred Eaker artist statement on Red Meat Theater

Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

Christ, Our Mother is a reworking of the Good Shepherd theme and is best summarized by Andrew Harvey. “The Future of the world depends on the full restoration of the Sacred Feminine in all its tenderness, passion, divine ferocity, and surrendered persistence.”

Magnificat, acrylic on canvas ©2017 Alfred Eaker

Magnificat, of course is the Lukian discourse attributed to Our Lady. It’s a precursor to “The Beatitudes.” Historicity not being a concern, the character of the Beatitudes reads as coming from the womb of the Magnificat’s author (hence, I use Cheryl Townsend as model for both Christ and Mary). The titled proclamation is an entry point into a nativity setting with Bing, Bowie, and the Little Drummer Boy as wise men paying homage. Burl Ives’ snowman, a skinny misfit Santa, and Diana Ross as an angel further announce the Christmas setting while a threatened, Trumpian/Herodian Goblin of Banality fumes in the landscape.

The Baptism of Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

The Temptation of Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

After her baptism, Christ is tempted by Old Nick himself, Lord Trump (and his 4-million-dollar golden toilet) in The Temptation of Christ, Our Mother.

Christ, our Mother and the Wedding at Cana, acrylic on canvas ©2017 Alfred Eaker

Christ Our Mother celebrates the first SSM with Joe Biden in The Wedding at Cana. The Couple is based off men I knew who may not have ended as tragically as they did if laws had been more accepting at the time. This is my homage to Bud and Jeff (AKA Pee Wee).

Christ Our Mother and the adulteress, acrylic on canvas ©2017 Alfred Eaker

Christ, Our Mother casting the demons into the swine, acrylic on canvas ©2017 Alfred Eaker

Christ, Our Mother and the Samaritan woman, according to St. John acrylic on canvas ©2017 Alfred Eaker

Christ, Our Mother and the Samaritan woman, according to St. John depicts parallel myths. In the first, St. John (modeled after Antonio Adams) pens the narrative of Christ befriending an immigrant outsider. Meanwhile, three men are in hell, lamenting their state and questioning why they cannot leave this place. However, each wails loudly and in frustration complains that his neighbor is hell (this was a homily I heard in adolescence, told by Bishop Fulton Sheen).

Good Samaritan (A parable, as told by Christ, Our Mother), acrylic on canvas ©2017 Alfred Eaker

Good Samaritan (A parable, as told by Christ, Our Mother) is an overly familiar one, but composed here under the teaching of the Christ figure: “In addition to giving your cloak, give you tunic as well,” and like St. Francis, Christ strips down to model what she preaches: “When you welcome the stranger, feed the hungry, clothe the naked, tend to the ill, you do this to me.” The Mother of the Conquered, she puts her strength into those who have been deeply stunned and staggered, harmfully shocked and pulled down, painfully intruded and left for dead. Clarissa Pinkola Estes.

Lazarus & The Rich Man (A parable, as told by Christ, Our Mother), acrylic on canvas ©2017 Alfred Eaker

Lazarus & The Rich Man (A parable, as told by Christ, Our Mother) depicts Bernie Sanders as Father Abraham. Lazarus is modeled after the son of a friend, and Trump, as the rich man, throws a temper tantrum. Christ haughtily tells the tale to St. John, who will be inspired. David Ross and James Mannan are models for saints James and Peter.

Christ, our Mother healing the Leper, acrylic on canvas ©2017 Alfred Eaker

Lenny Bernstein breaks a sweat conducting the whirling dervish in an Ode To Freedom as Christ, our Mother healing the Leper. Adorned in a three-sided Hindu mask is the Trump demon mocking the less fortunate.

Christ, Our Mother heals the faithful Centurion’s pais, acrylic on canvas ©2017 Alfred Eaker

Christ, Our Mother heals the faithful Centurion’s pais is a well-known sacred narrative, which here pays tribute to a war hero and maverick who has the courage to stand against the Trump regime.

