Special Guest Article

This issue's Guest Article comes courtesy of Robert Genn, accomplished Canadian Artist. We're pleased to bring you one of Robert's articles from his own Industry–recognized “Twice Weekly Letters of Insight and Inspiration”. We'll be regularly sharing some of Robert's wisdom and experience in upcoming A&CNet e-Zine Newsletters.

“Dyes in Morocco”

Making colours to use in art and crafts is as old as the history of craft itself. This interesting article shares some of “the process” still used in Morocco today, not so very different from the processes used in the past for dying hooked rugs and pysanky. Though Morocco is on the other side of the world from Canada, making dyes is directly related to the central theme of several of our feature articles.

   Somewhere among the warrens of the Fes medina you enter a dark, unmarked doorway, bump your head climbing narrow stairs and then pass through corridors hung closely with leather products. Salesmen, who you will meet later, lurk in the shadows. Clasping mint leaves to your nose in an attempt to neutralize the increasingly foul odour, you step out onto a sunlit patio. Spread below, covering about an acre, is what looks like a giant’s paint box. It’s the tanner’s souk.

   Short–panted, hairless men and boys stamp and splash in and out of colourful vats filled with toxic brews and the wet skins of goat, sheep, camel and cow. It’s an ancient craft, to me both fascinating and disturbing — sweating workers endlessly repeating the same movements — an animated Hieronymus Bosch. The palette: saffron yellow, indigo blue, almond green, poppy red, cedar brown — these days supplemented with synthetics. The feeling of death and the zombie–like activity add to the alchemy.

   How it works: The process can take a couple of weeks. Overburdened donkeys deliver a constant supply of skins. Hair, flesh and fat are removed in lime baths. The skins are then delimed and pickled with sulphuric acid and sea–salt. After being immersed for several days in vats of oil and water–based liquors they are stoned and scraped (skiving). Then the skins are steeped in vats of various dyes mixed with mordants to fix the colours. Finally the leather is laid out to dry in the sun — ready for the traditional craftsmen who will work the material into the saddles, jackets, bags, bindings and cushions for which Morocco is famous.

   Today, images of this place, like hallucinations, lie imprinted on my brain. I see before me every paint–box I’ve ever owned — those used up, forgotten or abandoned. It’s a devilish march of trial and error, busyness, lethargy, sun-baked labour and toil, losing, winning. Maybe it’s time to go home.

Esoterica: Eastern rug dealing, with its parallels to some Western art dealing, is a remarkable combination of information, choreography and bullying. If you find yourself sitting with a cup of tea, carpets piling up in front of you, you’re on your way to becoming a plucked chicken. The salesman, his assistant, and the manager–closer make sure you understand that ragged old carpets sell for more than fresh new ones. A subtle way of talking “investment”.

“An artist spends himself like the crayon in his hand, till he is all gone.” (Ralph Waldo Emerson)

“Colours are light’s suffering and joy.” (Wolfgang von Goethe)

“Our life is made by the death of others.” (Leonardo Da Vinci)

Editorial Comments:

We thank Robert for his always fascinating words... We look forward to bringing more of his penmanship to our humble little e-Zine. If you would like to receive Robert Genn's Twice-Weekly service for artists, visit  www.painterskeys.com

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Robert Genn, is recognized as one of Canada's most accomplished painters. While his work is well known internationally, and his subjects are universal (he has painted in many countries), he excels in portraying Canada. He is perhaps best known for his work on the West Coast and in the Rocky Mountains.

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