Just for nice: What’s on your walls?

I’m always fascinated to see what people have on the walls of their home. Things end up there for so many reasons: because you like it, sure, but also because you want to impress someone, because you want to show someone you care about them, because it was the right size, because it covers up the hole you made when you were trying to figure out where that smell was coming from, because it already had a frame, because it was on sale, and so on. 

Anyone want to see what we have on our walls these days? Or maybe you’d rather talk about politics, hmmmmmmmm? 

So, here’s what we have on our walls these days. 

In the kitchen, a lovely Matthew Alderman print, plus a little Audubon guide to clouds next to the window

These photos are in alphabetical order according to file name, rather than in an order that makes any kind of sense. Since no one asked for this post anyway, I guess it doesn’t really matter.

Here’s the hallway/computer alcove. This is an area in flux, as the shelf I installed, with wall anchors, even, fell down and took a bunch of stuff with it, and it never really recovered. This St. Michael icon has been floating around from room to room for years, which seems appropriate. Going his rounds, I guess. You can also see one of my few attempts at linoleum prints from a long time ago. I think it was a copy of a Picasso painting. 

There are several of these woven stars here and there around the house. The kids had a teacher who was on a weaving kick for a while. This one’s in the bedroom above the window.

Here is the last remaining decorative mirror of a set of three that I bought on a “why can’t we have normal decorative things like normal people” kick. It is cracked. 

Important:

A very large original woodcut I found at a yard sale for a few bucks. I have always meant to give it a better frame, or at least a better matte than cardboard, but at least it’s up. 

Over the kitchen sink. This is What’s For Supper central, as you can see, plus something from William Blake’s Book of Urizen. I have never read it, and I’m afraid to, because I like the picture so much. You never know what you’re getting into when you start with Blake.

This is right near the stove, as you can see by the tomato sauce splats. Here is little Clara at the beach. How she loved to eat sand. 

Many things in the dining room. At left we have an Immaculate Heart of Mary by Margaret Rose Realy, and a portrait of my three oldest kids as little ones, my Christmas present from Clara. The glass bowl has half a dozen Jesse tree ornaments we didn’t get around to hanging, guarded by a lion. Which lion it is, specifically, escapes me at the moment, but it was a wedding present from Paul Connell. 

The other side of this shelf has a wonderful Sacred Heart by Margaret Realy, and here is my beloved icon showing Christ rescuing Adam and Eve from the netherworld. That’s a good one. 

Of course there’s a certain amount of this. Someday I’ll clean the wall, but right now it seems like a poor investment of time. 

More kitchen shelf. Here is merry little baby Dora, and some of the pretty cast iron shelf brackets I put in. I guess the star is a Texas thing? It’s just a star. And somebody’s pottery project.

Here’s something that I keep . . . on the treadmill. For now. I grabbed it at this weird little music and poster shop in Hanover, NH, and I was planning to frame it . . . 

but then I flipped it over and it has a whole other picture printed on the other side. So now I don’t know what to do. 

I think I like the whirlpool scene better, but those are some pretty good fish. 

A flamingo! This is in our bedroom. Dora was doing a project on ancient Rome or something in middle school, and made a mosaic out of paper. She didn’t have the strength to fill in all the little bits in the background, and I don’t blame her.

In the bathroom. I ordered this colored Flammarion Engraving print in the middle of the night because it seemed urgent at the time.

This is the other thing on the wall in the bathroom. I like Goya a lot, and he deserves better than to be a potty joke. (I also hasten to add that that frame is rusty, that’s all.)

Yo, Fra Angelico! This is over the piano. I just about had to stab the lady at the thrift store to get her to sell it to me, but eventually I got my hands on it. I also bought a wonderful frame, also at the thrift store, but when I got it home, I realize it had what seems to be an original drawing from the 1800’s. It’s some kind of miscellaneous Americana scene, and I don’t like it at all, but I’m now suffering from Antiques Road Show Paralysis, so I just keep taking it out, scowling at it, and putting it back again. Anyway, here’s Fra Angelico.

