Posts tagged ‘Easter’

Apr 6

Abstract #26: Todos Rectos

I have long been inspired by the Semana Santa parades which fill the streets of Spain with their melancholic processions at Easter time. Too many times I have berated the confusion of ignorant outsiders who see the parades as anachronistic, or worse still, reminiscent of the unthinkable 3Ks. In truth, they make for a stirring spectacle, no matter that their devotional repercussions are undoubtedly far weaker than they might have been 100, even 50 years ago. Yet with the sinister pointed masks of the nazareños, the swinging thrones lifted on high allowing a precious statue of Jesus or the Madonna to make its annual outing into the streets, and their moving brass band harmonies resonating throughout cobbled streets, Spain’s Easter parades are for me a highlight of the annual calendar.

Readers familiar with my blog will know that this will not be the first time I have painted Spain’s Easter parades. They feature in my Seville Triptych, my study of Domingo de Ramos, my Semana Santa code, and my painting Catholicism Catholicism. But these solemn spectacles never fail to move me, and it was during the afternoon in the week immediately preceding the parades that a moment’s reflection on what was to come brought this image sweeping before my eyes. That same evening I bought my canvas and set to work.

Abstract #26: Todos Rectos (2016 ©Nicholas de Lacy-Brown, acrylic on canvas)

Featuring all of the various characteristics of the parades; the pointed hats of the nazareños, the enthroned statues of Jesus and Mary, the candles, trumpets and incense smoke, this new painting encapsulates Semana Santa, with each aspect reduced into an abstract form typical of my new style, and with a highly limited colour palette of deep blood red, yellows and touches of blue.

Asides from the forms, the title of the piece is something of a play on words. Todo recto in Spanish means straight on, like the direction of the parade, led by the trumpet. But to be todos rectos is to be literally all right, referring not only to the moral righteousness of those involved in the procession, but also eluding to the right wing politics with which the Spanish Catholic church was always historically associated. And of course to be recto is also to be straight. Enough said.

It’s a painting with which I am wholeheartedly delighted. A finely balanced addition to my new collection, and the many of my works which have been inspired by Easter in Spain.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2016. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacybrown.com

Mar 26

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Sheepish Easter Greetings from Mallorca

I feel rather sheepish as I creep quietly back into the editing space of The Daily Norm. For such has been the period of grievous separation between myself and my blog that I feel that we are almost like strangers. It may only have been something like two weeks, but for a regular blogger, that period has left me vacant, like a person devoid of a sixth sense. The cause was the run up to the tourist high season, which out here in Mallorca leaves few people with time to breathe the fresh air of Spring, thus leaving me with few opportunities to write, nor indeed anything of interest to share. But now mercifully the Easter is upon us – a time of rest, and of Spring-like hope.

In that vein I wanted to take this opportunity to wish all readers of The Daily Norm a very happy Easter period with a selection of photos I took the other day deep in the midsts of the Mallorca countryside. They are ostensibly simple photos of local sheep, grazing in the grassy pastures close to the Cala Sant Vicenç. But what makes these shots more remarkable to me is the complex layering of the backdrop. In just one photo, you can gaze at blue skies, a stark greyish lilac mountain strata punctuated by dots of planting, a field of golden yellow and a further strata of green before it. Intermingled with everything are dainty white and mauve flowers, and of course the pearly white sheep who are the protagonists of the piece.

For me these photos express a bucolic ideal and are the perfect way with which to wish you a Happy Easter. I hope you all enjoy the season, and indeed the very welcome entrance of Spring!

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2016 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Apr 30

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Semana Santa: Norms attend a Procession

In 2012, I embarked on the ultimate of Norm sketches, when I set about working on this extra large sketch of Norms attending one of Marbella’s Semana Santa processions. After much labouring on this sketch which is some 4 times larger than the scale I usually work to, I declared the sketch complete, but was never overly happy with the results. For me, the proliferation of white and pale tonal shades meant that the details were getting lost – the main parading figures at the centre for example couldn’t be all that easily distinguished from the crowd collected around the parade.

