Category Archives: Painting

The Unspoken Reason: Into the Wilderness

From Into the Wilderness: An Artist’s Journey (Artisan/The Greenwich Workshop; 1995). Artwork by Stephen Lyman. Text by Mark Mardon.
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“Cathedral Snow,” painting by Stephen Lyman

The wilderness holds answers to more questions
 than we yet know how to ask. — Nancy Newhall

 

On an especially clear morning in Yosemite Valley, on the north bank of the Merced River, Steve Lyman awakes from a night of slumber and for a long while remains stretched out in his sleeping bag, meditating on the scenery surrounding him. A sublime daybreak, he thinks, especially with craggy old Half Dome already exuberantly awake and busy catching and pitching back the first rays of a new spring sun. It is an image the artist has absorbed again and again on visits to Yosemite—this is his 35th trip to the national park in the last 17 years—but one that, as usual, fills him with an eagerness and anticipation verging on giddiness.

Why the feeling of such elation is hard to say precisely. Perhaps it’s that the monolith’s wise, wrinkled face, beaming down at him, beckons him to begin yet another backcountry adventure, promising myriad discoveries along the way. Or maybe it’s that after too long a period of winter dormancy in his northern Idaho home, he will once more be shedding the trappings of the artist’s workaday life to run and climb free in the wilds, reveling in the majestic Sierra Nevada landscape, testing his mountain-climbing reflexes, regaining his bearings, stretching his senses to the limit.

His body is groggy at the moment, not from sleep but from a winter spent tending to work, family, and community. But soon he will rebound as he treks cross-country toward hard-to-reach places recommended to him by Yosemite National Park historian and good friend Jim Snyder, who has explored pretty much all of the park and knows which hiking challenges will earn Steve the greatest scenic rewards.

Within hours after embarking on the trail, he’ll once again become fully alert, attuned to the subtlest natural phenomena: a tiger swallowtail butterfly emerging from its chrysalis after a long winter spent dangling from a twig, newly resplendent in its lemon-yellow and black-striped gossamer apparel; blossoms of dwarf huckleberry livening a stream side, that will soon be yielding sweet berries for hungry black bears; the long, noisy kaaaaa of a Clark’s nutcracker, flitting from tree to tree in search of a mate, its black-and-gray plumage stark against the snowy ground at timberline.

Perhaps the simplest way the artist can explain his high spirits is to recognize his intense attraction to mountains and all the living things that abound in them, like that of John Muir, his spiritual mentor. Through his explorations and paintings of the wild country of the American West, he exults in the variety and depth of feelings evoked by the Range of Light and its rocky kin in Oregon, Idaho, Alaska, and other rugged states.

Steve never ceases to marvel at the way a Yosemite landscape can emerge and vanish and re-emerge again as clouds and fog roll in and out of the valley. “It’s rather like a dream sometimes,” he says. “You turn your back, and the mountain’s gone.”

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Stephen Lyman at work in his studio.

With his artist’s eye, Steve sees the mountains and valleys as Muir did, vivid in shadow and light.

“Pale rose and purple sky changing softly to daffodil yellow and white,” Muir wrote of a sunrise in his first summer in the Sierra: “Sunbeams pouring through the passes between the peaks and over the Yosemite domes, making their edges burn.”

But even the urge to partake of such visual nourishment cannot in itself adequately explain why Steve so eagerly takes to the heights. It’s that old question: Why climb a mountain? The answer is not something that can be adequately expressed in words. The only way to understand what motivates a mountaineer is to seek out and engage the wilderness, for only in climbing the mountain does the answer becomes clear.

Many people have many ideas about what wilderness signifies. To those with a grasp of ancient history, it is the threatened remnants of the disappearing, primeval landscapes that once dominated this earth–Eden before Adam and Eve. For others of a scientific bent, it is a vast research library, field museum, and living laboratory all rolled into one. Legalistic minds tend to conceive of it as roadless areas undisturbed by motor vehicles, harboring particularly fine scenic or biological values worthy of public protection–areas where, as The Wilderness Act of 1964 puts it, “the earth and its community of life are untrammeled by man, where man himself is a visitor who does not remain.” Mining, timber, and grazing interests eye public lands as a free meal ticket, a commercial bounty ripe for the picking. Certain politicians beholden to those interests see wilderness protection as an outmoded idea, a prime target for budget cuts. Romantics in the tradition of Muir look upon mountains, forests, deserts, prairies, and wild seashores as conscious, breathing entities, sensitive to the way humans and other creatures touch them. This surely gets close to the heart of the matter, the artist nods to himself, else why would so many people run to the wilderness with such a yearning, as though it were their lover?

