portrait of akiane kramarik-il

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A PORTRAIT OF AKIANE KRAMARIK

Pitmen Painters:

Shed to Museum

I n the early 1930s a group of off-duty British miners

from the Woodhorn and Ellington pits near Ashington, England decided to start an adult education group with the help of England’s Workers’ Educational Association (WEA). At regular intervals they voted on the subjects they would study. Four years later, after finishing a study of evolution, the miners voted to try art appreciation. They didn’t really know what art appreciation was, but they liked the sound of it.

The WEA sent a Durham University lecturer, Robert Lyon, whose mottos were “learn through doing” and “paint what you know,” to assist the miners. He tried showing slides of Michelangelo’s work at “several sticky evening sessions” before abandoning teaching and saying “Why don’t you have a go at it?” Using cardboard for palettes, old brushes, and cheap decorative paints, the men gave art a try. They enjoyed painting and wanted to learn more. In 1935 the group visited London, many of them for the first time, to see the British Museum, National Gallery, and Tate Gallery. In 1936, they named themselves the

Ashington Group of Unprofessional Artists (later nicknamed the Pitmen Painters), drew up rules, and began having regular exhibits of their paintings. They built a small hut in Ashington where they met and painted. They discussed and voted on everything, and were open to anything. They even voted to try abstract painting, but after a year decided that abstract art “wasn’t much of a cop” (wasn’t all that great) and went back to realistically painting the things they knew. Men drinking in pubs, social gathering, dog shows, mining scenes, pigeon raising, and other scenes of ordinary life in a small mining village

were their favorite subjects. The results were sensational. By the late 1940s they had been praised by London critics, featured in a series of documentaries, and encouraged by several well-known painters and photographers. But they were unimpressed by fame and continued to explore art using the same tough standards

that they used to survive in the mines. Members had to agree to accept criticism (often sharp and forceful) from other members in the group, and to abide by regulations drawn up after debates which often went on all night. After the Second World War the group faded out of the headlines, but continued quietly with their work, recruiting younger members – all men, because of the strict social order of the pit villages – and trying new techniques. Their rediscovery began in the 1970s when Feaver, then teaching in Newcastle, noticed some elderly, retired mine workers visiting an exhibition in an art gallery. They invited him to their hut in Ashington. Feaver was amazed. “There were all these paintings, cobwebby and in stacks against the wall, which they called their permanent collection. They spat on their fingers – there was a lot of spit involved with the Ashington Group – and rubbed the paint so that I could see what they looked like when they were clean.” “When you’re a critic,” he went on, “you often get invited to discoveries which people describe as wonderful. This is the one occasion in my life when that was absolutely the case….Their dedication was humbling.” The permanent collection subsequently became the first western exhibition in China after that country’s Cultural Revolution. The highly successful exhibit was an extraordinary fulfillment of the belief of both the group and their mentor, Robert Lyon, in the universal appeal of art. In October, 2006, a special museum and gallery were opened as part of the new $32 million Woodhorn Colliery complex to house the collected works of the “Pitmen Painters.” Exhibits of their work regularly tour areas in Europe. The off-duty miners who had been glad to get a few pounds at Newcastle market for their artistic efforts now have their works carefully hung in controlled temperatures, shown off under concealed lights, and viewed by a constant stream of admirers. EDITOR’S NOTE: In the artwork shown, “Man in a Bar,” by Norman Costain, is part of the permanent collection of the Ashington Group of Unprofessional Artists now housed in a new British museum. In addition, “Whippets” is another painting by one of the miners who formed the group nicknamed the “Pitmen Painters.”

THE ART-TO-ART PALETTE Main Section 2007 Annual Winter Edition

“The Planted Eyes”

T he earth holds many secrets of its creation and very existence. Each new generation unfolds a more intelligent, creative mankind than the last, promising to master peace and comfort to a world that is quickly dissolving. We study and ponder how such a rich society could fall into disarray when we have everything in bounty right at our fingertips. Are we too self absorbed, too gluttonous, or just too lazy to see the obvious signs? We expose ourselves

to hatred, deceit, and paranoia, adding a worn, frenzied fog to our already cloudy view of life. Suddenly, we begin to wonder, has God left us to our own man-made demise?

Stop and listen to the silence, measure its depth, realize that the beauty and reason have always been there. Concentrate. Focus on others. Escape the ‘me’ syndrome. Not so easy, is it? Harder still, what if you were a child and He called your name?