Two years later, and having expanded into the use of a greater range of grey tones starting with my Nativity Norms and then extending into my Norm Saints collection, I decided to go back to this sketch and give it a whole new tonal overview. So taking the sketch carefully out of its frame, I set about adding new shadows, colouring the sky and the ground, the tunics of the Nazarenos, and even adding touches of gold. The result in a sketch which I am so much happier with. The tonal contrast now encourages a greater narrative of the procession, and focuses the audience first on the parading figures, and only then the watching crowd. The use of darker tones on the ground means that the figures are now much more distinguishable, while the use of varying colours on the buildings does likewise with the crowd.

Semana Santa – Norms attend a procession – the 2012 original (© Nicholas de Lacy-Brown, pen on paper)

Semana Santa – Norms attend a procession – the 2014 revamp (© Nicholas de Lacy-Brown, pen and ink on paper)

It may have taken 2 years to get right but hey, the result was worth the wait!

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2014. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Nicholas de Lacy-Brown’s new solo exhibition, When (S)pain became the Norm, will be at London’s Strand Gallery from 13 – 18 May 2014. For more details, click here.

Apr 29

Marbella Medley | Folio 2 – Semana Santa

Heading to Spain for Easter is often a risky business. Far from providing the wall-to-wall sunshine much promised of the tourism posters, my experience of the country at this time of the year has been that rain falls more widely than just the plain, and for more days than the tourist board would care to admit. And this Easter was no exception, with the Spanish skies tipping it down for 3 out of the 6 days I was on holiday there. Unfortunately, what this seasonal capriciousness also means in that the Semana Santa (Holy Week) parades, which are otherwise the other big certainty of a trip to Spain at Easter, will likewise be cancelled. After all, local churches cannot risk the damage which might otherwise be done to their priceless statues, many of which are centuries old, whose procession in the open air is central to the Semana Santa parades.

Happily, this year, save for the unfortunate cancellation of the big climax to Marbella’s Semana Santa festivities – the Easter Day parade – I was able to see a full set of stunning processions on each of the evenings when I was in town. With their military bands and mighty golden tronos, their multiple rows of candle-bearing conical-hooded nazareños, and collective of local dignitaries, these parades are full of all the pomp and traditional ceremony that a Spanish town or city can muster, and represent the centrepiece of a year’s religious celebrations.

As I have said on this blog many a time before, these parades are totally inspirational to me, and cannot help but move me, even though I do not share in the religious sentiment behind them. So even though this year must have been the 10^th or 11^th time I have seen the parades, I could not help but chase them all around town, taking photographs of each detail as I went. The parades, which largely run at night, are nevertheless notoriously difficult to photograph, and the set I am sharing today have their fair share of blurring issues. But I kind of like this, because in the blur you get a sense of the mysterious and solemn atmosphere which is created when you see the flickering candlelit tronos emerge from around a street corner, seen through the puffs of incense and candle smoke which are so characteristic of these parades.

Special mention also has to go to the military sheep who was perhaps one of the more unique aspects of one parade. Appearing to be some kind of military mascot, the sheep did a sterling job, joining in the parade for the full 4+ hours of its duration. With its tilted hat and little Spanish flag ankle cuffs, this sheep was fully dressed for the occasion and is so endearing that I have given him two photos in this collection – it’s only what he deserves.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Apr 18

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Norms: The Saints Collection | The Crucifixion

It’s an image which is famous around the world; a depiction full of pathos, tragedy and the pain but glory of salvation: It is the crucifixion of Jesus, the event which sits at the centre of the Christian religion.

In depicting lately a series of Norms based on the art historical tradition of religious-themed paintings, I could not pass by the opportunity to create a Norm version of this crucial Christian scene. With its dark skies and bleak landscape, it is an image which evokes the full drama and horror of one of art’s most famous portrayals, while the hope of salvation which the event brought Christian believers everywhere is symbolised through the presence of angels. One in fact is charged with gathering up the blood dripping from Jesus-Norm’s wound; a representation of the fact that intrinsic to the core belief of transubstantiation, his blood becomes the wine of the Holy Communion and vice versa.

To his right and left, the two convicted thieves who died at his side are present, one depicted, as per tradition, as the good thief seeking salvation from Jesus, while the other is depicted as the bad thief, mocking Christ for giving into his fate. Meanwhile at the foot of Jesus Norm’s cross are the figures who consistently feature in depictions of the crucifixion – Mary his mother, Mary Magdalene, and St John the Apostle.