Here’s my favorite Frost poem, illuminated by Dora back in elementary school for a present. You can also see a bit of a pumpkin by Heather Schieder, whose style has evolved a lot in the last few years!

Here’s another trap I set for myself. I bought this print of irises for the frame, but every time I go to take it apart, I think, “But do I like those irises?” And I kind of do. But they also kind of look like they belong in mammography waiting room. So I just stuck it up on this shelf, who cares. 

JIM JANKNEGT SIGHTING! This one is right over the couch, and it lights up the whole room. John the Evangelist. Dude. 

A Daniel Mitsui, one of my favorites: The Flight Into Egypt. This one is in our bedroom. Need more Mitsui. 

Back to the dining room! Here you can see another one of my spectacular framing jobs. I love this photo of our little starter family. Not crazy about how it’s just sort of loosely associated with the frame. Also NOT CRAZY about how the kids somehow knocked a hole in this glorious cloud canvas by Margaret Realy. I love Margaret’s clouds so much.

In the living room: This wonderful madonna watercolor by my daughter Lena Fisher. I never get tired of looking at it. 

In the bedroom, me and my little girls as mermaids – a quick one by my daughter Clara Fisher. Notice how, even underwater, Benny is still talking. 

MOAR JANKNEGT. This is the view from the treadmill. It’s . . . energizing.

And additional Daniel Mitsui! This is in the kitchen, so a bit splatty. Ugh, you can’t see the detail at all. So good. 

The dining room, by the door. This is one of those areas that needs major help. Someone gave us this moon mirror as a housewarming present and I don’t care for the look on his face at all, but I absolutely need a mirror there to prevent me from leaving the house with a paper bag on my head by mistake. There is also some kind of loch ness monster? Ugh, this area needs help. This is the exact spot where I lost steam when I was repainting. 

Bottom of the stairs, Mother Teresa, BOOM. I think OSV was giving these posters away at some point. 

Hampton Beach. 

My magpie nest. Some very old prints by Lena. Her technical skill has increased dramatically since then, but I love the mood, especially the windshield wiper one. Also a mini landscape by Clara and one of my favorite photos of Irene, mud and daisies. 

Another greasy kitchen picture. This is from the Pumpkin Festival. Someone had lost their balloon and the kids were VERY EXCITED ABOUT SEEING IT FLY AWAY. 

By the piano. Dürer. Wabbit. I’d rather have The Great Clod, but I also like the Wabbit.

This is . . . miscellaneous dining room. I bought that round inlaid wooden plaque thing from a thrift store many years ago, when $4 was KIND OF A BIG PURCHASE. Love it. 
The other thing, I don’t know what to say.

By the dining room table, we have Rublev’s Trinity. The white frame is so wrong, but I guess I’ll just wait another 23 years and then find another one. That seems fine. Under it is the Masai Creed, plus Dover Beach. I forget why it seemed important to print out Dover Beach.

Here’s an old favorite: Dora helping Clara with her shoelaces, a photo by Sadie Centola. People come into my rooms and take pushpins right off my wall. Honest to goodness. 

Over the dining room window. This is my “even their virtues were being burned away” painted tin thingy. You can actually get this on Amazon (which I did with my birthday money).

Next up: The opposite of that. Three cozy little pumpkins by Benny for my kitchen.

Now, here we have a situation. I got this wonderful tin triptych mirror many years ago at a junk shop. It originally had mirrors inside, but we used them for a homeschool science experiment and then lost them, so I put in a nice drawing of some birds Lena made when she was six. We once had a priest over, and he opened up the little door to see what was inside, and he was so delighted to see those birds. I guess he thought it was going to be saints? I still don’t know what to make of that. I don’t know what ever happened to him. Anyway, today, as you can see, the whole thing has gone to hell, and it’s on this hanger for some reason, along with a random holy card, and what may be a sock. I don’t know what to tell you. 

More kid art, plus miscellaneous Marys and Buddhas. This is one of those windows that has several layers and can’t be opened, so it’s slowly filling with spiderwebs and dead bugs. It’s nice. 

Back to the bedroom. Here is a Vermeer, The Astronomer.  I could look at this one forever. See how many times he repeats the shape of a V, open about 45 degrees northwest. It’s a picture about . . . things opening up. 

