Tuesday, December 18, 2012


Daisy Eneix, PERSEPHONE IN HADES, 2012 graphite drawing, 22x30
(click on image to enlarge)
Daisy Eneix, SONGBIRD, 2012 graphite drawing, 22x30
(click on image to enlarge)
Daisy Eneix, FELINE, 2012, graphite drawing, 22x30
(click on image to enlarge)

It has been five months since I sent a package to myself from Can Serrat, Spain, which contained preparatory drawings created over a period of six months, and the final drawings I created at a residency while there, a time when my hand was fully coordinated with my eye and the muse, and I had the luxury of drawing six hours a day and took full advantage of it.

I experienced pure joy in the making of these drawings. That I could address this multilayered material, be both isolated and surrounded and influenced by other artists who were also wresting with their muses, and not feel as if I wanted for anything except to be doing what I was doing was a kind of celestial experience. I was channeling a precise and clear energy, purposeful, sometimes huge, but remarkable in its focus and total absence of fear. In martial arts, the peak experience for me is similar. There was a deep awareness and contentment, a stillness inside of motion. It was a kind of awakening. I was realizing a vision, I was open to being guided, and I was in contact with pure creation.

The package of these drawings never arrived. I am lucky that I have any record at all, but I do really wish I had the originals, as well as all of the other sketches and beginnings of new works that were with them. Maybe their loss is the catalyst intended to force me to turn a corner, or release the subject matter altogether, or it's just part of the larger letting go of many things this year. Maybe they will show up one day. It's hard to say. I don't know entirely what to make of it. But I'm trying to listen.

I am grateful that my dear friend and traveling companion Susan Schen took photographs of the drawings with a real camera. They were taken in a combination of sunlight and indoor light, as they were never intended as a final record. Unfortunately, large, gray pencil drawings on gray paper --particularly when so detailed and full of purposely faint lines alongside dark, coarse ones -- don't photograph well without professional lighting, if at all. But since I do have these 'ghosts' of them, I wanted to share them (above).

It is so much harder, while operating in the world of practicality, human relationships and the social and professional practices that are just as essential to me as art, to remember how important this relationship is, the one waiting there, with the Muse. I can only access it when I am truly solitary, and only when I give it my full, undivided attention. Since I am not the kind of person that naturally leans toward solitude, this is always a challenge. But the memory of this and the posting of these drawings may help me to keep striving towards it amongst the other, competing strivings.

I am so grateful to Can Serrat for creating the kind of holding space that they do for the artists who come. It is not only the delight and aesthetic wonder of the place but also its hosts, who imbue it with the kind of spaciousness and quiet, love, tending and merriment, eclecticness, chaos and edge, that allows artists to feel both at home in solitude and in the company of their peers. And also dinners to die for. This seems to be especially helpful for artists.

Overall, I'm just grateful that I got to have this experience, and how vivid it remains in me.

More about Can Serrat:

Additional details of the artwork above are posted on the Can Serrat blog at: 


Believer: How did you find your artistic style?

Maurice Sendak: It's spontaneous combustion. I don't know what's going to work until I start to draw. It is so out of your hands it is amazing. It just started to happen. Bumble-Ardy was a little boy many years ago and now he's a pig. I don't know why. There's so much I don't know about the procedure.

Maurice Sendak interviewed by Emma Brockes
The Believer
The 2012 Issue


Tuesday, October 30, 2012


Painting completed. Commission delivered. Yes!

Daisy Eneix
ink on wood panel

Symbiosis ©2012 Daisy Eneix

Symbiosis (detail) ©2012 Daisy Eneix

Symbiosis (detail) ©2012 Daisy Eneix
Symbiosis, detail ©2012 Daisy Eneix

Symbiosis, detail ©2012 Daisy Eneix
All artwork photographed by Susan Schen.

Friday, September 21, 2012

Color Craziness

I do a lot of color testing and settle on a palette before painting. 
The evidence sometimes looks pretty chaotically cool, so I thought I'd share. 
This one was tricky to work out but I think I have my almost final palette now :)
It was so nice to settle into work this evening. Hoping to do the same tomorrow.

Sunday, September 9, 2012

A Revelatory Manifesto ~ Patti Smith, Just Kids & Why I Make Art

mJUST KIDS by Patti Smith - a set of artist revelations

This book really touched me. Some incredible ruminations on being an artist, creating, love, collaboration and innocence:

'The creed we developed as artist and model was simple. I trust in you, I trust in myself.'

'Robert trusted in the law of empathy, by which he could, by his will, transfer himself into an object or a work of art, and thus influence the outer world. He did not feel redeemed by the work he did. He did not seek redemption. He sought to see what others did not, the projection of his imagination.'

What is the soul? What color is it? I suspected my soul, being mischievous, might slip away while I was dreaming and fail to return. I did my best not  to fall asleep, to keep it inside of me where it belonged.'