The Norm Crucifixion (2014 © Nicholas de Lacy-Brown, pen, ink and gold paint on paper)

For anyone religious looking at this work, take note that this is not an attempt to dilute the sanctity of this religious festival, but rather, as is the central aim of my blog, to reference and reinvent art history and the most popular depictions in art. There is no greater scene than the crucifixion to get across the Christian message in art, and my Norm version has to be amongst my favourite of all my Norm sketches. Happy Easter everyone.

Nicholas de Lacy-Brown’s new solo exhibition, When (S)pain became the Norm, will be at London’s Strand Gallery from 13 – 18 May 2014. For more details, click here.

Apr 17

Norms: The Saints Collection | The Last Supper

It’s Maundy Thursday, and all over the world Christians will be marking the 5^th day in the Holy Week calendar, which is the day on which Jesus is reputed to have held his final dinner with his 12 apostles before his death by crucifixion. It was at that supper, so it is said, that he first broke bread and offered it as a representation of his body, doing likewise with wine, something which has since formed the scriptural basis of the Eucharist (also known as the Holy Communion). It was also at that dinner that Jesus predicted both his future denial (when the cock crows three times…) and his betrayal (by Judas). And it is precisely this moment of universal consternation around the table when the news of his future betrayal is unveiled that Da Vinci portrayed so famously in the most well known portrayal of the Last Supper in the world.

Da Vinci’s masterpiece may be dramatically crumbling away from the walls of the Santa Maria delle Grazie in Milan, but back in Norm-world, the brilliance (and some say significance) of its composition has been apt inspiration for the Norms to re-enact their own version of the Last Supper for this year’s Maundy Thursday celebrations.

The Norm Last Supper (2014 © Nicholas de Lacy-Brown, pen, ink and gold paint on paper)

Perfectly accompanying the Norm Saints collection which has gone before it, the one arch frame of those renaissance style Norm altarpiece devotional images has been expanded to three arches through which the whole table of the Last Supper can be seen. It’s a happy coincidence that this expansion to three reflects the innumerable references to three (and therefore to the Holy Trinity) which runs through Da Vinci’s original, from the triangular shape of Jesus’ posture, to the grouping of apostles into threes: (from right to left) Bartholomew, James (Son of Alphaesus) and Andrew; Judas (who has spilt some salt – a sign of his betrayal), Peter and “John”; Thomas James (the Greater) and Philip; and Matthew, Jude and Simon.

Of course readers of the Da Vinci Code by Dan Brown will probably know why I have placed “John” in inverted commas; for rumour is rife that the suspiciously feminine features of the apostle to Jesus’ right are actually those of Mary Magdalene rather than John, and that she represents the true Holy Grail, that being the bloodline of Christ. That, says Dan Brown, is the reason why there is no other chalice on the table, and why there is a prominent “V” formed by the empty space between Jesus and this disciple (V is the symbol for sacred feminine). It’s a theory which is reflected in my Norm work with the help of an ever so feminine look to my Norm – or should she be called Normette?

Conspiracy theories asides, reflecting Da Vinci’s great work in this Norm re-enactment was a joy to create and a great addition to my sacred Norm collections of late. But there’s something even more special on its way tomorrow.

Nicholas de Lacy-Brown’s new solo exhibition, When (S)pain became the Norm, will be at London’s Strand Gallery from 13 – 18 May 2014. For more details, click here.

Apr 5

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Mallorca (Part II) – Photography Focus 1: Semana Santa

I’ve never made a secret of the fact that I love the way the Spanish celebrate Easter. Their Semama Santa (Holy Week) processions are amongst the most atmospheric and moving sights that you will see in Spain. Originating in Southern Spain and still at their grandest in Seville, the processions have been overshadowed elsewhere by a common misconception that the nazareños, those participants who dress in pointed hoods by way of penitence for their sins, and who march along silently holding candles alongside the huge tronos (floats) are, or at least resemble, the dreaded Ku Klux Klan.

It’s true that the resemblance is uncanny, but that is where the resemblance ends. The sanctity and purity of these stunning Spanish spectacles do not deserve to be overshadowed by a hideous clan of bigots who ripped off the costume for their own immoral pursuits. Rather, while the hooded figures of the Spanish parades certainly lend something of a sinister feel to the spectacle, they are integral to the magical solemnity which results.