Christ, Our Mother and the Sermon On The Mount, acrylic on canvas ©2017 Alfred Eaker

Ted Nugent contemplates assassinating Our Mother during the Sermon On The Mount. The late Greg Brown as St. Thomas, Denny Stevens as St. Luke, and Jimmy Carter as St. Matthew are among the attendees.

Mary and Martha, acrylic on canvas ©2017 Alfred Eaker

Aja Rossman Gray models the complex Mary and Martha. It is Mary in the first narrative who sits at the feet of a teaching Christ while Martha complains, wanting help with the dinner (or whatever). Christ lets poor Martha know that Mary has the better priority. Later, it is Mary who complains when Christ arrives after her brother has died, but it is Martha who trusts Christ and has faith.

The Transfiguration of Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

A Cher-like Christ leaps for joy with dancing Obamas as Yukon Cornelius celebrates their rainbow for misfits in The Transfiguration of Christ, Our Mother.

Vipers, acrylic on canvas ©2017 Alfred Eaker

Vipers depicts a fast food crowned, wife beater Trump stalking Hillary while Gingrich and Palin egg the misogynist on. True to form, Christ calls them out.

Christ, Our mother throwing out the Moneychangers, acrylic on canvas ©2017 Alfred Eaker

Karen Handel, Trump, and Mitch McConnell are The Moneychangers thrown out of the temple by Christ, Our Mother.

Red Meat Theater: Stations of the Cross  (Christ, Our Mother in the Garden of Agony), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (The betrayal and arrest of Christ, Our Mother), acrylic on canvas ©2017 Alfred Eaker

Betsy Devos, adorned in all her avarice as the Judas that she is, accompanied by alt-right thugs in The betrayal and arrest of Christ, Our Mother.

Red Meat Theater: Stations of the Cross (The trial of Christ, our Mother), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (The Passion of Christ, Our Mother), acrylic on canvas ©2017 Alfred Eaker

Mike Pence cheers his lord and master Trump on in The Passion of Christ, Our Mother.

Red Meat Theater: Stations of the Cross (Christ, our mother before Pilate), acrylic on canvas ©2017 Alfred Eaker

Paul Ryan as Pilate, washes his hands (with water given him by Steve Bannon) in Christ before Pilate.

Red Meat Theater: Stations of the Cross (Christ, Our Mother falls ), acrylic on canvas ©2017 Alfred Eaker

Jerry Falwell Jr and David Duke fly their true Trumpian colors in Stations: Christ falls.

Red Meat Theater: Stations of the Cross (Christ meets her Mother on the way to the cross), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (Christ, our Mother meets the women of Jerusalem), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (Mary and the beloved disciple at the foot of the cross), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (The Gospel of Contempt), acrylic on canvas ©2017 Alfred Eaker

Red Meat Theater: Stations of the Cross (The Murder of Christ, Our Mother), acrylic on canvas ©2017 Alfred Eaker

Kim Davis, Mike Huckabee, and Ted Cruz are among the bloody supporters of Trump in The Murder of Christ, Our Mother.

RED MEAT THEATER-Stations of the cross (Yellow Resurrection), acrylic on canvas ©2017 Alfred Eaker

BlueMahler, endless narrator that he always is, accompanies Mary and Martha for a Yellow Resurrection. “No demure little cabbage, that woman. No paltry, well-behaved carbon dot. No follower of world orders. She has dirty hands from growing earthly things, and from her day and night work alongside her hard-working sons and daughters. The thugs of the world try to erase her and erase her people, to un-mother them and while, yes, she is calm, but she is not without the will to rise again and again. She is pure, but not as in never going dark, never having doubt, never taking a wrong turn for a time. Holy Mother is not meant to be a fence. Holy Mother is a gate. All are mine, she says, whether they know me or not, whether they practice devotion or not.” Estes.

Peter and John racing to the tomb of Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

The Ascension Of Christ, Our Mother, acrylic on canvas ©2017 Alfred Eaker

Poor Donald gets eclipsed again in The Ascension Of Christ, Our Mother. If he could only learn that changing from bad to good is as easy as Winter Warlock’s first step. Still, Pope Francis and St. John are having a good old time enjoying the show.

