Which came first -the elephant or the egg?
I like obstacles. They tell on me. Study your obstacles – what tale do they tell about your thinking? Elephantine obstacles require a great force of self to move, but many are completely mind made up.
In this totem, the elephant balances on a lavender egg. The elephant, remover of obstacles – is at once young and old – timeless leathered skin defined by burls in the underlying wood.
In motion. Maybe she was laid off – again. Maybe he holds divorce papers – again. Maybe she heads a faltering company or he’s losing a major client. These two-ton obstacles to happiness force us into motion. This elephant puts one uneasy foot in front of the other and though vulnerable, balances between hope and despair. She will make this egg take her where she wants to go. Perhaps finding (while plodding) a new direction. We don’t know how, but she will.
The bird, however, is stuck. Staring down a small black egg entirely avian made. Some dark ritualized judgement grounds her from flying free. A perceived tragic flaw, “I’m unlovable,” or “I’ll never reach my goals.” “I’ll always be _________. “I’m the worst ________.” Her wings pinned back. Cawing complaint.
But I see potential in this obstacle egg. Potential to find the thinking flaw. Black egg thoughts have a shady “all-or-nothing” ultimatum-ish type character – a dead give away. Hold on! I’m not the *worst* parent in the world. I messed up this time, but next time I’ll handle it differently. (deep breath)
Now we flex our wings. Now a dark egg cracks. Opens up to new and brightly life.
Where are you underneath
the holiday – yellow dogpile lines?
lemon lips. Green bean, durkee onion kiss.
I smell the turkey.
Is it done?
cavort you sweet potatoes
Stuff, Stuffed, Stuffing
and thanks for
“If it were not for art, I would have killed myself a long time ago.” Yayoi Kusama
On the subject of being crazy and creating mind-blowing art let’s talk Yayoi Kusama.
She came to prominence in the 70’s when she staged Body Festivals – naked people walking around clothed only in painted polka dots. And since then the dots have not stopped.
Polka dots are a way to infinity. Yayoi Kusama
Kusama leads the avant-garde contemporary art world. She checked herself into a Japanese mental institution in 1973 and since 1977 has called it home. She is escorted each day to her studio and is walked back to the hospital at night.
The Whitney now features an eye-popping retrospective of her work which you can browse when you click the picture above. She’s a published poet and novelist. Louis Vitton partnered with her to make this fall’s hottest, spotted accessories.
Her latest work sold for $5.1 M, the highest amount for a living female artist.
Don’t know about you, but that doesn’t seem too crazy to me. Just badass.
Her eyes caught mine and I stopped, mid-step on the crowded staircase at Wally Workman. It was love at first sight when I didn’t believe in love at first sight. An entrancing portrait by America Martin. With the kind of lines that make you want to pick it up and take it home. And that’s exactly what I did.
Her eyes turned my head. Like the frank, appraising eyes of this just ravished bather. She turns toward you with an open gaze, hand propping a tilted head.
And curves. Oh Lord, does she have ’em. Double, double-take curves. This woman’s body moves across the canvas like sand dunes undulating, hips rolling before they touch the sea. Pretty peaks and delirious-deep valleys.
Color is a flirt here. At times, filling out the space between lines, emphasizing the form, stepping into the outline. At other times, color dances unrestrained by line. Now, a spontaneous moving into background, now a free-shift into foreground. Teasing out the feel of the piece. Creating a slip of ocean or angel-winged reeds.
This work makes you believe in possibility. You can have contentment and yes, maybe even mercurial joy. She calls out your hope, (even if kicking and screaming) and says,” look, it’s in you.” And that’s the seduction of a true pick up artist, my friends. Come and pick up a beauty before last call.
White is a color. Or is it? Yesterday, a fashionista at the mall told me that white is a “neutral.” I hated to argue with her, because youth is infallibly certain. But white isn’t neutral at all.
White is breathless. When I approach art I usually clamor for stunning color or a nuanced message worthy of prophets. Intellectual vigor of form or composition.
Georgia sweeps all that away in this painting and confounds us with whiteness. White interests me for all its myriad associations. Purity, cleanliness, godliness. A white canvas or paper to some of us signals dizzy anticipation or nail-biting terror. But here, it is divested from spiritual or moral connotation.
I see an alien landscape, the twilight side of the moon. Craters and ash, shadowy gorges and soaring peaks unmeasured. Is this an internal landscape sweeping and bare or the external in infinite magnitude? Georgia reveals her surprise, it’s the inside of a clamshell.
Oh it’s so much more though. She makes the small and insignificant, grand. With sweeping lines, and hints of color, rivulets of green, glowings of yellow, she elevates white to legendary status. Mythic.
Pair that with your colored denim crops and skinny jeans people.
Are you feeling the vibrations of these patterns like I am? The rhythmic movement of color and form. The beat, beat, beat of the lines behind the flower (almost like a music clef). The larger forms of the leaves, tightening into the semicircle petals circling around, around, around, until. . . Boom! A floral fireworks explosion. Kaleidoscope of joy. Total delight.
Does it feel vibrant, warm and tropical? If it does, you are not far off the mark. This large-scale work is painted by Brazilian artist, Beatriz Milhazes who is internationally acclaimed now, though it wasn’t so in the beginning. She is part of the Pattern and Decoration art movement which was dismissed previously by the art community as “purely decorative.” But they couldn’t suppress their attraction for long and have since gobbled up her painting in museums and galleries everywhere.
This painting is one of a recent series of four seasons. I picked it because we are closing in on springtime, so let’s celebrate! And I wanted to talk about the power of repetition in life. The four seasons. Cycles that move us back and forth across time. This powerful flower steadied on a backdrop of repeating lines that are solid, bracing. I often decry boring Repetition – an endless rotation of days, nights, weekends, seasons. But aren’t they the foundation lines that give us the ability to appreciate the extraordinary. Or to create it.
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