Knowing as I do that the parades are at their biggest in Andalucia, I wasn’t really expecting to find any processions in Mallorca. However, as we ventured out for dinner on our first night, the very familiar drum beat of a Semana Santa procession began to ring in my ears, and as we approached our pre-designated restaurant, we met, by sheer coincidence, a procession just as it passed through the very same street.

The processions in Mallorca are smaller than the Andalucian affairs, but lose none of their power as a result. This is created largely thanks to the brass bands which play stirring, chromatic melodies which are enough to bring tears even to the eyes of even the most hardened atheist. Meanwhile, the pointed nazareños amble slowly along, burning a passage of candles as they process, and behind them, a life-size statue, normally Jesus or Mary, is carried along on a trono (throne). In Andalucia, these are carried by a number of men baring the huge weight of both the statute and its often elaborately gilded platform. Here I was interested to see that the tronos were carried by men actually hidden underneath the platform, and surrounded by curtains, so that all that could be seen of the men were their feet making the painstaking journey through Palma’s streets.

These powerful processions are not easy to capture on camera, being that it is often dark, and the parades are always moving. However, I managed to take a few shots which I feel encapsulate the atmosphere and pomp of these wonderful spectacles. Testament to their rich tradition, and also by way of building in further atmosphere, I have taken these shots in black and white, something which I feel really lends itself to the solemnity and distinctive quality of the occasion. Without further ado, I leave you with a gallery of shots.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Mar 29

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Dulces de Convento

I’m not sure what it is about Easter which makes me think of Spain’s greatest export, marzipan, as I gather that the little soft almond sweets are more the preserve of Christmas time than Semana Santa. But then again, mazapan, as the spanish call it, is a sweet originating from the closed convents of one of Spain’s most fervently religious strongholds, Toledo, and it is perhaps understandable therefore that my mind drifts to this very sacred city around this Easter time.

I was never a great lover of marzipan as a child – perhaps the almond flavours were too bitter for my very junior tastes. But when I visited Toledo a few years ago with my mother, I became completely seduced by these little sweet treats, which could be found everywhere, from little corner shops to cafes filled with little (slightly surreal) dolls of nuns captured in the act of marzipan making.

The beautiful city of Toledo

A Toledo cafe

While marzipan lasts a fair length of time (they contain no dairy, so stay fresh for a while), even those I bring back from Spain each visit in earnest do not last for long (partly because I scoff them fairly rapidly). It’s come a great relief therefore to learn that marzipan is so easy to recreate in your own home – if you’ve got some ground almonds and sugar, you’re pretty much there. For an Easter treat I decided that the Norms needed to become manifested as marzipan forms. But feeling like a little variety, I also made these delicious panellets de piñones – a succulent, slightly coarser lemony marzipan surrounded by a pine nut shell – delicious!

Mazapan de Toledo

My marzipans are adapted from the recipes of Claudia Roden (in her 2012 book, The Food of Spain) which are in turn a treasure-trove of recipes collected from across the multifarious gastronomic regions of Spain. For the Marzipan Norms, all you need to do is whizz up 200g of ground almonds with 200g of icing sugar in a food processor. Add around 3 drops of almond extract (being careful not to add more as the flavour can become overpowering very quickly) and 2-3 tablespoons of water, one at a time. You don’t need much water as the almond oil holds the mixture together. Knead into a smooth soft paste and then you are ready to start modelling.

My Norms, awaiting their fate

The beauty of marzipan is that the world is quite literally your oyster. You may want to model yours into Norms, but equally, why not try little balls, or as in Toledo itself, how about a mixture of figuritas shaped into fish, snails, shells, saint’s bones…whatever takes your fancy. Once they’re shaped, leave the marzipan figures out on a baking tray. They’ll soon go harder on the outside. After a few hours, lightly whisk up the whites of one egg with a tablespoon of icing sugar and brush a very little on the marzipans to create a glaze (you really don’t need much). Place them under the grill for a minute or in the over at 200C for 2 minutes until slightly browned.

Panellets de Piñones

These panellets are a delicious, slightly more complex version of plain marzipans, but the method is similar. Whizz up 200g ground almonds with 150g caster sugar and the grated zest of 1 lemon, with 2.5 tablespoons of water. Plend for a few minutes until the almond oils start to really bind the paste. Break this into equal sized pieces and roll into balls (I got around 16 at around 4 cm in diameter each). Then comes the tricky bit. Roll the balls in a lightly whisked egg white and then into a bowl of around 200g of pine nuts. Press as many as you can into the marzipan in the palms of your hands. But inevitably some with fall off so you’ll have to fill the gaps with the nuts by hand, pressing them in slightly. This is slightly time consuming and fiddly, but SO worth the effort. Once you have a complete “shell” of pine nuts, roll again in egg white and set out on a baking tray.