The Apocalypse of Christ our Mother, acrylic on canvas ©2017 Alfred Eaker

After the Trump boys appeared at The trial of Christ, Our Mother (with big daddy Ciaphas Trump) they show up again as black-hatted Voldemort and Lash Larue in The Apocalypse of Christ our Mother. Per the norm, Melania is ignored while Bunker Trump plays with Ivanka as the world falls apart. Still Christ, (Cheryl as a Dorothy Parker type) hitches a ride to something better with St. John and King Moonracer.

 A Woman clothed in the sun, acrylic on canvas ©2017 Alfred Eaker

The Trump administration shows up as The Beast in A Woman clothed in the sun. Ok yeah, it’s stating the obvious, but subtlety is kinda boring these days.

 

ALFRED EAKER PAINTINGS (UPDATED WITH ADDITIONAL WORKS AND SIZING INFO, per inquiries)

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 Italian avant-gardist Luigi Nono, translated (roughly) as “Wanderer, there is no destination, but you must travel the road.” This is the first of several works inspired by this spiritually restless artist.

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.

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.

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.

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

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“Without World” is a 4ft x 4 ft 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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“Shifting Sanctuaries” is a 2009, 30 x 48 oil on canvas of the BlueMahler character.

Alfred Eaker %22STATIONS I%22 Christ is Condemend To Death. Oil on Canvas. 5ft x 5 ft. © 2010 Alfred Eaker

“Stations I. Christ is condemned to death” is a 2010 5 ft x 5 ft oil on canvas.

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“Stations II. Christ Carries His Cross” is a 5 ft x 5 ft oil on canvas.

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“Stations III. Christ falls for the first time” is a 2010, 5 ft x 5 ft oil on canvas.

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 %22Stations V%22 Simon of Cyrene Helps Christ Carry His Cross. oil opn cnavas. 5 ft x 5 ft. © 2011 Alfred Eaker

“Stations V. Simon helps Christ carry his cross” is a 5 ft x 5 ft oil on canvas from 2011.

Alfred Eaker %22Stations VI%22 Veronica Wipes The Face Of Christ. oil on canvas . 5 ft x 5 ft. ©2011. Alfred Eaker

“Stations VI. Veronica wipes the face of Christ” is a 2011 5 ft x 5 ft oil on canvas.

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 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 'Aja%22 oil on canvas. © 2014 Alfred Eaker

“Aja” is a 2014, 30 x 40 oil on canvas, which is born of Elizabeth Johnson’s meditation on the Marian image: “Truly, Our Sister.” Yes, She is Mother, but also Sister, twin, companion.

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 '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 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.

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“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.

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“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.

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“Barenboim conducts Pierre Boulez in Chicago” is a 2004 , 3 ft x 4 ft oil on canvas.

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“A Diaphanous Rage” is a 3 ft x 4 ft, 2009 oil on canvas from the western series

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” A Laconic Descent” is a 2009 , 3 ft x 4 ft oil on canvas from the western series.

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“Before the Tragedy” is a 2008 oil on canvas from the western series.

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“BITTER PAUSE” is a 4 ft x 4 ft oil on canvas from 2009.

ALFRED EAKER JUSTIFIABLE ARMAGEDDON 2009

“Justifiable Armageddon” is a 4 ft x 4 ft oil on canvas, 2009.

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‘Spinal Speech” is a 3 ft x 4 ft oil on canvas, 2010.

* All paintings are for sale. For pricing, serious inquiries may contact us at: pinkfreudbluemahler@msn.com

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

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 'Aja%22 oil on canvas. © 2014 Alfred Eaker “Aja” is a 2014, 30 x 40 oil on canvas, which is born of Elizabeth Johnson’s meditation on the Marian image: “Truly, Our Sister.” Yes, She is Mother, but also Sister, twin, companion.

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.