Leap into blue

the big leap

Charlotte Evans, the Big Leap, 2013

Evan irritated him. He squeezed his eyes shut, “Life would be so much better without you.”

Mean scratched his heart —  a selfgrown claw. He did not have Evan’s unbound affection that flowed from his middle brother to halo those close around.

But not him. He shrugged away from any touch. Next too Evan’s brightness, he shadowed deeper into gloom. Water traced his back, eddied down past his fingertips. Drip. The air, warmed all through, pressed against him. Toes crushed soft fern.

Bennet he loved — buoyant — from the beginning as he despised Evan. Bennet could coax a laugh from his darkwild mind.

Yet, with a sound splash, they sunk all three, into bluegreen brotherhood. On land that was unstable and ill-suited, now washed away in slosh of wet and calm harbor shade. Minnows caught in army green weeds. Caught in boy fingers too. Crawdads fast cranny into holes, clawpinch sunken treasure of rotted slime. Oaks cradle earth on their knees and feel the pressure of boy feet in their arms.

With a warholler.

Leap into blue.

Warm crashes into cool and wet. Plunges him and them all into deep unworry and forget.

These are the idyll days they try to recall. When spring fed pools make everything fine. And found in their ragged bounds —  a sudden solace.


Tricks that Shadows play

Bottles &Jars #9, watercolor on paper, 2012, 15 x 22 inches

Bottles &Jars #9, watercolor on paper, 2012, 15 x 22 inches

“Every artist knows that there is no such thing as “freedom” in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.

Nobody can paint the sun. or sunlight. He can only paint the tricks that shadows play with it, or what it does to forms. He cannot even paint those relations of light and shade – he can only paint some emotion they give him, some man-made arrangement of them that happens to give him personal delight – a conception of clouds over distant mesas (or over the towers of St. Sulpice) that makes one nerve in him thrill and tremble. At bottom all he can give you is the thrill of his own poor little nerve – the projection in paint of a fleeting pleasure in a certain combination of form and color as temporary and almost as physical as a taste on the tongue.”

– Willa Cather, Light on Adobe Walls


Naked

Cassie Normandy White, Sea Populations, 2012, courtesy of the artist

Cassie Normandy White, from Sea Populations, 2012, courtesy of the artist

I attended an intriguing art fundraiser last night. The art was stripped naked.

By that I mean that the event concealed the identities of the artists. The 5X7 Splurge at AMOA-arthouse, Jones Center stacked a white room with shelves of mysterious minis  — over 500  small format various media miniworks (some 3D) by wide ranging artists and sculptors. All art — one price – $150.

But you have to wait for the bullhorn to buy. Yes. Its blare tore through anticipation in the museum as high style people grappled over each other to rip off little silver tabs hanging by each painting. If you snag the tab the art is yours.  “Negotiations” between patrons for popular pieces – fierce. But let’s not talk about my social inappropriateness here.

I’m interested rather —  in the naked place. The place where you view art stripped of all context, all brand, all socially perceived value. Only the piece and your eyeball.

How to choose from the multitude? What do I internally do to create a $150 value for a work the size of a 50¢ postcard?

I tried to analyze. Hmmm. . . what is the quality of the drawing/painting? How does the piece address the size constraint? What is its materiality? Does its presence defy its borders? Does it break the plane, do something interesting/unexpected? This intellectual toying was my catbrain with a string.

But my emotions agonized. I didn’t want to be wrong — to pick a sub-par piece. I second guessed X 10. I wanted someone to fight me for the tab I grabbed (but I didn’t). I wanted the Antiques Roadshow Moment – “you’re kidding, my painting is worth what???” I wanted to see what no one else saw.  Naked value creation – for my ego.

Why couldn’t I pick a piece and just enjoy it?

Well eventually I did. See above.  And I learned again what I keep on learning. Be brave. Love it just because you love it.

And because your friend — who is a consummate judge of art —  approved.


star filled night

the milky way

Peter Doig, the Milky Way, 1989

in the absolutely dark sea i have birds that
land on me and go inside me
let me go near you to touch you
let me put my birds
exactly in your mouth
what can i do with your moon lighted and
bare knees
what is there now
every thing on you i want
you are somthing softer than star filled night
open up my
cranes in you
open up my cranes

steve roggenbuck from i am like october when i am dead, 2013 reprint


Mother Earth

Andy Curlowe, Adam. . .Let's go to Colorado, 2013

Andy Curlowe, Adam. . .Let’s go to Colorado, 2013

I went to a Millennial poetry reading last night literally sitting on the train tracks. I peed in a bathroom lit only by a black light and watched the torn pieces of toilet paper scattered-squat on the floor, glowing bits of paper eyes. I heard poetry like this.

earth body

imagine trees growing out of your arm

people walking all over you

cars and trains polluting the air you breathe

octopuses spraying bad tasting ink in your mouth

nuclear bombs going off around your neck

oil rigs digging under your skin

kimono dragons fighting each other in your hand

polar bears swimming in your eyes

a dad dropping a plate of hotdogs on your knee

meteors from space hitting you in the head

the inside of your body molten hot

and you cant escape any of it

this is what is feels like to be mother earth

daniel alexander  from slime dog you are my friend

And I remembered again that I am not young anymore. I am old as dirt.


New Year

Susan Finsen, Untitled 2

Susan Finsen, Untitled 2

I’m not a fan of resolutions – I find them flimsy and limiting. Trying to “solve” life or “re-solve” life is a perilous venture potholed with frustration.

I’m not saying you shouldn’t try to reflect over the year and evaluate (This year I liked. . . )

Find areas for improvement (I wish. . .)

Isolate the things that worked to redouble efforts for success next year (What if . . .)

Accurate feedback is helpful – possibly life changing. One small study found that people who write down their goals more often achieve them. http://www.dominican.edu/dominicannews/study-backs-up-strategies-for-achieving-goals

Yet -I’m making a case for following this year. Artists already know the power of following. Follow inspiration to see where it leads. Allow ideas to unfold and evolve. Watch your creativity and ask how you can help it. Rather than ironing intention into a sentence to stick on the mirror/fridge for future castigation. Balled up and crushed in the trash by March.

Resolutions are limited by self-judgement – powered by self-discipline. People who are good at judgement and self-discipline profit from the model. The rest of us must follow – our passions, our ideas, our “what if life was like. . . this?” I’m for drawing a picture in your head (or paper) of what you want, and following that.

If you have an ambition – what does it look like? If you have a joy, find its color and keep close. If you feel trapped, cut out a door. If you are aimless, craft an arrow.

To pictures of a new year and a long swig of champagne. Cheers friends!