A Pale Bright Flame
The brilliant torch of enlightenment, or just a burning fever?
Kenaz (ken-ahz) is the name of this Elder Futhark rune for the K sound. It is also called “cen” or “kaun” and has taken several forms over time as language and sounds have changed, from the hard “g” sound to the softer ʧ sound, like the “ch” in the word “chip.” Kenaz has been translated as torch, burning fire or fever, or ulcer, canker, or boil.
Meaning - Because fire is transformational, the kenaz rune could be a metaphorical call for action, the desire for a creative solution. By all means we wish to get rid of the real or proverbial ulcer or canker and return to a better situation!
The 9th c. Anglo-Saxon rune poem gives us this:
Cen byþ cwicera gehwam, cuþ on fyre
blac ond beorhtlic, byrneþ oftust
ðær hi æþelingas inne restaþ.
Translated it says:
The torch is known to every living man by its pale, bright flame;
it always burns where princes sit within.
The Norwegian rune poem for Kenaz is different:
Ulcer is fatal to children;
death makes a corpse pale.
So, we are left with the “pale” aspect to consider, whether it be the pale bright flame or the pale mask of the grave.
The original attributions of each rune are specific and various, and all depend on the way the rune poems and other historic notations were originally written down from the oral transmission. Altogether, rune poems touch on the physical, cultural, and spiritual aspects of life experience. Their associations seem to form a sort of cosmology, a handy guide to a cultural “operating system” that can be taught effortlessly, by rote, describing the general rules of a communal society with the benefits and pitfalls of living either in the wild or in a village.
Graphically, Kenaz is shaped a bit like our angle bracket “<“ or the mathematical “less-than” sign. It is a dynamic shape, sparky and attention-getting. Its color associations are said to be whitish yellow with shades of red, gold, and black.
I used an 8” square Arches watercolor block for this image, creating a bumpy and irregular response from the tools. While I was slinging around some red paint for another piece, a drop fell onto this block, which was not shielded. This led to adding a few more drips in that same area. You can see which is which!
Next, while the red drips were drying, I mixed Schmincke metallic gold gouache with Winsor & Newton Cadmium Red Purple and Red Ochre and used a Royal & Langnickel Zen Series synthetic mop brush to paint the rune. It has a good point for managing the edges and holds a lot of color. I like complex mixes and uneven flow, and a good sense of margin around the image.
I let the rune dry thoroughly, in order to write its name somewhat carefully with a ruling pen, using emphasis at the terminals and watching the evenness of negative spaces between and within the letters. Note that whenever writing goes across an image, even one that has dried thoroughly, there will still be more absorption than on the untouched paper. This is due to the first pass of moisture partially dissolving the sizing in the sheet. Be forewarned, know that it will happen, and simply allow it to be. Don’t flinch from surprise and think it’s a mistake or the movement of your hand will be altered. Sometimes I will use a bit less pressure on the stroke as it goes across an earlier mark, pushing less new ink onto the page.
Finally, I looked at the area remaining to decide how to add the rune poem text, and decided to trim a few words without changing the original intent of the text. We are always in new territory, not replicating but sailing forward freshly. I used a flexible vintage pointed pen on the slightly rough texture, which pushed back at the point this way and that around the little mounds of sized cotton. Design balance is top priority! Squeezing text too close to the edge of the page just to be faithful to your text is silly, as you’ll have to relive that squeeze forever.
Coming Up Next!
In addition to existing work there will be new rune drawings and some small products like mugs and scarves in my studio for Silicon Valley Open Studios during the weekend of May 11-12. Less than two weeks away! Come if you can.
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