Icarus-Reney

The easiest and most available human subject for any artist is him or herself. The pictures below link to most of the self-portraits, drawn between 1995 and 1999 (ages 24-28), with the exception of the early portrait at 1989 (age 18). Read more about my self-portraits here, or page down to the bottom of this page.

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Reney

Earliest self portrait, age 18. I am holding the caryma, a personal logo I’ve used since 15, but in the form pictured since 18.

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“The Threshold” (L'Rukaminâ)

Reney/Icarus stands at the threshold of his career, leaving the shelter of his university and childhood years.

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Arebinâ

Icarus is shown admiring Arebinâ, a girl met at university several years before the drawing.

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“Icarus fi Krunþe Alanþe”
(Icarus in Crisis, Alone)

Icarus is lying on the floor in crisis surrounded by implements of his trade, with happier memories shown below.

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“Icarus at the Park”

Self portrait drawn while at Forest Park, between sketching other subjects.

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“Icarus Lasciando a Disegnare”
(Icarus Breaking Away to Draw)

Stream-of-consciousness sketch of me coming to draw at Cafe Philippe at Forsythe and Wydown.

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“La Mia Donna Italiana”
(My Italian Wife)

Imagined portrait of Icarus wed to Maïrena, standing in the Piazza del Campo in Siena, Tuscany.

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“The End of Running”

Stream of consciousness sketch lamenting a recent running injury.

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“Getting out from under It All”

Stream-of-consciousness sketch exploring ways to get past everything holding me back at age 26.

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Daniel Sullivan Lecture Notes

Self portrait in ballpoint during a lecture at Washington University.

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“Icarus Ectefe Xrine”
(Icarus Quarreling with His Sister)

Icarus is shamefully quarreling with his sister. They end up in two different cities. This lamentation appears in ballpoint.

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Studio Icarus Logo

Small pencil sketch of Icarus dancing with Asmara as his Camélia.

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“Icarus and Camélia”

A ballpoint sketch executed during a Washington University architect lecture in Steinberg Hall.

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“Icarus Viene a Disegnare
(Icarus Coming to Draw)

Ballpoint sketch, a replay of s5231a15.

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“Icarus Countercurrent”

Ballpoint travel sketch showing Icarus walking against the current of his co-workers, paintbox in hand, with the backpack of his travels on his office attire.

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“Icarus k'Amagal”
(Icarus and Madeline)

Icarus pictured in marker, ballpoint, gold paint, and Sharpie with Amagal on the train between Florence and Paris. (Proof of concept, from a photograph).

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“Fat Cat”

A better-dressed and fed Icarus with stream-of-conscious musings about ever becoming wealthy.

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“Icarus Guidando
(Icarus Driving)

Stream-of-consciousness ink sketch of Icarus at the wheel.

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“La Mia Bella Angelina”
(My Lovely Angelina)

Ballpoint celebrations over a new set of wheels. I appear driving my date (my future wife Laura!).

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“Icarus Casca dal Cielo”
(Icarus Falls from the Sky)

Icarus appears in an unfinished pencil sketch, falling from the sky in disgrace in Old North St. Louis.

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“Aðilyra ke Reney”
(Fair Laura and Reney)

Self portrait in ballpoint and marker with fiancee Laura.

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“Icarus Nixaþinal, Reney Añikçinal
(Icarus of the Past, Reney of the Near Future)

Stream-of-consciousness ink sketch comparing the imminent future condition, married and domesticated, with the earlier lonely and questing condition.

   

My first self-portrait was a study of the face stylized in ink and colored pencil. The subject did not re-emerge until the autobiographical drawings and sketches of the middle 1990s. I used two avatars to convey myself in then-recent life situations for which I was discerning solutions. In the late 1980s the first avatar, Reney, developed. The name Reney derives from the words “reborn” and “renegade”, and is a positive figure, however is seldom seen in portraiture, occuring more often in writing.

The second and more-often depicted avatar is Icarus. Icarus embodies my sentiments in the Apprenticeship Era, curious and prodigal, but fragile and lost. Icarus often is depicted wearing a backward Chicago Bulls cap. Icarus was the son of Daedalus in Greek mythology, the latter an inventor who built wings that Icarus misused and crashed to the sea after venturing too close to the sun. The name De Vlieger means “son of the flyer”, hence Icarus. Icarus serves as a vehicle for the study of real or imagined situations throughout my early to mid 20s. Some of the drawings such as “Getting out from under It All” and “Icarus Ectefe Xrine” (Icarus Quarrels with His Sister) examines then-recent situations and constitutes an attempt at improving myself. Others such as“The Threshold”, “Icarus Viene a Disegnare” (Icarus Coming to Draw), and “Icarus Countercurrent” take a look at and celebrate contemporary conditions and activities. Imagination of union with attractive mates, such as “La Mia Donna Italiana”, “Icarus and Camélia”, and even “Aðilyra ke Reney” (involving my actual fiancee) are a third major theme. Scenes featuring Icarus celebrate success (“Fat Cat”, “Icarus Nixaþinal, Reney Añikçinal) and failure (“Icarus fi Krunþe Alanþe”, “Icarus Casca dal Cielo”).

Self portraiture disappeared from study after wedding Laura, as the autobiographical and therapeutic need vanished. Many of the situations at issue in the earlier work were moot. My drawings became more present-focused rather than focused on longings or regrets. The subject of travel-style images of the home city of St. Louis became a major theme. In happiness and focused on family, I found the study of personal predicaments was no longer important.

This page last modified wEDNESDAY 9 May 2012.