Once all your balls are all covered, pop them into an oven at 200C for 10 minutes until slightly golden. Once done, you’ll need to leave them to cool slightly before taking them off the tray, or they will quickly break apart.

All that remains is for me to wish everyone reading The Daily Norm a Happy Easter, and a fiesta of unapologetically unrestrained chocolate egg and marzipan indulgence!

Apr 11

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My Easter Day Spanish Feast Spectacular

Easter day is over, but the Spring has only just begun, and now is as good a time as any to think succulent chicken, sweet wine imbued ice cream and cute little marzipans, just in case your summer beach body needed to endure any further damage! On Easter Sunday I followed my pro-Spanish theme of the previous week by cooking a Spanish feast of which Goya himself would have been proud. And it was so tasty, I feel compelled to share all the ideas with my faithful Daily Norm readers so that you too can go all España this Spring.

First however I should express my gratitude to Claudia Roden who, in her fantastic new book, The Food of Spain, gave me much of the inspiration for the feast.

The table

My table was all trussed up for Easter, with a spray of fresh chrysanthemums displayed alongside slender branches of pussy willow in a group of bottles, to contemporary effect. Amongst the flowers sat the must-have fluffy chicks of Easter, while at each person’s place, a damask-style napkin was topped with little paper hens.

To start…

I had to restrain myself from cooking a full-on starter because I knew that otherwise this Spring-like luncheon would become more akin to a Christmas day gorge-fest. Instead I provided some simple tapas, olives, nibbles and delicious mature manchego cheese from the land of Don Quixote, which I’ve discovered is best served sliced and drizzled with honey and sprinkled with thyme – a divine combination which would probably work well with similar hard sheep’s cheeses.

The chicken

The star of the dish was a roast chicken, but with added Spanish flavour. In a simple twist on the humble roast chicken, the chicken is at first basted in grape juice before being roasted, breasts down, for 45 minutes. Once flipped over, the breasts are again drizzled in grape juice. Meanwhile, the chicken cavity is stuffed with chunks of apple giving it a fruity aroma, while the dish is served with caramalised apples and grapes which can be either sautéd or oven cooked alongside the chicken. For the grape juice, you need to blend around 500g of grapes in a food processor and then press the pulp through a sieve to collect the juice. You should get around 250ml of juice. I was worried that the chicken, exposed as it was to the oven (I usually bake it partially wrapped in foil) would be dry, but with regular basting with the grape juices, the chicken was succulent and fruity, while the skin was ravishingly caramalised.

I served the chicken with some oven baked parsnips glazed in honey and wholegrain mustard and a generous portion of cute little Jersey Royal potatoes, straight from this year’s first harvest.

Dessert

Desserts don’t get much more Spanish than a brandy and walnut cake served with a raisin and sweet wine ice cream (helado de pasas y vino dulce). The cake on its own is fairly dry, so certainly benefits from the ice cream accompaniment. Following the Asturian recipe cited by Claudia Roden, I whisked 4 eggs and 200g caster sugar into a thick pale cream, adding 75g melted butter and 3 tablespoons of brandy into the mix. I then grinded up 500g of walnuts in the food processor which were folded into the cream mixture. It was poured into a greased spring-form cake tin and baked for around 45 minutes. The key to this recipe is the syrup which you then pour over the cake when it comes out of the oven. For this dissolve 100g sugar in 250ml water and simmer for around 5-10 minutes until syrupy. Then add a tablespoon of brandy for that alcoholic touch and pour it over the hot cake. Leave the cake for at least an hour to “drink” the syrup. The result is coarse but gooey, perfect with a raisin and wine ice cream – mine was made with a Spanish moscatel wine, but the syrupy sweet Malaga wine would be even better (let me know if you want the recipe – it’s a little to complex to set out here!)