'I didn't feel for Warhol the way Robert did. His work reflected a culture I wanted to avoid. I hated the soup and felt little for the can. I preferred an artist who transformed his time, not mirrored it.'

'I wondered if I had really been called as an artist. I didn't mind the misery of a vocation but I dreaded not being called.'

'In the war of magic and religion, is magic ultimately the victor? Perhaps priest and magician were once one, but the priest, learning humility in the face of God, discarded the spell for prayer.'

'In my low periods, I wondered what was the point of creating art. For whom? Are we animating God? Are we talking to ourselves? And what was the ultimate goal? To have one's work caged in art's great zoos - the Modern, the Met, the Louvre?'

'Robert had little patience with these introspective bouts of mine. He never seemed to question his artistic drives, and by his example, I understood that what matters is the work: the string of words propelled by God becoming a poem, the weave of color and graphite scrawled upon the sheet that magnifies His motion. To achieve within the work a perfect balance of faith and execution. From this state of mind comes a light, life-charged.'

THE BOOK: http://www.harpercollins.com/browseinside/index.aspx?isbn13=9780060936228

Wednesday, August 29, 2012

Drawing away until the wee hours always feels good. So does combining two animals into one. In this case, a wood bison and a bull. With its own special rider.

I'm working on the third version of the preparatory drawing, and it's really coming along.

I find that the first drawing I do captures something of the feeling in my head, the dreamy part, but it usually needs more substance. The second drawing usually has more things in the right place, but often looks either a little too technical, cartoon-y, or has lost a bit of the energy of the first. Then the third somehow pulls it all together, combining the dream and the real into something new.

Monday, August 20, 2012


Artworks and more at this link:

Tuesday, January 10, 2012

Hairier, Scarier & Waterfalled

Daisy Eneix Misogi New Year Imp, 2012, in progress, detail
Daisy Eneix Misogi New Year Imp, 2012, in progress, detail
Daisy Eneix Misogi New Year Imp, 2012, in progress, detail
Daisy Eneix Misogi New Year Imp, 2012, in progress, detail
Well I've made a lot of progress on my little Imp. She's got some fur now and her own waterfall and a mossy, green environment (still in progress). So, a number of folks called her a Demon. I wish to explain how and why she is not a Demon. She is most definitely an Imp.

What is an Imp?
Historically, Imps are mischievous, unpredictable magical characters that may assist Demons, Witches, or Wizards. Whereas a Demon is usually a colossal, independent force, an Imp is smaller, lesser, more ambiguous creature. It also likes to have company.

My Imp also has a bit of inspiration from:
Kitsune, which are the enchanted, shape-shifting female fox spirits of Japan,
The goblins in the story-poem The Goblin Market by Christina Rossetti,
the monkey god Hanuman from the Ramayana Epic.
And other unspoken ones.

An Imp is an enchanted creature that is definitely going to add chaos to your day.
Whether or not you regret that chaos is never entirely clear. Perhaps it will show you a pleasure you never thought existed, make you laugh at yourself very deeply, or bring you a little secret knowledge or a treasure. It may just as likely bite, claw, steal, kidnap and cause mischief of all kinds.

An Imp will undoubtedly sharpen your awareness of yourself (and your possessions - it is best not to take your eyes off of them when it is around). It always comes with darkness and light, though not necessarily both on the same day. Imps are very devoted and loyal in their own code of what morality is but it is not a human code and therefore makes sense only to the Imp. You can learn a lot from an Imp but it is also best not to spend too much time in its company, lest you lose your way back into reality.

For me, the Imp is the perfect metaphor for the artist's dilemma.  Sunlight living is glorious and joyful and feeds the soul and body at the root; however, it is night, darkness and mystery that feed the art and the heart. Both together are essential, but I have yet to find what my own line of balance is. I have definitely experimented with going too far in either direction. However, this particular little Imp seems very much at home in the daylight environment of a lush waterfall. I think that's a good sign.

Tuesday, January 3, 2012

New Year Misogi Imp, 2012 (stage III, color added)

She's still in progress. My vision for her is that she will be nestled in a waterfall. Also, she doesn't have her fur yet and she obviously needs some. I have a feeling she's very hairy.

Misogi is a Japanese physical and spiritual cleansing ritual that usually happens in the morning, under a waterfall. The freezing cold water cleans and awakens. I imagine her surprising various pilgrims come to bathe, with unpredicable results ;)

Daisy Eneix, New Year Misogi Imp, 2012 (detail, in progress)

I think I'm finding out that I really love painting in ink on wood. Maybe even more than printmaking. Shhhh.

PS - Next post has more images working up to this one

The little Imp is begun...

This is with the gesso added

New Year's Eve day, drawing on wood

I first sketched her in summer, 2011