To keep my sanity and to take some art breaks during this time, I am making colouring sheets that are free to print, share and enjoy. I will be uploading printable PDFs here, and posting images to my social media pages. Since we are all staying in doors for the good of the realm/humanity, we might as well fill some of that time having some fun and learning about ancient art and archaeology!
Everyone who has grown up on Disney will feel strongly about these characters and how they imagine they can or should be re-imagined. This is a bit of fun and I selected the mash-ups that made the most sense to me.
If you are an educator, practitioner or just curious about these or any of my other work, please feel free to get in touch!
The last 12 months have been eventful, with a lot of life changing things on the horizon to be excited about. In a few short days, I will be heading off for a third (more lengthy) season in the Roman town of Aeclanum, (near modern Mirabella Eclano, Italy). The last year was incredibly formative for me, as I was privileged enough to work on developing materials with the site directors of Aeclanum from the University of Edinburgh and the Apolline Project for public outreach for the Open Day, as well as ongoing learning materials for children to engage with archaeology in schools.The opportunities to share this work are blooming into new areas for me professionally with a lot of creative directions to pursue.
My first dig
Ten years ago, before I knew what I wanted to with my life, I applied for the opportunity to work on a three-month salvage excavation in Poros, Kefalonia. This excavation was organised in collaboration with Simon Fraser University and the Ephorate in Kefalonia. One family in Poros, the Metaxas family, made an incredible impact on my time there. They were strong advocates for this dig, working with the local government to see that the archaeological site was excavated before it was robbed or destroyed once it became apparent that there were tombs located there.
It was a project born out of a local passion with an aim to start documenting and publishing the rich history of the area, which had been under occasional excavation for decades with very little making it into the public record. By the time of our arrival, there was evidence of looting, so speed was of the essence and the local archaeologists worked with a ragtag bunch of undergrads to excavate and document the human remains and small finds.
The scientific processes are the same for a salvage dig as a normal one, but the elements that are the focus of the excavation tend to be revealed and in peril, so acting quickly and documenting as much as possible is the priority. Our team worked on the excavation during the day and in the evenings would have classroom time and readings, even the odd Greek lessons. Even on the rainy days where the schedule entailed 8 hours of pottery washing, it was still brilliant to be part of.
The antiquity of the necropolis was evidenced through artefacts which represented multi-period usage on the site for burials, an ancient garbage dump (large amounts of broken pottery and animal bones), and fluted columns and architectural blocks from some unidentified building structure.
Excavation in Pronnoi
The excavation work was productive for getting the half-exposed burials out in time before the winter rains began to set in, though occasionally, flash rainstorms would flood the side of the mountain with us on it. The pithoi were interesting tomb-types that were repurposed from containers for bulk storage of grains or other items to a burial container. Once the ceramic vessel was broken up, a body was interred in a flexed or crouched position, and grave goods were added. The vessel was placed around them with fill, but could be accessed again, if another body was to be added to the burial at a later date.
The status of the publication of the finds from the dig is unknown to me, so to avoid getting in trouble, I have made a few artistic renderings of some of the standout artefacts:
Gorgon head, amber.
Corinthian, silver coin.
Lyre player, pottery sherd.
From atop the hill we excavated the necropolis, you could see across the valley with stunning views inland and out to the sea. Putting myself in someone’s sandals from 2,500 years ago and looking out across the same seas they did was a moving experience. Having studied Humanities texts and Art History prepared me in a large way for I was able to see how much more I need to understand before the study of Archaeology or Ancient History. Linking this site in my mind to the Homeric kings and events from the Iliad and Odyssey was only natural, since it was on our reading list, but the chronology of the material culture certainly aided the visualizing of the Bronze Age culture.
Searching for Bronze Age HeroesThe antiquity and long habitation of the region was visible in another area, Tzanata, 3 km east of Poros in the Eleios-Pronnoi municipal region, which had a preserved tholos tomb, or ‘beehive tomb’. This type of tomb has a dome-shaped chamber (like a beehive cut in half), an entrance passage (dromos) and a doorway (stomion) covered with 1-3 lintel blocks. These monumental structures would be buried underground, though accessible, as there could be multiple burials over long periods of time.
The nearby environs of Poros were home to a Bronze Age tholos tomb, which has been dated to around 1400 BCE. This tomb, excavated by Lazaros Kolonas in 1991, contained several sequential burials that could suggest a common lineage.
