Category Archives: Art

Breaking Through the Boundaries of Patriarchy for CrossingBorders Exhibition

07 Wednesday Aug 2019

Posted by in Art, Sacred Feminine in ARt

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“Retablo for the Sacred Feminine”, oil on canvas with gold leaf & wood, 25.5″ x 18″

I’m honored to be participating in The CrossingBorders exhibition in Ghent, Belgium, August 31 thru September 15, a group exhibition of artists from the Global Art Project (GAP). We were invited to create an artwork that reflects a border or boundary and what it means to cross it – (political issues, globalisation, (im)migration, climate change, gender, race, culture, religious racism, terrorism, genocide, war, misogynist behavior, feelings of fear or superiority etc.)

I chose to use a retablo format and focus on how women have been marginalized, tortured, terrorized, and abused for thousands of years in the name of religion. Through time, matriarchy was erased from memory as myths were appropriated and symbols were stolen. With this votive, a prayer is lifted for women to break through patriarchal boundaries around the world and share the bounty of the planet equally and peacefully with men.

Traditionally, retablos were a votive offering in the form of a religious painting with a solemn request or a show of gratitude for a miracle. They were specifically important in Mexican folk religion in the 19th century where workshops would paint a favored scenario on a piece of tin or wood and write a request to God at the bottom of the image.

Using this retablo format as the basis for my piece, I chose to focus on Mary as she represents the divine feminine in the Catholic Church. For many indigenous cultures who were forced into the religion of the Opressor, Mary is a symbol for their goddess from ancient times.

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Traditional Mexican-style retablo

In “Retablo for the Sacred Feminine,” Mary is crowned in all her glory with a golden halo and a hint of angels wings behind her. She is truly Divine. Her breasts are bared, challenging the status quo and breaking through the shame that the Church imposed on her body. One hand open signifies her love and caring for all humanity and the other, a tight fist, represents her anger for the suppression of women and her readiness for their defense. Incorporating the spiral and the lozenge design at the top, symbols of renewal and fertility from the Neolithic goddess culture, signifies her role as life-giver.

The CrossingBorders exhibition will take place at the Sint-Amanduskapel – Campo-Santo – Visitatiestraat 2 – 9040 Sint-Amandsberg – Ghent – Belgium. It is organized for Global Art Project GAP by 10dence and curated by Ron Weijers and Carl Heyward.

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Book Review for my new book, ‘Symbols of the Spirit’ by Dianne Hofner Saphiere

12 Friday Jul 2019

Posted by in ancient symbols, archetypal symbols, Art

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Book Review—Symbols of the Spirit: A Meditative Journey Through Art
By Glen Rogers, ©2019 Luna Arte Contemporáneo
Paperback, 104 pages, US$30 or 500 pesos plus US$5 shipping from glen@glenrogersart.com

You will want to savor your time with this gorgeous volume created with love and wisdom by very talented printmaker, painter and sculptor, Glen Rogers. The book is filled with Glen’s beautiful artwork expertly laid out and printed in rich colors, accompanied by short text and guided meditation.

Glen’s work has long been grounded in archetypal imagery—metaphysical symbols from the collective unconscious. As a young feminist artist, Marija Gimbutas’ insights in The Language of the Goddess spurred Glen to walk in the footsteps of early goddess cultures. Over the next several decades Glen made spiritual and artistic pilgrimages to sacred sites around the world. On these journeys and in her art and life in between, Glen discovered and nurtured an internal resonance with sacred archetypal symbols, which then became a focus of her work. When she began authoring this latest volume, she set out to write a book about two of her favorite symbols: the bird and the lotus. Once she began, however, she quickly realized there were eight key symbols that appear again and again throughout her body of work.