Back to the hallway. A wedding photo, an icon, and another piece by Margaret Realy! Margaret, WHY U NO HAVE WEBSITE?

Dining room again. Here we see one of my thwarted efforts to decorate like a ladyperson. I really like these wood curl wreaths, and this one was on clearance at Aldi. The children believe that I want them to throw things at it, and pull the leaves out. I do not. 
There are also a couple of extremely tasteful plastic icon suncatchers, complete with sparkly beard on Jesus. They belong on the window, of course, but that would require people thinking to themselves, “I guess I won’t steal the suction cup hooks.” 
Also a wonderful ceramic peacock light switch faceplate, a gift from the great Kate Essenberg. 

Ah, Winslow Homer! This is in the living room, and is the first art print I ever spent (what felt like) a considerable amount of money on. I think it was $15, which was pretty lavish for me at the time. I have never yet regretted spending money on a work of art. 

And last but not least . . . Wonderwoman at a party. I think this was a Christmas gift from Lena. You watch yourself. 

Okay, that’s about it for the bottom floor! I have no idea what’s upstairs. I don’t go up there.

In conclusion: Buy art. It’s good for you, good for anyone who goes in your house, and good for the artist. 

The prime directive: Make something beautiful. An interview with Jim Janknegt

One of my favorite living artists is James Janknegt. In 2017, he kindly gave me an interview for Aleteia about his life and work. Janknegt, 66, who lives in Texas, is currently working on a commission for five paintings for a book on the meaning of baptism. You can find more of James Janknegt’s art and purchase his book on Lenten Meditations at bcartfarm.com.

Jim Janknegt via Facebook

Here’s our interview:

You converted to Catholicism in 2005. What led up to that?

James Janknegt: When I was a teenager back in the 70s, there was a nationwide charismatic movement. I was Presbyterian at the time. There was a transdenominational coffee house at University of Texas, with the typical youth band playing Jesus songs. There was a frat house we had taken over. We had 20 people sleeping on the floor; it was crazy. A super intense time.

What kind of art education did you have?

I went to public high school, and they didn’t teach much about art history. I would look at books at book stores, and that was my exposure to art. We had a rinky-dink art museum at University of Texas, not much to speak of. After I had this deepening of my faith as a teenager, and really wanted to follow Jesus 100 percent, I was really questioning whether it was legit to become an artist. I didn’t know any artist who were Christians, or Christians who were artists.

Thumbing through the bookstore, I found Salvador Dali. The book was cracked open at “Christ of St. John of the Cross.”

Wikipedia/fair use

That still, small voice that’s not audible, but you know it’s authentically God speaking to you — it felt affirmed. Yes, go forward to be an artist and be a Christian. Those are not incompatible.

Crucifixion at Barton Creek Mall – James Janknegt

Your pieces move from dark and lonely to radiant after your remarriage and conversion to Catholicism — that shift that you define as going from “diagnostic to celebratory.” But even in the “celebratory” stage, there is drama, even agony, along with ecstasy in your pieces.

Foxes Have Holes/James Janknegt

When I was involved in that youth group, they were very super-spiritual, filled with the Holy Spirit, thinking, “Now we can do everything!”

Summer Still Life/James Janknegt

But we never looked internally to see if there are psychological problems alongside your spiritual life. My dad was bipolar and manic depressive, in and out of mental institutions and jail. I met a woman at that Jesus freak outfit, and we got married. I carried a lot of baggage into my first marriage, that I hadn’t dealt with at all. I went to grad school and my marriage fell apart.

Breakdown/James Janknegt

Getting divorced ripped the lid off. All this stuff I had repressed was all bubbling up and coming to the fore. Questioning not my faith, but my ability to be faithful. Can I hear Him and be obedient to Him and do His will? It was a very dark time.

Jet Station/James Janknegt

When we look at your paintings chronologically, it very obviously mirrors different stages in your life. Is it strange to have your whole life on display?