While significantly smaller than the most famous tholos tombs of Mycenae, it certainly showed comparable architectural features and represented elite participation in the monumental funerary building of the Bronze Age Mediterranean. Finds in the archaeological museum of Argostoli (temporarily closed) reveal golden grave goods from the Mycenaean cultural influence. Included in these finds were carved gemstones a seal that has been interpreted as ‘royal’ were discovered in the tomb.The proximity to Pylos, among other Bronze Age kingdoms of the area, provide parallels chronologically for local elites of Pronnoi having a similar kind of rule over the area by virtue of using similar funerary cultural practices. However, little is known of this site as the excavation reports remain (I believe) unpublished. If further work has been done on this site, it would open up a lot of interesting questions about the position of Kefalonia within Bronze Age trade and indeed, later into the Classical period.
Suffice it to say, my time spent in Poros, Kefalonia, was fundamental in shaping the direction of my studies and career plans. While I have not been back since 2008, the richness in history, the warmth of the community and beauty of the island is still deeply felt. I am making plans to return and investigate the current findings of the area and reunite with the incredible people who made it such a memorable experience for me.
“To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world”
– Charles Baudelaire, The Painter of Modern Life and Other Essays”
The concept of ‘the flâneur‘ is an old one that has recently entered my mind as my PhD research is starting to intersect conceptually with my artistic experiences within ancient city spaces. As someone who feels that you need to walk a city to really experience it, I also believe to really see a city, it helps to sketch it; not the whole thing, and not just its monuments, but small details and elements. The 19th century French symbol of the flâneur is relatable to me for that reason.
For the flâneur, one interacts within urban spaces through engagement (in painting or writing) and observation, but still remains apart- both a performer and spectator. The lesser-known ‘flâneuse’ is the female chronicler of urban life in the 19th century, figures like Virgina Woolf, as discussed in this article, are part of the underespresented presence of female urban explorers. As a modern female explorer of ancient urban spaces, creating a space to discuss, share and engage with these ideas and locations in the public sphere is important to me.
Macellum of Pozzuoli, Italy. 2014
Additionally, this concept resonates for me, as an archaeology student and artist, because it embodies more than a spirit of adventure and making art, but also a spirit of understanding and trying to piece together the urban landscapes that have developed and disappeared over time.
Maratea and the statue of Cristo Redentore, 2015.
Since my first trip abroad, in 2002, the drive to sketch and take in everything that I could has formed an important part of appreciating a significantly bigger world than I knew. Sketches from my earlier books explored famous portraits and statues the likes of which I’d only ever seen in Art History courses.
Faces from Florence, 2008
Boticelli: Madonna of the Magnificat, Florence, 2008.
This initial exposure provided me with access to masterpieces in galleries that were unlike the art I could see with any regularity in Canada. Sketching from paintings was a lot of fun and I felt so fortunate to see the images, but my first visit to archaeological sites in Greece and Italy really affected what I wanted to draw.
Visiting many sites in the Mediterranean over the last 10 years, I was able to sit and breathe in these ancient cities by focusing in on the shapes and forms of the stone, lines of sight, and views between one temple to the streets or the valleys below. My curiosity directed me to explore artifacts and material culture that were used to adorn Greek, Etruscan or Roman buildings and the individuals who navigated through them.
From Observer to Preformer
The most inspiring pieces of art in the world were at my fingertips (sketchbook and pen tip), but my shyness about drawing in front of strangers took a few years to overcome. Ironically, the simple act of drawing in public would lead to some of the most interesting encounters with fellow travellers, curious children and tour groups. I have found the quiet study of the place you are in, or artifacts in front of you, signals something unspoken to other people which is inviting.
Over time I developed my own sense of style. I could explore patterns and elements taken from brick designs, patterns of lace on Dutch merchant collars, hairstyles of Roman and Greek elite women, and not worry what the person hovering over my shoulder thought.
profile of Queen dressed as Isis, 2nd century BC. Thonis-Heracleion
front view of Queen dressed as Isis, 2nd century BC. Thonis-Heracleion
Much of what made this passion for drawing more appealing was the utility of having something free and enjoyable to do with the many hours you spend while traveling to get to the place you are going. Waiting to cross the sea on a ferry or idle at a train station on my way to a new city, provided me a good amount of time to reflect on my sketches.
Aegyptiaca from Marseilles
Herakles Pottery Sherd
This reflection began to take greater shape and purpose once I started to do postgraduate research. Having questions and a focus of study in my mind affects the way I approach the ancient city spaces around me. It focuses my vision, but also encourages me to think on the connections between the visual elements across the Mediterranean. You don’t need to travel all over the Mediterranean to realise there is a shared visual culture being used with an incredible exchange of ideas and styles at play, but it was helpful to visualize the scope.