Her name is Akiane (pronounced ah-KEE-ah-nah) Kramarik; she is eleven years old and has a faith stronger than life itself.

A BLEND OF REALISM AND IMAGINATION

ianism

THE ART-TO-ART PALETTE Bugle Section 2007 Annual Winter Edition


One of the premier art museums in the United States, The Detroit Institute of Arts, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range and depth. Exhibitions are free with museum admission unless otherwise noted. Museum hours are Wednesdays–Thursdays, 10 a.m.–4 p.m.; Fridays, 10 a.m.–9 p.m.; Saturdays–Sundays, 10 a.m.–5 p.m. For more information, you are highly encouraged to visit their website at www.dia.org or contact Pamela Marcil at 313-833-7899 for updated information while the museum prepares for an entirely new installation when renovations are completed in November 2007.

JULIE MEHRETU: CITY SITINGS

Ethiopia-born, Michigan-raised artist Julie Mehretu has received international critical acclaim for her complex compositions that layer varied graphic elements recalling architectural renderings, calligraphy, and graffiti. Classically trained and well versed in the history of art, Mehretu brings technical and intellectual insight to her work. At the same time, her art shows the spontaneity, gesture and energy inherent in her creative process.

The City Sitings exhibition and catalog will highlight three important elements of Mehretu’s work: Citizenship & Belonging, Mobility, and Mapping which look at the interplay among ideas, visual arts, and people’s lived experiences. A central component of the exhibition will be a site-specific installation in galleries

next to Diego Rivera’s Detroit Industry frescoes. Mehretu’s large-scale mural will pose a counterpoint to those by Rivera, and will likewise draw a connection to the local Detroit community. A special Gala Opening is set for November 10. Reserve your ticket. On November 23, the exhibition opens to the public and runs to April 2008.

Support has been provided through grants from the Joyce Foundation and the Andy Warhol Foundation for the Visual Arts, Inc. Additional support provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Looking Back to a Bright New Future (2003) Ink and acrylic on canvas, 95 x 119 inches

Stadia I (2004) Ink and acrylic on canvas, 108 x 144 inches


Steps 7-13. Second, Third Highlights, Floats and Dark Lines: This Second Highlight (Light of Soul) is symbolic of inner light of Christ coming through it is more distinct. Do the same steps as First Highlight except paint is a little thicker and strokes are much sharper at key points: angles, inner

light glimmering through. You are emphasizing around brow, eyes, neck, hands, angles on garments etc. In the Third Highlight (Light of Mind), everything is in inner action. Where to put highlights rather than how much. This brings to life everything we have done. This highlight is dynamic light. Out of oneself into knowledge of God (mind). This highlight is a different quality of light and mostly emphasizes the movement of lines. The Second and Third Floats are the same steps as in Step 6. Dark Lines are applied representing order. See Step 5.

Steps 14-17. Various details. Lettering etc. Ozhivki. (Last strokes) Two/three strokes are applied over brow, corner of eyes, middle line of lip, bottom of ear, neck, chest area, hands and knuckles. These represent the inner light of God coming forth from within (The Light of God). Pure white curves are placed around each

pupil. The final stage is Life (Prosopon Gr. countenance” or Face of God). Name Giving. Saint’s name is painted on the Icon with red pigment. White Line. The line around Halo is significant of completion and last step in the painting process. The main thought in the process is the way to Transfiguration. Why did Christ lead the three disciples on the summit of the mountain? He wanted to show men the way. He showed us union of two natures: divine and earthly. Understanding the way goes parallel with understanding the will. The final completion comes when the Icon is dry for at least three weeks.

Steps 18-20. Linseed Oil. (Olipha Finish) Linseed Oil and Stand Oil (1 ½ to 1 ½) are mixed and poured on the Icon when it has dried for at least three weeks. The oil is symbolic of the Holy Spirit and is poured on the Icon in the shape of the cross and then smoothed on the Icon all over with prayer. It is left to stand for several hours and as it begins to thicken,

the oil is wiped off with hands to make a smooth finish. It will take several weeks to dry to the touch, but is not thoroughly dry for about six months. 19. Church Blessing. After the Icon is thoroughly dry, it is then given to the Church for the Blessing. 20. The Iconographer. This person is the first to contemplate before the Icon. The more enlightened the soul becomes regarding its real purpose, the closer it draws to the ultimate attainment; the full divine likeness. WRITER’S NOTE: There is much more that could be written about this process and the Liturgical and Spiritual aspects of each step. The above material was taken from my notes and experiences compiled over a period of five years of study with the Prosopon School of Iconology.

