The long trail came to an end at 2:30 PM, September 3, 2009.
Psyche dropped her Harlequin mask and gave her offering inside the hexagon in the Pound Ridge woods.
September 3, 2009
I discover a reference to the Harlequin in my own writing as I prepare Kundalini’s Daughter for publication:
January 28, 2000. I arrive at Yale University Art Gallery to view an exhibition of Jasper Johns recent work. I am delighted to discover how attracted I am to this series, which is incredibly mysterious and alive for a man renowned for his flag paintings. I feel I am standing inside an observatory from which I can draw rich tapestries of meaning stretching from the heavens to earth through the return of the ancient encaustic process of melting beeswax on canvas.
Here I find symbols of the psyche pursued through Mexico – harlequins, catenaries, spirals, serpents, sky, sun and circles. Lines are blurred and the paint drips; formal imperfections create openings for viewer interaction. Earth (the snakes) and the cosmos (the galaxy) are balanced with the yin and yang symbol. This grounding of the opposites is formally imbedded in the composition through the catenary, a Jacob’s Ladder linking the cosmic spirit with the material of art. Children’s cut out letters on gray slate prompt memories of childhood. Symbols of the Self penetrate shifting boundaries to the unconscious.
It occurs to me that the artist is reviewing his life in preparation for the ultimate surrender – death. And through this process, the Harlequin is the trickster masking vulnerability in the face of the uncomprehending.