For Edward Abbey, wilderness represented nothing less than liberation. “It is my fear,” he once wrote in his journal, “that if we allow the freedom of the hills and of the wilderness to be taken from us, then the very idea of freedom may be taken with it.” Thoreau, who Abbey revered, put it even more concisely: “In wildness is the preservation of the world.”

For some unlucky souls, wilderness is no comforting companion. Nature appreciation is a fine art that requires tutoring. Those who have never experienced the solace and grandeur of such untamed wonderlands as Yosemite, Alaska’s Denali National Park, Oregon’s Columbia Gorge, or any of a thousand other untrammeled places may all too casually shrug off the importance of wild country, or even come to fear it. They may consider undeveloped landscapes to be environments separate from and uninviting to human society, places alien, remote, harsh, and inhabited by fearsome creatures.

Such thinking is as old as civilization itself. The very idea of securing hearth and home from the forces of barbarism came about from people’s struggle with a wilderness vastly more powerful than themselves, that seemed always on the verge of overwhelming them. Prior to the marriage of science and technology in the mid-19th century, which gave rise to the industrial age, humans may have shaped the land–as did the Romans, Egyptians, Hollanders, and even Native Americans, in different ways and to varying degrees–but they never never became divorced from it in pursuit of their livelihoods. As individuals went to work in factories and started consuming packaged products, however, many became estranged from it., to the point that they grew increasingly indifferent to it or even contemptuous of it.

Great writers of that time, Thomas Hardy and Joseph Conrad, warned us against our new found sense of superiority over the wilderness, but not against our impending alienation from it. Ultimately, man was an animal and the wilderness a great, untamable beast. Try as we might, it was something we would not overcome.

Technological optimism has changed that idea dramatically. As farmer and philosopher Wendell Berry observes in The Gift of Good Land, until the industrial revolution, the dominant images in people’s minds were organic: “they had to do with living things; they were biological, pastoral, agricultural, or familial.” Now, he laments, people are referred to as “units,” the body as a machine, food as fuel, thoughts as “inputs,” and responses as “feedback.” In such a lexicon, where does the wilderness survive? Ours is a society that thinks it doesn’t need wilderness anymore, that believes people can invent their own life-support systems and artificial environments rather than having to put up with the inconveniences of nature’s cycles.

Yet we are also living in a time when people feel increasingly that something spiritual is missing from their lives, that the natural rhythms and cycles that formerly sustained humanity are breaking down. Correspondingly, there has been a noticeable rise in the number of messengers and their manifestations: Angels, The Light, and even extraterrestrials. Their message, however, is, at the core, always the same: something has been lost, and without it people’s lives can never be full.

To Steve Lyman, once again enjoying the freedom of the hills, what civilization truly needs in order to shore up its crumbling foundation is a universal acknowledgement that wilderness, in the final analysis, may be the ultimate salve for psyches wounded by humanity’s alienation from the nature that gave it birth. Muir himself expressed the notion that wilderness, like poetry, music, art, and religion, nurtures that part of us for which science cannot account. In the mountains, he observed, there are times when a person’s soul sets forth upon rambles on its own accord, without consulting first with mind or body. On such occasions, “brooding over some vast mountain landscape, or among the spiritual countenances of mountain flowers, our bodies disappear, our mortal coils come off without any shuffling, and we blend into the rest of Nature, utterly blind to the boundaries that measure human quantities into separate individuals.

“

To spend time in the wilderness, observed Marion Randall in The Sierra Club Bulletin of 1905, is to touch something vital at the core of the universe:

For a little while you have dwelt close to the heart of things. . . . You have lived day-long amid the majesty of snowy ranges, and in the whispering silences of the forest you have thought to hear the voice of Him who “flies upon the wings of the wind.” And these things live with you long after the outing has passed and you are back in the working world, linger even until the growing year once more brings around the vacation days and you are ready to turn to the hills again, whence comes, not only your help, but your strength, your inspiration, and some of the brightest hours you have ever lived.

