Flaming Book Lino

While I was searching through my early prints for one of my first linocuts, I came across the print in this post that I made in the mid 1980s. (It’s not the print I was originally looking for.)  The linocut here was an illustration for an article in the Canadian literary magazine Quill and Quire. Somewhere, I may have the actual page from the journal, but I haven’t located it yet. From what I recall, the article had to do with censorship and political repression. In that sense, it definitely fits with the mood of these times of political unrest to out and out war. Being born right after World War II and hearing many stories of it while growing up, the image also evokes shadows of the history of that war for me. The initials “SB” are from my birth name that I was still using at the time.

censorship

 


Lino and Leonard

After Leonard Cohen died, I remembered an interview I heard a few years ago with the Iranian Canadian journalist, Maziar Bahari. He had been imprisoned in Iran and falsely accused of being a spy. He was subjected to torture and didn’t know if he would live or die. One night, he had a dream that brought to mind Leonard Cohen’s song, The Sisters of Mercy. Though he had never been a fan of Cohen’s  music, he felt that song had a major role in saving his life. Through it, he found a place within himself that his captors and torturers could not destroy.

Part of that interview was replayed this fall after Leonard Cohen died. I had never been drawn to The Sisters of Mercy, but as I listened to the words this autumn, I knew they would help me deal with this time of darkness in the world. So, I’ve learned the words and have begun doing some artwork related to the song. After doing several sketches, I finally arrived at one that I wanted to use.  As I  looked at the sketch, I could see it as a linocut and I decided to return to linocutting to create the image. I gave up linocutting around 20 years ago, though it was my favourite medium, because of repetitive strain from carving over the years. Now I considered the roving pain I have as an elder. And I thought, I already have pain, so I’m not going to be afraid of it. I’m going to return to printmaking–something I love dearly. I have found a soft lino substitute that can still have crisp lines cut into it. I’m experimenting with that and with working for shorter periods of time at a stretch. So far, this is working.

Here’s 2 photos of the carving in progress. I’m using carving tools really made for children, but that work fine! I’ll show you the print once I finish it.

Good holidays to you.

Oh the sisters of mercy, they are not departed or gone. They were waiting for me when I thought that I just can’t go on. And they brought me their comfort and later they brought me this song. Oh I hope you run into them, you who’ve been travelling so long.–Leonard Cohen

mercylino2

mercylino


War

I’ve been thinking of the people of Aleppo in Syria as we hear about the terrible ongoing war there.

Wallhanging with Linocut called War.  Made 2003. ©Lily S. May.

Wallhanging with Linocut called War. Made 2003. ©Lily S. May.

 

 


The Heart of Life

 

Love

From Mirrors of the Heart Card Deck. © 1994 Lily S. May


In the Sea

As I meander through the work I’ve done, I wanted to show you a linocut I made in 1973, two years into first taking up printmaking and signed under my former married name. It’s the last copy of the edition that I have and is framed behind glass. So the photos here have some reflections in them. (I must get some proper photos!) The image is one of several I did on the theme of nature and goddesses. I called this print Mother Nature in the Sea. 

In the sea

in the sea cl

in the sea close


Healing Power of Autumn

This is a linocut I made in the 1970s under my previous married name, Susan Barsel-Herman, to express my love of autumn.  I called the print The Healing Power of Autumn.

HealingPower


Print in Progress

I’ve included two photos in this post of the lino block that I carved in 2005 that led to the print I call Observer. I first painted an image on the block. However, the act of carving was often somewhat intuitive.  I made decisions about the texture and changed the image as I went along instead of having a fixed idea in my mind when I started out. For example, you can see that the oval on the left side of the girl’s face didn’t make it to the final print. Here’s the finished print from an earlier post:

Observers Linocut by Lily S. May

Observers Linocut by Lily S. May

And here’s some details from the linoleum as I was in the process of carving the block:

Linoleum block for Observer print, ©Lily S. May

Linoleum block for Observer print, ©Lily S. May

Another detail of the linoleum block for Observer print, ©Lily S. May

Another detail of the linoleum block for Observer print, ©Lily S. May