🚀 go-pugleaf

On Saturday, August 13, 2022 at 12:25:40 AM UTC-4, Conley Brothers wrote:
>
> Pasaquan is actually EOM's mother's place which EOM moved into

Again, he inherited the family land, it happens often, forging fool....!


--------------------------------------------------------------------------
Great write-up on Pasaquan in The New York Times...

http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm

SAINT EOM wrote: Eddie Owens Martin Maybe some good can come out of this pain ridden life, Eddie would've wanted it that way. Indeed... and here's what the New York Times write-up had to say about Eddie Owens Martin's works that hang in the Library of Congress, the Museum of Modern Art, and in the Smithsonian Museum of American Art... ---------- "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the resilience of the human spirit without necessarily paying it any compliments... In 1957, Martin inherited part of the family farm in Marion County, Georgia... far-out philosopher and visionary artist and architect. In all three pursuits, he displayed a creativity, pertinacity and human decency one would not have predicted, as if some kernel of spiritual grace long carried by his reprobate self had burst and flowered. Such things are not unknown. Other so-called outsider artists, like St. EOM's fellow Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of Watts Towers fame, have been lumpen types who unclenched mysterious powers late in life. But St. EOM's case has an extra measure of the uncanny..." [...] "...The alternately seductive and challenging, eloquent and profane, oddly black-inflected voice that speaks from the pages of ''St. EOM in the Land of Pasaquan.'' It was a voice that got its owner out of tremendous amounts of trouble, and it became a hypnotic instrument. St. EOM's fragrant and harrowing account of his cracker childhood is a small Southern classic. In more discursive passages, the voice lends almost equal persuasiveness to words of hard-earned wisdom and theories for which ''crackpot'' seems an epithet too mild." [...] "St. EOM's phantasmagorically designed and decorated little estate is a knockout. Its chockablock proliferation of exotic forms and motifs - Indian, American Indian, Easter Island, Islamic, mandala and arabesque and totem and pagoda - ought to be just a colorful mess, but somehow it appears to possess a lovely, rhythmical order. St. EOM was a deliberate man and a perfectionist, capable of tearing down to start again. His work displays a tension between molten fantasy and cool discipline. The visual splendor of the place he called Pasaquan, though plenty eccentric, is no more to be patronized than the Pasaquoyan ever permitted himself to be..." "...But what an American life!" It's true. There is no cog on the ratchet of American rugged individualism beyond that of St. EOM, and his disaffected creative drive is archetypal for much that is strong in American art.'"I built this place to have somethin' to identify with," he said, in a sort of pledge of unallegiance befitting an Abstract Expressionist, "Because there's nothin' I see in this society that I identify with or desire to emulate." Inevitably, such extreme alienation is paired with an opposing hunger for recognition, spelled out by St. EOM with his usual directness:''I wanna prove to society that even though I've been ostracized all my life, I have good qualities and good potential.'' He played life's game with some strange cards, but proved in the end to hold a full deck..." -Peter Schjeldahl in The New York Times


----------------------------------------------------------------------