You take that on when you become an artist. It’s very self-revelatory. It’s part of the deal, if you’re gonna be an artist, to be as honest as you can. I think that’s the downfall of a lot of bad religious art: It’s not technically bad, but it’s just not honest. We live in a fallen world. Bad things happen.

Sudden and Tragic Death/James Janknegt

That’s part of life, and that has to be in your painting. You can’t paint sanitized, Sunday school art.

But you do seem to create art that has very specific meanings in mind. Do you worry about limiting what the viewer can get out of a piece?

There’s a painting I did of Easter morning zinnias. They look like firecrackers; Jonah’s on the vase; in the corner, there’s an airplane.

Easter Morning/James Janknegt

I just needed something in the corner to make your eye move into that corner! People were trying to figure out what it meant, but sometimes an airplane is just an airplane.

To me, the role of art is to make something beautiful. Very simple, that’s the prime directive: Make something beautiful.

James Janknegt – supplied
Bug Tools and Beyond/James Janknegt

It doesn’t have to be figurative or narrative or decorative. But my feeling is: The history of our salvation, starting with Genesis to Revelation, is indeed the greatest story ever told. What’s better? As an artist, why wouldn’t I want to tell that?

James Janknegt – supplied
Nativity Christmas Card/James Janknegt

How does the secular world respond to your works? They are full of parables and Bible stories, but also unfamiliar imagery.

A painting is different from a sentence or a paragraph. Paintings deal with visual symbols. I’m trying to take something that was conceptualized 2,000 years ago in a different culture, keeping the content, in a different context.

James Janknegt – supplied
Two Sons/James Janknegt

It’s almost like translating a language, but with visual symbols.

I have a definite idea of what I’m trying to get across. But you [the viewer] bring with yourself a completely different set of assumptions and experiences, and I have no control over that. I don’t want to.

 

James Janknegt – supplied
Holy Family/James Janknegt

When I look at a painting, it’s a conversation. I’m talking into the painting, and the painting is talking to you.

James Janknegt – supplied
Grain and Weeds/James Janknegt

Part of the problem today is that we do not have the same visual symbolic language. In the Renaissance or the Middle Ages, the culture was homogeneous, and symbols were used for hundreds and hundreds of years. If I put a pelican pecking its breast, no one [today] knows what that means. We’ve lost the language. So it’s challenging.

Are you inventing your own modern symbolic language? I see birds, dogs…

You kind of have to. It’s a balancing act. In art school, they say, “Just express yourself! You’re painting for yourself; it doesn’t matter what everyone else gets out of it.” I’m not doing that. I’m trying to communicate with people.

 

The Wise Bridesmaids/Janknegt – supplied
The Wise Bridesmaids/James Janknegt

Tell me about the state of religious art right now.

People complain about how there’s no good religious art.  But there’s a lot of good art out there; you just have to search for it. I feel like I’m hidden away, in this weird place between two cultures, but they are out there.

Saint John the Evangelist/James Janknegt
Saint John the Evangelist/James Janknegt

In our time, people who collect art aren’t religious, and people who are religious don’t collect art. And for an artist, in the Venn diagram, you’re in the place where it says “no money.”

If you could just find an artist you really like and ask them if you could buy a piece for your home shrine.

The Visitation/James Janknegt-supplied
The Visitation/James Janknegt

If every Catholic could buy a piece of art from a living artist, think how that would impact your life, and the life of the artist. You could give them a living.

James Janknegt-supplied
Divine Mercy/James Janknegt

Your farm is called “Brilliant Corners Art Farm.” Is that name a reference to Thelonious Monk?

It is! But it also has a hidden spiritual meaning. Honesty is the light. If you’ve got brilliant corners, then the whole room is lit up.

I Will Make All Things New/James Janknegt-supplied
I Will Make All Things New/James Janknegt

You can find more of James Janknegt’s art and purchase his Lenten Meditations book of 40 paintings based on the parables of Jesus Lenten Meditations at bcartfarm.com.

My interview with James Janknegt of Bright Corners Art Farm

In case you missed it, here’s my interview at Aleteia with Catholic artist Jim Janknegt. Fascinating guy, incredibly powerful work. I wish I could have made the interview five times as long.