In Symbols of the Spirit Glen writes a two-page essay on each of these eight symbols that have imbued such meaning and beauty into her art and daily life: the bird, circle, lotus, moon, seed, spiral, vessel and vesica piscis. She covers the symbols’ historic use and meaning as well as how they came to speak to her personally. Glen includes a short meditation or experiential activity inviting the reader to connect with the energetic properties of each of the symbols: to “experience it with your heart and allow the images to become part of your visual and spiritual vocabulary.” Click on any photo to enlarge it or view a slideshow.

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The effect is one of pure joy and thoughtful contemplation. If you are looking for reading that nurtures the spirit, the heart, one’s creativity and authenticity, you will find it here. Merely touching the rich pages deepens and calms one’s breath. Keeping this book near you in your home or work space provides a quick escape from the harried world we live in.

Most Mazatlán residents have much to thank Glen for, including the First Friday Art Walks in Centro Histórico and the OMA Gallery at the airport. She owned Luna Art Gallery in Mazatlán, and currently splits her time between our city on the bay and San Miguel de Allende. Born in Mississippi, Glen holds an MFA from San Jose State University and has a long and esteemed art career. For decades she worked in public art and as a community leader. Glen has had solo exhibitions throughout the USA and Mexico plus several in Peru, and group exhibits on four continents.

Glen feels that these eight archetypal symbols offer a promise of healing and transformation, a spiritual and artistic anchor to the Sacred Feminine. She views the creation of art as meditation—a communing with a higher power. Working with ancient symbols provides a bridge to our ancestors and a heart connection to the past. Glen’s experience tells us that these symbols provide healing on a subconscious level, and that once we’ve healed ourselves we can heal the world, because archetypes allow us to go deeper inside to find new truths to the dilemmas we face individually and collectively. Do we really need reasons more powerful than these to invest our time and talent?

Glen’s record of giving back to the community and trying new things is evident in this book. Making such personal works available to everyone—artist and non-artist alike—allows us a peek into what pushes someone as amazingly talented as Glen, and in doing so inspires us to look inward as well. Meditating with Glen via these precious pages is a truly therapeutic endeavor.  Contact Glen to start enjoying your copy.

“The man who speaks with primordial images speaks with a thousand tongues.”
—Carl Jung

Visit Dianne’s blog: https://vidamaz.com about life in Mexico!

Symbols of the Spirit: A Meditative Journey Through Art

15 Friday Mar 2019

Posted by in ancient symbols, archetypal symbols, Art, Glen Rogers, Uncategorized

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I’m happy to present my recently published book, “Symbols of the Spirit: A Meditative Journey Through Art” . 

Cover of Symbols of the Spirit

Cover of Symbols of the Spirit

On the back cover: Glen takes us on a journey to explore eight iconic symbols that appear universally in early civilizations. She introduces archetypes—the bird, the circle, the lotus, the moon, the seed, the spiral, the vessel, and the vesica piscis—delving into both their meanings and their metaphors. She believes all are connected to the spiritual realm and have an undeniable link to the Sacred Feminine. Glen engages us with her unique style of art to illustrate each chapter and shares her personal stories and inspiration.

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Excerpt from the Forward by Janet Blaser:

Through research, intuition and a deep sense of creativity and interconnectedness, the author explains with words and visual images how these symbols with their hidden messages can enrich our daily lives and anchor us firmly on our spiritual path.

Carl G. Jung in his book, Man and His Symbols, referred to certain symbols as archetypal—images that all of us can tap into through our unconscious mind, dream states and the creative process. For the last 25 years, Glen’s artwork in abstract symbolism has attempted to capture the essence of such imagery. While in her previous book, Art & Sacred Sites: Connecting with Spirit of Place, she described her pilgrimages to sacred sites around the world as inspiration for her art, in Symbols of the Spirit, she focuses on the symbol.

book page the lotus

In these pages, Glen explains her intimate, personal encounters with the energies of these symbols, and how they’ve been a bridge to a more spiritual and connected life for her. She then goes one step further to share with the reader a meditation on each of the eight symbols, so they, too, can connect with these energies. It’s a powerful formula, backed by Glen’s years of exploration and experience, and a unique opportunity to enter a perhaps previously unthought-of spiritual territory.