The snowmelt on the rim of Yosemite Valley, Steve observes as he packs his gear and prepares to set out on his trek, has hardly swollen the Merced. The river’s low water line and placid current are what he would expect during summer rather than early spring. But in the wilderness, expectations are often confounded. That’s part of the backpacking allure: the surprise, the serendipitous discoveries. Indeed, Steve has come to understand that the best journeys are often those arrived at spontaneously, without the burden of detailed planning. Rather than plotting every leg of a hike from start to finish and then attempting to follow the route step by step, he prefers to arrive at the edge of the wild country with no clear itinerary, to camp there for a night and let the mountains’ spirit embrace him during his sleep. That way, in the morning, he can embark on a more spontaneous, free-spirited, and fulfilling adventure. The wilderness itself will point the way. He likes to let the mountains be his guide.

__________

 

The Fall of A Mountaineer Artist
Monday, April 22, 1996
stephen_lyman
Stephen Lyman

Wilderness painter. photographer, and philosopher Stephen Lyman, with whom I had the honor of collaborating on the book, Into the Wilderness: An Artist’s Journey, died in Yosemite in April, 1996, having met with a freak storm and an unlucky fall from a perch in the Cathedral Rocks area of Yosemite Valley. Yosemite has known many exceptional painters — Albert Bierstadt, Thomas Hill, and William Keith among them — and great mountaineers, from John Muir to David Brower. Steve Lyman ranks among these stellar personages for his love and devotion to the Range of Light, and for his ability to express that love through his art.

Into_The_Wilderness_BOOKAbove is the opening chapter of our book, Into the Wilderness: An Artist’s Journey. The chapter’s title, “The Unspoken Reason,” reflects Steve’s reluctance to say precisely why he journeyed into the backcountry. Such sentiments, he felt, could never be adequately expressed in words. “The Unspoken Reason” also, I feel, speaks to the question of why Steve, at too young an age, met his end in the valley that held such a claim on his heart.

My gratitude to former Sierra Magazine Editor-in-Chief Jonathan F. King for connecting me with The Greenwich Workshop and Steve Lyman.

Tino Rodriguez —Dedicated to his Tormentors

… being a lengthy, completely superfluous, shocking profile of fabulously demented queer Latino artist Tino.
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“Forever and Ever,” oil on canvas, by Tino Rodriguez

 

Just now, Tino Rodriguez is hot. Some would say he’s always been hot, but consider his art, rather than the 32-year-old San Francisco painter’s vibrant queer sexuality. Even those who don’t regularly patronize art galleries could well run across Rodriguez’s work. Walk into a bookstore carrying gay literature, and there among the new arrivals you’ll see a paperback volume with a striking cover illustration by Rodriguez. The anthology, Virgins, Guerrillas, & Locas: Gay Latinos Writing on Love, edited by Jaime Cortez (Cleis Press; 1999) is adorned with a painting of a young Latino man with dark-shadowed, unblemished features. The youth’s huge, piercing eyes seem to gaze inward as his scarlet lower lip puffs out, as though he were about to cry; thick black eyebrows are accentuated by an ebony choker around the lad’s smooth neck. Most notable is the translucent-white wedding veil adorning the young man’s head, framing his androgynous face.

The image smacks of transgression, a Mexican artist’s slap in the face of machismo, through the somewhat heretical feminization of what ought to be, by traditional Mexican cultural standards, a thoroughly masculine visage. Is this merely a metaphorical portrayal of a virginal boy, no more offensive than a church icon? Or does this figure represent something much more revolutionary: an already thoroughly deflowered Latino youth, veiled to lure the attentions of other, predatory males – a youth who wants to be mauled for the umpteenth time, his lips pried apart and forced to wrap around someone’s monster cock? His apparent sadness, in this view, would be that of a youth torn by his queer desires and the recognition of his outcast status in Mexican society.

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“Erase una vez,” oil on canvas, by Tino Rodriguez

To puzzle out the answer to the image, one must know Tino Rodriguez and his body of work. Fortunately, opportunities to do so are near at hand, with showings of Rodriguez’s work happening first at Bucheon Gallery, located in art-trendy Hayes Valley, and shortly thereafter at Yerba Buena Center for the Arts, at the prestigious biannual group exhibition, “Bay Area Now 2.”

The Bucheon exhibition, a one-man showing by Rodriguez entitled Apocalyptic Innocence, features a host of miniature paintings, all realized in the artist’s signature style, a formalist approach to bizarre and often deeply disturbing scenes. The works resemble Renaissance paintings in technique and presentation, yet a close glance reveals twisted themes of decapitation, bloodletting, cock sucking, ass play, boys and adults flaunting their penises, rabbits and fairies at play, and demonic creatures with human torsos, erect, lustful, and sadistic – all rendered as in fairy tales.

