The Development of Ouroboros
The Primordial Dance and Ever Shifting Archetypes
Presented here is the development of Ouroboros—a depiction of the tension and simultaneous unity between two forces of nature—the feminine and the masculine. Ouroboros is a circular symbol depicting a snake, or less commonly a dragon, swallowing its tail, as an emblem of wholeness or infinity. In this painting, the ouroboros is depicted in a battle or ‘eternal dance’ between a female figure and a human-lion figure.
Around the time I conceived of this piece, I became an student of capoeira. It was my practice in this ancient martial art that roused my thinking about the relationship between dance and conflict.
In our classes, when we would ‘spar’, it was like we were simultaneously learning how to get into a good rhythm with our ‘opponent’, while also trying to out maneuver them.
This chain of thought also led me to ponder about the seemingly perpetual conflict or ‘eternal dance’ between the masculine and feminine—the constant collaborative struggle of two opponents competing against each other while also striving for equilibrium.
I also thought about the combined organism of the masculine and feminine like an amoeba-like form perpetually falling out of shape and then re-balancing itself; or perhaps the planetary bodies that fall out of orbit, collide and fragment, and then reform and re-stabilize.
Initial Drawings
In this initial version, the lion was essentially jumping at the female figure as she dodges. While ‘straight-arming’ the head of the lion and pushing him away, she is simultaneously grabbing his leg and pulling it in the opposite direction.
In my imaginings, the lion figure would be very ‘ornate’ in the sense of a flowing mane and potential feathers. ‘Peacocking males’ are on abundant display throughout the animal kingdom. This stunning expression of nature propelled in me the image of a lion/peacock/rooster hybrid. I pondered about how males in Western culture to historically adorned themselves with such things as flowing wigs, make-up, and bedazzled ornamented poufy shirts, or in our non-Western cultures with feathered headdresses, tattooed bodies, and ringed noses.
In this rendition, my intention was to create some contrast between the two bodies. I sought for the female figure to be muscular, calculated, and maximally unadorned, with feet fully grounded; and the lion figure to be flowing, embellished, frenzied, and suspended in the air.
After reflecting on the initial drawing, instead of the straight arm pose in the female figure, I was led to create a more circular motion and greater ambiguity between who is the aggressor and who is the defender.
Ancient Scroll Backdrop
At this stage, I began working on the backdrop. My concept was to convey a timeworn scroll-like look, like a legend depicted within an ancient manuscript. I suspected that this could reinforce the theme of the ‘primordial dance’ and ever shifting archetypes.
Rooster Head and Wings
The next evolution of the piece was to do a mock-up of the rooster wings and head that would extend out from the top of the lion figure. While I liked some of these aspects, I felt it disrupted the circular theme of the two figures. To me, maintaining this ‘holistic’ theme could not be sacrificed.
Circular Flowing Mane into Peacock Feathers
I was then moved to bring my attention to the lion’s mane. My purpose was to reinforce the circular element that encompasses the figures. I was also inspired to blend the peacock elements in a more subtle way by having the hair gradually turn into feathers.
New Lion
I couldn’t get behind how the lion figure was appearing. I decided instead that the figure needed to look more like a human-lion hybrid. I researched and gathered a ton of reference and began experimenting with the intersection of lion and human anatomy.
At this stage, I also made a number of key changes and refinements to the female figure. Instead of maintaining a grabbing hold on the lion figure and pulling on his foot, she now reached around and under his leg while the lion’s claw is gently resting atop her head.
Next, I brought this new drawing back into the composition.
Color Oil Study
This picture demonstrates the next stage. After I printed out the drawing, I did an oil study over it.
Finished Mock-up
My solo show at Krab Jab Gallery was quickly approaching, and I wanted to have Ouroboros in at least a presentable stage for the show. This created a huge time crunch. Usually I develop the mock-ups for my large scale works to a more refined degree, but in this case, I was winging it.
In Process
Painting Mishap
In order to get a picture of the painting in progress, I set my camera on a timer. Quite remarkably, it captured the exact moment that I accidentally dropped my turps jar. Turps and sludge spilled all over the floor and on my foot. This caused me to instinctually jump into a pose. It was as if I was another character in the painting.
Where I Left Off
At this stage, I stopped working on the painting. My dilemma is whether to ‘finish it’ or not. I’ve received a considerable number of compliments from folks saying they like it how it is, and that is in sync with the theme in some ways.
Ouroboros does relate to a few other pieces I’ve done which have been left in a more ‘open layered’ approach like this. Linea is such as an example.
I’m not sure if I should keep going with Ouroboros. Im ok with an open/unfinished look, but think it should look resolved. I’ll probably do some additional experiments to figure this out. What do you think? Feel free to send me your thoughts.