While one could – as I did, for so long – look at her prints and paintings merely as beautiful works of art, there’s a deeper level of connection and meaning to be found. To paraphrase Glen’s words, I urge you to experience this book “from the heart, not the head,” and allow the images and meditations to become a part of your visual and spiritual vocabulary too.

 

Designed by Margery Cantor in collaboration with the artist. 104 pages, 9″ x 9″, soft cover, full color images, printed in Mexico City, $25usd.  Add this book to your own collection or give to that special friend as a gift!    

To order, contact me at: glen@glenrogersart.com

 

 

 

 

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Fragments from the Ancient World

09 Thursday Feb 2017

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As an artist, I draw from the ancient world, collecting symbols carved into stone. I’m intrigued by the simplicity of form and the repetition of shapes such as the circle and spiral in sites around the world. By visiting sacred sites, I feel a connection with those who came before me and feel the spirit of place.

Here are some mixed media prints that I created recently using images from Uxmal, Monte Alban, and Las Labradas (Mexico). My photographs of these fragments were used to create solarplates, a non-toxic form of photo-printmaking. I then hand-wiped and printed the images on rice paper, running the plate through an etching press. The images were then used in the chine colle process – pasting down the thinner paper to a heavier print paper as I printed a monotype image at the same time. (Kind of like a collage).The monotype provides the textures and subtle tones that pull the image together.

These three prints, Ancient Fragment I, II, III, are featured in an exhibition at Baupres Gallery, Mazatlan, Mexico through the end of February.

 

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Ancient Fragment III

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Ancient Fragment II

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Ancient Fragment I

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Fragment from Uxmal

Posted by | Filed under ancient symbols, archetypal symbols, Art, monotype, Sacred Sites in Mexico, Uncategorized

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Ancient Openings/Aperturas Ancestrales

07 Wednesday Dec 2016

Posted by in ancient symbols, Art, Uncategorized

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I went to Lima, Peru in October, where I had a solo exhibition thru November 27 as part of the Bienal Internacional de Grabado (International Biennal of Printmaking) sponsored by ICPNA ( Instituto Cultural Peruano Norteamericano). There were over 40 exhibitions as part of the Biennal over a 2 month period and represented artists from Belgium, Brazil, Chile, Spain, the U.S., Finland, France, Italy, Mexico and Peru.

In this exhibition at Galeria ICPNA San Miguel, I had the opportunity to exhibit early large-scale prints along with recent works.  I created most of these prints at KALA Institute in Berkeley, California in the early 1990’s, they represent the beginning of my exploration into symbolism as my primary artistic expression. My work continues along this line, and it was gratifying to see how seamlessly the work flowed.

All of the monotype prints draw from a universal visual language of primal forms created by early cultures and inspired by nature.  The circle speaks of unity, oneness, wholeness, the sun and the moon; the spiral reflects renewal, regeneration, evolution and growth; the oval or ‘vesical piscis’ is a symbol from sacred geometry that implies the womb, the seed, birth, and the beginning of life.  My intent over the last 20 years has been to create work that reflects the essence of these forms that can touch us on an intuitive level.

I visit sacred sites shrouded in mystery and imbued with the spirit of the ancients for inspiration. With each pilgrimage, I am drawn to the artifacts left behind by these early societies – sculptural details carved in stone, glyphs painted on cave walls, and designs found on pottery shards.  In each location, repetition is found in the form of archetypal symbols such as the circle and the spiral – universal symbols that according to Carl Jung evoke a deep and unconscious response.  Early on, I was drawn to Paleolithic and Neolithic sites where images of Mother Earth, the Divine Feminine, were revered.  (Among them: Newgrange in Ireland, The Temple of Knossos in Crete, and the caves in the south of France.)  My more recent visits to Machu Picchu, the Nazca Lines, and Sillustani in Peru also reveal a deep reverence for nature, Spirit and the cycles of life. For me, each site represents a mystical opening, a passage to something greater than ourselves, beyond the human experience.