It began to create a tapestry of experiences (passive and active) in my mind of ancient art and the interconnectedness of ancient communities that had risen and fallen many centuries ago. I remain inspired to learn more and document it in a way that is meaningful to me and hopefully others. By saving a small piece of my experiences in a sketch or painting, I am starting to develop ways in which these small illuminations of incredible places and artifacts can be used to share the benefits of the study of Archaeology and Ancient History.
Deciding to listen to the good advice I was given at the onset of embarking on my PhD, I opted to follow the rule: once you’ve submitted something substantial, take a week and decompress.
The first few months of my PhD have been a whirlwind of new ideas, late nights and piles of reading. It had been three years since I’d written anything so formal, and the gap in between was noticeable. Like an unused muscle, my writing felt crampy and good for only one lap or two around the court. Though working old muscles can be exhausting, diving into the subject that you love is enjoyable and invigorating. After several years of wanting to spend my daylight hours working on something interesting and challenging, the last two months have sped by. With the completion of my first review submission, there was no shortage of things to work on and develop.Deciding to listen to the good advice I was given at the onset of embarking on my PhD, I opted to follow the rule: once you’ve submitted something substantial, take a week and decompress. That can mean many things of course. Understandably, long train rides and walking many miles might not be someone’s idea of decompression, but hey ho.1. Go Find Your Chill
Normally, I am the last person to take advice relating to self-care and relaxing (shudder), but I thought, ‘why not’? Four hours after submitting my work, I jumped on a train to Manchester to visit a couple of wonderful friends who I met during my MSc at Edinburgh. My wonderful hosts, both a current and future PhDs, welcomed and showed me their adopted city. Manchester was a beauty. With plenty of time to explore the downtown and no particular agenda, other than seeing what they love about it, I could relax and take it all in.
2. Take in a Bit of Culture
There is something restorative in going to art galleries, museums or creative performances. Even if you don’t necessarily like the art on display, just seeing what creative minds have been/are up to can take you outside of yourself for enough time to relax a bit. At least until the next “BREAKING NEWS” alert on your phone goes off. When needing to feel some inspiration, or just wanting a quiet space to draw, museums and galleries tend to be my preferred space to do so. Popping into the Manchester Art Gallery allowed me the rare privilege to see one of my favourite paintings in the flesh – Charles Auguste Mengin’s ‘Sappho’ – which was breath-taking and significantly larger than I’d imagined.The depth of the darkness in Sappho’s gown cannot be done justice with a digitized image, and the highlights looked iridescent in some spaces. Sappho, so often presented longingly and wistfully, is shown powerful, dark and mourning. Her angst and colour palette was a natural favourite for me in my high school goth years.3. Nightime Walks and Christmas Markets
Walking around at night when travelling alone isn’t always the safest choice, so when I have the opportunity for company, it is an excellent way to see another side of a city. As this was my first time in Manchester and it coincided with Christmas festivities, strolling around the streets at night was especially lovely. While making me homesick, one of the perks of living in the United Kingdom is the on-point Christmas markets. The smells of meat, waffles and mulled wine were amazing. It required all the will-power I possessed not to buy adorable kitsch ceramics, and eat all the treats.Onward through town we went, eventually settling into a pub near the university. Ample political debates, methodological discussions and general nerdiness ensued.
4. Treat Yo SelfThis might seem fairly obvious, but taking 30 minutes out of the day to have a leisurely coffee or popping into a print shop and finding Liam Gallagher greeting cards (nailed it, Manchester) is sometimes the treat you need to clear your head. It doesn’t have to be a big production, but leaving the to-go cup behind and just sitting in nice spaces with friends (or alone) is one of my favourite parts of a solo journey. Seldom do I plan a trip without packing as much as possible into the schedule, but trying it out this month was really rewarding and relaxing.
5. Reflecting Taking stock and heading home, I was thoroughly impressed by the juxtaposition between new and old buildings in the city. There is a lot of effort to create dynamic visual landscapes, which living in the historic neighbourhoods of Edinburgh, I occasionally forget that skyscrapers, tower block flats and vivid colour are normal to see. Shaking off the last few weeks of 14+ hour work days, and stress that ate normal stress for breakfast, I definitely came back feeling more refreshed, and through that, optimistic. Though only a few days, it was a wonderful stop.Next stop: BRUSSELS! 48 hours later, my partner and I jumped on a plane and were en route to Eindhoven for a week