About this contributing writer: Publishing Editor’s Note: Joan Crawford Barnes started painting and drawing in 1994. There has been much written

about her so-far life artistic achievements, in fact, she was the 2006 Spring-Summer Art-to-Art Palette’s Cover Section Artist. You can retrieve this feature from its Links page at www.arttoartpalette.com to learn more or see: www.joanbarnes-wc.com. The best way I can describe Joan, in a few words, are taken from the feature: “Joan Barnes is one of those, extraordinary

in her own right, a child of the depression, who may have been silent while growing up, and later raising her family while following God’s road of life, but the patience has paid off. This artist has arrived.”

her art, explaining the deep seeded purport of each painting. Interestingly enough, Akiane had never been drawn to read the works of other writers nor had she ever wanted to study at an art school. God was her guide and that was the best teacher she could hope for.

At times, the thought provoking statements that came from Akiane’s speech were just impossible for her parents, who had always based life on facts and reasoning, to understand. Foreli and Marcus cautiously began analyzing this strange faith that had overcome their daughter. The paintings and poetry could not be

construed with any type of logic. Some type of divine intervention had to be responsible. Should they take a plunge into this faith or remain locked up in doubt? After much soul searching, they took that leap and have never looked back.

One of Akiane’s most powerful paintings, “The Planted Eyes”, portrays the beauty and the suffering

Akiane is not a psychic, hypnotist or artistic eccentric. She does not channel or sleepwalk before picking up a brush. Akiane is a playful young girl, totally carefree, humble, vivacious, and lighthearted. She also has a best friend and parent named God who shares with her the beauty of earth and beyond, and what is needed from us in order to please Him.

Born in the small town of Mount Morris, Illinois, to a young couple, Akiane was the third child to enter the lives of a family who were already struggling to make ends meet. Her Mother, Foreli, of Lithuanian descent, and Father, Marcus, had two lively boys when they were blessed with Akiane, the name, Russian for ‘ocean’.

Atheistic in belief, the Kramarik family was taken aback when Akiane, at the age of four, whispered to her Mom, “Today I met God.” Leading a very simple life with no exposure to television and being home schooled, this statement made no sense. Where would Akiane have heard such a thing?

Little by little, the small child shared visions and tried to explain a place where God would lead her. Running around excitedly, touching different items, trying to express her dreams, “Oh, no, I can’t find it here. I can’t show you the House of Light. I wish you could see it. God lives there, Walls like glass, but not glass. Water pink, purple, and many other colors I can’t find here.”

Suddenly, Akiane began to show an intense interest in drawing. And intense it was. Akiane started sketching hundreds of figures on whatever surfaces she found at hand, including walls, windows, furniture, books, and even her own legs and arms. If she could not explain her wonderful visions, she would learn to draw them.

At seven years old, Akiane began writing poetry. Unable to explain where the words came from, or even what they meant, they seemed to flow a parable to

of the black race. Like an optical illusion, once the evidence of what appears to be hidden is explained, the story is apparent. An Oprah Winfrey favorite, this selection was painted by Akiane at the age of eight years old.

“You can see the whole life of this African woman in her eyes, which are full of strength and spirituality. The red outfit portrays her love, the gold earring portrays her inner richness and confidence, the deep wrinkle in the forehead portrays the deep tragedy in her life, the

gray hair portrays her wisdom, and the background stripes portray the hardships.” “My Sight Cannot Wait for Me” is a self-portrait of Akiane as she shows her relationship with God.

Disinterested in anyone else’s comments or criticism, Akiane works with confidence far beyond her years Continued next page >

“My Sight Cannot Wait for Me”



< Continued from previous page but never loses the innocence as revealed in this poem about the artwork:

I cannot stop holding my brush On the blank canvas I sign

With blindfolded balance I paint my own eyes

Blue is the color of the mind Do God’s footprints follow His footsteps

Nobody hears what I see We cannot trespass our Creator

My sight cannot wait for me. “The Prince of Peace” is an unequivocal work of art that opens the door to your heart. The eyes passionately follow its viewers, as Akiane explains, “The light side of His face represents heaven. And the dark side represents suffering on earth. His light eye in the dark shows that He’s with us in all our troubles, and He is the Light when we need Him”. Searching for a live Jesus model had seemed impossible. For over a year, Akiane had hunted supermarkets, shopping malls, parks and streets, looking for the face in her dreams. Tearful and frustrated, she asked her family to pray with her. “I can’t do this anymore, God. This is it. I can’t find

approved his own painting by licking the corner of the canvas. She writes: “Yesterday’s promise is today when a storm arrives is it the time to nail a fence into our house and strip a willow branch for a leash only for you the fence is open your laughing bark tugs my pride in the cold twilight you wait for me to sleep and as we cuddle we both sleepwalk my bed is full of you..” “The Challenge” is a picture of choices in a maze. The light ahead points toward a safe journey but because of hunger, exhaustion, the cold and shadows, the horse is losing its focus. The color, blue, represents the mind where it is wrestling with mental challenge and confusion. The challenge for the tired horse is which direction to choose. “Supreme Sanctuary” was created when Akiane was eleven years old, never losing sight of that beautiful mansion she referred to as the House of Light. “In the new earth I believe there will be a place where each of us will be able to choose and create a sanctuary for worship. I believe that certain things will be somewhat similar to the earth and many things completely different. This is the garden and a mansion I would like to plant and build. In fact, the colors in the original painting are so unique and mysterious that it was almost impossible to reproduce them for the print reproduction.” Continued top next page >

anyone by myself. I need you to send me the right model and give me the right idea.” The next day, an acquaintance brought her friend, a carpenter, right through their front door. He was the one. A video was made during the progression of her work and clips are shown in her first book. Markus and Foreli attempted to support their daughter’s passion, as any parent would and entered some of her drawings in a county art competition when she was six years old. She was the youngest contestant and didn’t even win a ribbon. The jury simply told them that Akiane had no

talent. “One day . . . one day it will be different, Mama,” tiny Akiane remarked to her Mother, watching disinterested people walk by her display. “One day it will change.” The offhanded comments and criticism did not seem to affect her, only the evident pain it brought her Mother. That change came once the artwork was shipped to a somewhat disinterested art agent. Thousands of people began discussing the portrait of Jesus and a then a second portrait titled: “Father Forgive Them” was created. Hundreds of people from all over the world wrote to Akiane saying they were shown this exact portrait during their own dreams. Although faces are Akiane’s forte, many other subjects capture her soul, “Life Without A Leash” is a portrait of the family dog, Simba, who unequivocally

“The Prince of Peace”

“The Forbidden Fruit”

“The Challenge”

3. Gold Leaf. The Gold Leaf (24 k. gold sheets cut in ½ to ¾ inch strips) is applied by “breathing” on the clay to make the gold adhere. This is a very symbolic moment – dating back to Genesis when God “breathed” into man the “breath of life.” In the beginning God created the Heaven (Gold) and the Earth (Clay). The Gold Leaf will

only adhere to the area where the clay was applied. A Red Line is then painted around the halo using a protractor that is symbolic of passage between Heaven and Earth (Passover). The Entrance of Color. Natural minerals are preferred in Liturgical Art. Most human (Earth) colors are yellow ochre, green ochre, yellow orange, burnt sienna, and burnt umber. Transfiguration colors are mineral pigments, such as, Lapis Lazuli, hematite, malachite etc. These pigments can be purchased from suppliers already ground or from a gem supplier if you wish to grind your own. The pigment is made with fresh egg yolk and vinegar (1 egg yolk 2 or 3 parts holy or distilled water, and 1 t. of vinegar.)

2. The Clay. (1 T. French Red Bole, 1 T. Franklin Liquid Hide Glue). The Clay is applied around the halo area making it ready for the gold leaf to follow. But before Gold leaf can be applied, the clay needs to be made ready by much sanding and burnishing in order to remove the rough spots, and make it smooth. (symbolic of our human nature going

through the process of cleansing – worldly teachings that are not true etc.) We are making it smooth to handle the Gold. Anything that is underneath the Gold that is not smooth will show through.


4. Sankir. This is the base color for the face and hands. (ochre gold, indigo blue and burnt sienna). The first layer of paint is dark and rough. ‘roskrish’ is the base color for the garments. This is also a dark and rough layer. (mixture of paint depends on the colors of the garment) which is significant of earth, darkness,

(chaos) after the fall of man. And darkness was on the face of the deep (Genesis.) There is a way out of this darkness!

5. Application of Line. Image is now outlined with dark lines to make it more distinct, boundaries laid on top of color. Symbolism of this step is representation of the Law. The wilderness experience of the children of Israel, through the Law the people were preparing themselves.