In the studio, bold symbols emerge from the inked plate in a somewhat stream-of-conscious manner, my head and heart filled with new material.  The monotype allows me a spontaneous approach and results in a one-of-a kind image. Scratching the plate with a drypoint tool, I create a textural surface suggesting primeval walls worn down by time.  A mystical and meditative quality references the ritual of sacred space while the curvilinear forms refer to the Divine Feminine.  Symbols create openings that can connect us to the past and to the spiritual realm. As I work the surface of the plate and access these ancient forms and markings, I feel an affinity with those who have come before me.

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The Ouroboros and the Eternal Return

08 Thursday Sep 2016

Posted by in ancient symbols, archetypal symbols, Art, inspiration

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Ouroboros, ancient symbol

Ouroboros, monotype print, 30″ x 22″

In my Mazatlan studio, the Ouroboros rears her head and almost bites her tail.

The Ouroboros is an ancient symbol depicting the snake or serpent eating its own tail. There are many interpretations but in general it signifies Eternity or the never ending cycle – something constantly re-creating itself. Carl Jung named it the archetype of the human psyche. It is considered a symbol for introspection.  In Alchemy, it is infinity or wholeness.

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The Ouroboros has appeared in many cultures with the earliest siting in Egypt dating back to 1600BC. The Phonecians used it – then the Greeks who named the symbol, Ouroboros, which means devouring its tail. In Aztec mythology, Queztacoatl, was similarly depicted. More on the Ouroboros:  http://www.tokenrock.com/explain-ouroboros-70.html

 

The Ouroboros is closely connected to the circle and the spiral, two universal symbols that also point to wholeness and regeneration. These two symbols have been mainstays in my work over the years – but I had never used the Ouroboros until recently.

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What changed? After taking my group down to Oaxaca for the Oaxaca Art Vacation in July, I stayed for another week to soak in the city and the culture. I saw several works of art utilizing the Ouroboros symbol. I bought a watercolor by Hector Hernandez – a very simple cobalt blue rendition painted over some sheet music. I had recently done a series using sheet music as chine colle in my monoprints – so that caught my attention. I had admired this artist’s work over the years.

 

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On a tour of printmaking workshops in Oaxaca, the Ouroboros pops up again in this gorgeous large-scale woodcut entwined with figures.

As an artist, I draw my inspiration from ancient art to contemporary works. Whose to say what and where will get the juices flowing….We all have our on voice, our own style and way of working with the imagery at hand.

 

 

The Language of the Goddess

27 Friday Nov 2015

Posted by in ancient sites in Europe, Art, sacred sites

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In the early 90’s, Marija Gimbutas’ book, The Language of the Goddess, (Harper & Row, San Francisco, 1989) had a huge impact on my work. In this book, Gimbutas, a revisionist anthropologist, provided a fresh look at the Neolithic Goddess Culture, cataloguing the artifacts and symbols found on cave walls, rocks, sculpture and pottery from Old Europe. These matrilineal societies, peaceful and agrarian, existed long before our current patriarchal system. (The Chalice & The Blade, Riane Eisler)

At the time I discovered Gimbutas’ book, my artwork focused on the female figure in a feminist vein.  But while an artist in residence at KALA Institute, I began creating large-scale monotype prints that reflected many of the symbols I’d found in her book. The spiral, the pubic triangle, the chevron and concentric circles began appearing in these 42” x 55” monotypes. It was at that point, my art shifted direction to focus on archetypal symbols with a decidedly feminine nature, inspired by the ancient goddess cultures around the world. My work today still carries the influence from this pivotal point in my career.  Here are some of these early prints, some of which are still available. Contact me if you are interested is seeing more.

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Vortex

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The Power of Three – Comb

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Chevron

Circular Passage_monotype_54.5 x 42

Circular Passage