“It’s a formal style, yes,” responds Rodriguez when asked about his approach, which he developed mostly on his own, albeit with some training at the San Francisco Art Institute and elsewhere. “I’m painting in a very traditional way a very non-traditional subject matter. Like, one has someone sucking cock, and in another one someone’s sticking his finger up someone’s ass – in a beautiful Renaissance style. This kind of painting wasn’t even done in the Renaissance, and if it was, we’ll never see any of it, because they were burned by that guy Savonarola.”

In one of Rodriguez’s miniatures, “Forever and Ever,” a fanged monkey leers at a genteel, almond-eyed woman adorned in Elizabethan finery. The grotesque creature seems drawn not only to the woman’s body, but to her bodace. Behind the two stretches a hazy, verdant landscape, a sort of dreamscape.

“We have a saying in Mexico,” says Rodriguez, who was born in Guadalajara and moved to the United States at age 12: “When you’re a monkey, even if you wear the fanciest clothing, you won’t stop being a monkey. Meaning people are what they are, regardless of what they wear or how much money they have. I think this [“Forever and Ever”] is a take on that.”

His parents were not artistic, and had little education. The first art that captured his imagination, says Rodriguez, were the religious images adorning old churches in his native country: “paintings, murals, retablos, all the statues with glass eyes. I think all these images are somehow a part of my childhood – a lot of blood, a lot of suffering. But there’s a lot of magic too, all those cherubs and little kids.”

Cherubs, kids, blood, erections, and magic gardens are all reoccurring themes in Rodriguez’s work. One of his signature pieces in the “Apocalyptic Innocence” exhibit, “The Golden Age,” a 10″ x 14″ oil on wood painting, depicts all of these elements. It could be a fairy tale rendered in Renaissance style, but Rodriguez says it was based on no story, but simply emerged from his imagination without connection to any particular story (Rodriguez devours darkly poetic writings by Rimbaud, Genet, Bataille, Blake, and the like). A trio of rabbits dances in the scene’s foreground, their shadows visible against the mysterious metallic ball behind them on the parquet floor, a manicured garden observable through the open-curtained window in the background.

Why the inclusion of rabbits in this and so many other of his paintings, Rodriguez is asked. He replies in typical blunt, forthright style: “I like them because they’re horny.”

Rodriguez places a huge emphasis on sexuality both in his imagery and in his personal life. When he isn’t painting – and it’s rare that he isn’t, because he makes his living solely through his art, which requires enormous discipline and working late into the evenings as exhibitions loom – he fully enjoys the boisterous company of fellow young artists and gay revelers. He’s a dancing fiend, particularly enamored of techno-trance music, and on his nights out at house parties, art openings, bars and clubs, he exudes boundless energy, enthusiasm, and lust. His laughter, rich and full, fills any room he occupies; in conversation, he displays a gentlelness that seems at times at odds with his chosen themes, so often dark and disturbing. Yet that gentleness can be seen in the faces he paints – so often modeled on his own handsome features. His subjects rarely smile, however; most often they betray an odd passivity, whether they’re experiencing orgasm or being beheaded, or they grimace in the throes of unspeakable terrors.

Why, he’s asked, is blood evident in so many of his paintings? “Well, I’m Mexican, hello? I still have the pagan in me. It hasn’t been that far away, the sacrifices in the 16th century.”

But one can’t help think Rodriguez is working through some very personal issues in his chosen subject matter, a fact he confirms in explaining the subject of a self portrait entitled “Broken,” part of the Bucheon Gallery exhibit: “That’s me after being slapped.”

And who slapped him? “Oh, fuck, life. Actually, I was hoping to dedicate ‘Apocalyptic Innocence’ to everyone who had hurt me, which is really kind of cool, because everybody else dedicates shows to people they love, their mom, dad, boyfriends, girlfriends, families, things like that. And I’m like, why can’t I just fuckin’ dedicate this to everybody who’s hurt me?”

 

The opening reception for “Apocalyptic Innocence” took place at Bucheon Gallery (540 Hayes St.) on Friday, October 29, 1999. The opening reception for “Bay Area Now 2” took place in the Grand Lobby of Yerba Buena Center for the Arts (701 Mission St.) on Friday, November 19, 1999.

This article originally appeared in the October 28, 1999 Bay Area Reporter.