6. Introduction of Light. The first step, First Highlight, from Chaos (Earth) to (Light of Body). We don’t want to emphasize details at this point. Everything is soft, it is like the sunlight still of this earth. Inner source when seed of Baptism begins to grow. We see things around us: ideas, teachings; we see inside ourselves, the inner man is

growing. Self realization is not enough, not perfect yet! The next process is called: First Floating which is similar to thin wash in watercolor. This is a coat to deepen it, incarnate it, transparent-like a veil that divides earthly from the heavenly.


T he Gospel is expressed in Word, Music and Art (color). It is the work of the Holy Spirit. It is a journey starting with a white board and ending with an image. We are all an Icon of God (Gal 2:20). Iconography is symbolic art. They are windows to Heaven. We look through the Icon to the other side. Think of it as transparent glass and penetrate deeper into God and His Saints.

The process of painting (writing) an Icon is many steps, details and complexity of understanding what “image” is. There are many layers of pigment and thought. There are actually 22 steps in writing an Icon. The first two steps are getting the Board (poplar, birch, oak, linden etc., any non-porous, non-resinous wood) ready for the image. The Board (wood) is symbolic of the “Tree of Life” in the Garden of Eden. In the beginning etc., the Board is sealed with two layers of Rabbit Skin Glue dissolved in water. A linen cloth is then applied with the same glue (representational of the “inner chamber”). Gesso is applied (about 10-12 layers). The gesso is made from chalk, marble dust and ground rabbit skin glue. This step is a profound experience of patience. The gesso is symbolic of the purity of soul that God intended in the beginning before the fall of man. 1. The sketch is transferred to the board with graphite paper and etched with an etching tool. Even when covered with paint, the etched lines will show through. The journey begins!


Supreme Sanctuary

Eternal childhood – with delicate demands…

No reflections have been gathered in the same-hue gardens-

A journey seems too physical

across the crossroad of bridges. Arriving at your dusty

but light palette my hand touches

an opposite crossroad of a garden overlooking

a single dimensional bench by a gazebo.

There’s a supreme sanctuary – so rare that a falling luminosity is fluid

and can be captured. All of its changes

are layers of immaculacy gardening life where each fragrant flower

I put into my hair is a butterfly. Permanent maps of curly wind

challenge all lanterns. Only Light could show me where I am

by throwing ropes of colored aroma to impatient foliage.

Inside the light of a blossom the day Never ends.

For some reason I can’t wait to be mixed up

into the chaste pigments of all experiences.

For some reason I can’t wait for the journey

which is the only way to reach the Light.

“The Supreme Sanctuary”

“Life Without A Leash”

This writer’s personal favorite is “The Forbidden Fruit”. Akiane felt God say, “Blend all the races, because this is Eve, the mother of all mankind.” The forbidden fruit is tempting, fragrant, and easy to be picked from the tree of knowledge of good and evil. Gaining the knowledge of good and evil is simply too much for a human to understand and experience. But it is too late. Eve looks up to God for forgiveness and help. Featured in Time magazine, on television shows such as Oprah, Good Morning, America and World News Tonight, and welcomed into the Kids Hall of Fame, the Kramarik family never loses sight of Akiane’s remarkable abilities and her mission to help the needy, the hungry, the abandoned children and to lead everyone to the Creator.

I have read the reviews, the blogs, the interviews and Akiane’s first book, Akiane: Her Life, Her Art, Her Poetry. Interestingly enough, most ordinary people have been able to understand Akiane’s deep and complex poetry and the related paintings. People of all religious and philosophical cultures have recognized this message of faith, and her art is absorbed easily by both young and old. The story is there, the message is there, and the reason is there. A second book is scheduled for release this fall.

A kiane lives in Idaho with her parents, three brothers, and a big-hearted golden retriever. Her first painting sold for ten thousand

dollars. Other pieces of work have continued upwards of one hundred thousand dollars. This dynamic genius and spiritual young lady with an amazing gift has only one mission in mind:

“I want my art to draw people’s attention to God.”

Kate Eglan-Garton Senior Features Editor

Life Without a Leash

yesterday’s promise is today

when a storm arrives is it the time

to nail a fence into our house and strip a willow branch for a leash

only for you the fence is open your laughing bark tugs my pride

in the cold twilight you wait for me to sleep

and as we cuddle we both sleepwalk

my bed is full of you.

portrait of akiane kramarik-il

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