Afternoon tea

What better way to end the day than with that Toledo favourite which I absolutely fell in love with in Spain than little marzipans. I couldn’t believe how easy they were to make! Simply take 200g ground almonds and 200g icing sugar and mix well. Then in a food processor add a few drops of almond extract (not too many or the flavour will overpower) and 2-3 tablespoons of water (you don’t need much as the almond oil makes the paste moist). And that’s it – once you have your paste, you can roll it into balls or make all sorts of imaginative shapes like I did. Once your creative side has been satiated, lay the creations on a baking tray and leave for around 12-24 hours. The marzipans will harden slightly on the outside and remain soft and moist on the inside. The best thing is that they will last for ages!

My Semana Santa nazareños

You can, by the way, glaze the marzipans for added luxor, but I tried this with Claudia Roden’s suggestion of whipped egg whites and icing sugar and it made my marzipans look as though they had been buried under a snow storm. Next time I’ll stick to a simple egg-white glaze – and just 1-2 minutes under the grill.

¡Buen provecho!

Apr 8

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Sunday Supplement: Road Traffic Control (The Semana Santa Code)

Happy Easter everyone! Yes it may be grey, and bleak, and ever so slightly damp here in London, but my flat is nonetheless filled with all the yellows of Spring, a chicken (cooked Spanish style with a grape juice glaze and caramalised apples) is about to go into the oven, and I am still putting up total resistance to the chocolate temptations all around.

In this final post in a week which has been bursting full of Easter-themed homages, mainly to the sensational Semana Santa spectacles of my dear España, I introduce you to my ultimate canvas exploring the theme of Semana Santa. This vast painting, entitled Road Traffic Control (The Semana Santa Code) was painted by yours truly towards the end of last year and is consequently my most recent painted depiction of the Semana Santa parades. But this work, which measures some 150cm across, depicts Semana Santa processions in a slightly unusual way, using road traffic symbols from the highway code to illustrate the main characters in a typical Semana Santa procession. In fact, the symbolism is at times so detailed that I like to think of the painting as being something of a new Da Vinci Code, the likes of which I will decrypt in today’s Sunday Supplement.

Traffic Cones and the Lily Cathedral

The idea behind this interpretation of Semana Santa came to me when I was watching a procession last year and it occurred to me that the Nazareños with their pointed hats look a bit like walking traffic cones. From there the idea was born – their candles were swiftly replaced by zebra crossing lamps, the large lanterns carried at the front of the parade were replaced by traffic lights, and the banner held at the front of the procession was replaced by a “Controlled Zone” sign – after all, isn’t religion an attempt to control or at least orchestrate a way of life? The road is of course no different from the kind of road which a procession in Spain would walk along, except that here it spirals and wafts like a ribbon in full flight, from its point of emergence from a large lily, which represents a great Spanish Catedral, the smaller bell-like cala lily representing the cathedral’s campanile.

Brass Bands

In every procession, there are at least two brass or military bands setting a rhythm and a melodic resonance for the procession. Generally speaking, a band will either lead or follow the Jesus tronos, and a second will either lead or follow Mary. Here the representation of the bands follows the road traffic theme, with old fashioned car hooters and police ribbon making up the first band, while roundabout drums with sides made up from a road’s diagonal warning lines (which warn of an approach to a junction or crossing) make up the second.

The depiction of Jesus

For me, the depiction of Jesus came as easily to my mind as the traffic cones – I used the “crossroads” symbol to represent the crucifixion carried on a tronos, while before it, the signs carried by Nazareños represent, in order: the crucifxion (cross roads); pilgrims (elderly crossing); the disciples (pedestrians); Jesus on a donkey; the Holy Trinity (roundabout); the crusades (explosives); no U-Turn i.e. do not turn your back on Christ; and Give Way – to the Catholic faith as the one and only true religion.

The depiction of Mary

Mary is depicted using the “motorway” symbol which, with the addition of a small bridging line at the top, resembles a figure with a veil over her head. Meanwhile, the parade which precedes her includes signs with the following meaning: Mary, Mother of Christ (M1); the immaculate conception (no through way); Mother and Child; the ascension; pilgrims (disabled – such as those visiting Lourdes to visit the shrine of Mary).

Finally the painting ends with a sign signifying the end of the “controlled zone”. Hence the title of the painting, “Road Traffic Control”.

I hope you’ve enjoyed the painting and have a great Easter Day, wherever you are.

© Nicholas de Lacy-Brown and The Daily Norm, 2005-2012. Unauthorized use and/or duplication of the material, whether written work or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.