Virtually every drawing of a natural scene is of a place where I have been and loved, or in some cases, is based on capturing the feel of such a place.
Gus diZerega is probably best known in the Pagan community for his books – which include Pagans and Christians, Beyond the Burning Times: A Christian and Pagan in Dialogue, and his column on Patheos, Pointedly Pagan. He has an upcoming book, God is Dead, Long Live the Gods: A Case for Polytheism, being published by Llewellyn in 2020. Although he is a prolific writer, he is also the creator of exquisitely rendered pen and ink landscape drawings. As a fellow artist, academic, and someone who loves both writing and art, when Coreopsis needed someone to write an interview with Gus, I jumped at the chance. Our conversation is here.
Your pen and ink drawings are really beautiful detailed landscapes. I am curious about what draws you to pen and ink, and to black and white.
Originally it was economics. For a long time I had decorated envelopes when I sent letters to friends. I used colored ink pens. I was trying to figure out how to finance my PhD research, and a close friend suggested I go commercial with these designs. I decided to give it a try, but could not afford color printing.
So, I began drawing more seriously in simple pen and ink. Initially I was not that good, but over time became much better. I sometimes joked that my customers made it possible to improve as an artist.
In time I fell in love with that medium, and today have no interest in doing colorful art- though I often appreciate it in others’ work. But my original reason was more prosaic.
When I look at your drawings, I definitely feel the presence of the Sacred Feminine in the landscape. Has anyone ever made similar comments, and was that your intention?
As far back as I can remember, I have always been sensitive to the beauty and energy of the earth. I began doing this kind of art long before I ever became a Pagan, or thought there was anything genuinely alive and divine about nature. But I think it is no accident that the earth has traditionally been considered feminine in a great many cultures across a vast span of time.
Actually, I am seeing a love for sacred landscape in general, looking at your drawings of the Standing Stone, and Chichen Itza. I’d love to see more like this – what are your plans for future art?
I gave art up after 9-11, to devote the free time I had to fighting the radical right’s first major attempt to engage in aggressive war and the destruction of our democratic institutions. I told myself I did not want to be like some German in 1936 thinking “If only I had worked harder, this would not be happening.” Since then that has been a major endeavor of mine, and art has taken a back seat.
My artistic side is now focused on creating beautiful of gardens where I live in Taos. Every morning I make offerings to the spirits of the yard, Taos Mountain, the sky, and the larger land, asking for blessings on this project. It is looking wonderful (give you a pic?) so it is not as if I am no longer doing art, or engaged with the sacredness of the natural world, just in a more hands-on way.
Hopefully this winter I will return to graphic art. I had hoped to last winter, but had a deadline with Llewellyn for my forthcoming God is Dead, Long Live the Gods: The Case for Polytheism. That took priority. It will be out next summer.
When I do finally get back to pen and ink art, hopefully after my gardens go dormant for the winter, I want to focus more on sacred themes. I have already done some Wheel of the Year pieces, and would like to do all eight Sabbat themes.
Your Fence Row with Cypress is so evocative, the black and white contrast is so strong, even though the title doesn’t reveal that. Is there something deeper here?
Not in any deliberate sense. It is based on a redwood slat fence and cypress grove along the coast in Mendocino County, a regional style of landscaping and agriculture that I find very beautiful. But the feeling in the piece turned out to be more mysterious than the actual place it is based on.
Are there places that you are particularly drawn to that you seek out for inspiration? Are these drawings the results of your travels?
Virtually every drawing of a natural scene is of a place where I have been and loved, or in some cases, is based on capturing the feel of such a place – such as my redwood grove piece.
You can view Gus’ lovingly crafted drawings on his website at: http://www.dizerega.com/artwork/. I am anxiously awaiting the time when he begins to make more drawings! Meanwhile, his books are available on his website, Amazon.com, and Quest.com.
Helena Domenic is an Associate Professor of Art History and Fine Art at Cheyney University of Pennsylvania. She teaches courses on African Art and art history as well as drawing and painting. Helena holds an MFA in Interdisciplinary Art from Goddard College in Plainfield, Vermont, and an MA in Art Education from The University of the Arts in Philadelphia, PA. Helena is an Elder in the Assembly of the Sacred Wheel, and has lectured at numerous venues. She is an accomplished professional artist and has shown her artwork at a variety of galleries, in addition to having published a Tarot deck and book, The Fellowship of the Fool.
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