Full Stop [David’s blog on Not So Flawed Wednesday]

“All colors are friends of their neighbors and lovers of their opposites.” ~ Marc Chagall

I was awake last night. As I stared at the ceiling I wondered if, after a lifetime of painting, I knew the first thing about color. Or brushes. Or surfaces. I wondered if I am shedding knowledge or never really gained it in the first place. I supposed that it probably does not matter either way as long as my eyes are open and I appreciate what I see.

Whether or not any knowledge sticks misses the point. Staring into the dark I managed to parse the difference between curiosity and information-gathering. I am and always have been a teflon-studier, a miserable retainer of detail. I like to roll up my sleeves and “see what happens”. I suppose I’ve made it a practice to regularly challenge what I think I know…

Staring into the dark I managed to laugh at the river of dross that regularly runs through my mind. It’s a wonder I can sleep at all.

The coneflowers nearly knocked me over. The orange with red against the green was so vibrant I almost had to look away. I like going to the garden center. Flowers are great teachers of color. So are walks in the woods. The garden center is a festival of color saturation while the woods are more of a quiet prayer.

I keep close at hand a National Geographic article about the color of human skin. We do ourselves a disservice to reduce each other to black-and-white. We are a full spectrum of color, glorious in the range of tint-to-shade. We could learn much from Marc Chagall’s observation of the color wheel. Rather than use our skin color to divide-and-conquer, to caste ourselves, to foment blather like eugenics and supremacy, we might open our eyes and see: “All colors are friends of their neighbors and lovers of their opposites.”

Together we are glorious. Separate we are without reference; flat and bland.

Full stop.

read Kerri’s blogpost about CONEFLOWERS

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A Shape In Nature [David’s blog on DR Thursday]

Staring at the tree in silhouette against the sunset I was struck how much of our written language is pulled from shapes in nature. the runes and glyphs en route to alphabets. A sound associated with a mark on paper. Black ink on white fiber.

For some reason this silhouette brought me to ensō, the Japanese art of ink circles. An open or incomplete circle symbolizes impermanence, the beauty of imperfection. Wabi-sabi. The beauty found in life as it is, not as we want it to be.

Impermanence is a theme of our conversations this week. We walk through the park at sunset and talk about the transitory in ever widening circles of experience, beginning with our own lives, moving out to the government and reaching further to the climate. Nothing is fixed.

I have been playing with shape/symbol as if it was en route to becoming an alphabet or perhaps a long lost written language newly discovered. Like all language symbols, I am making it up. These symbols hold no deeper meaning other than I find them beautiful and making them is mind-freeing and fun.

Sometimes I “write” from left to right and sometimes the other way around. Sometimes I do not pay attention to the direction and break the line. It is easy to paint my “runes” from left to right because I’ve had a lifetime of patterning to read and write in that direction. It seems natural even though I know it has nothing to do with nature and everything to do with acculturation. I’m trying to forget all the rules and, rather than create something, I hope to discover a new promised land: an open mind.

In pursuit of my open mind I’ve made new rules to break the old rules. No brushes allowed (except to wet a surface). Try something new every day, scrapers or sandpaper or rags. Use more paint (I have a poverty mindset where paint is concerned. It’s expensive so I have developed a lifelong dedication/necessity to-make-the-paint-last rather than working freely. To help bust my poverty I’ve purchased cheap-cheap-cheap craft paint in bottles and am using up old house paint).

The most useful new rule is Don’t Think About It. Let it be beautiful as it is, not as I want it to be. Ensō. Wabi-sabi. The beauty of imperfection, a mark on paper or board, maybe or maybe not associated with a sound but certainly inspired by a silhouette or some other shape in nature.

read Kerri’s blogpost about THE TREE SILHOUETTE

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Give Time [David’s blog on DR Thursday]

“Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.” ~ Georgia O’Keeffe

I am fortunate. I have good friends. Really good friends. We give our time to each other. We’ve given each other our time for a very long time.

Time is not something marked by a clock. It is a decision. It is attention given with intention. Giving time is not as sterile as it sounds. It is not bookkeeping. It is generous.

At the end of the day, attention is all I have to give.

At the end of each day I give some time and attention to gratitude. I review my day. I give attention to what I gave my attention during the day. Kerri and Dogga are always in my review. My friends. This house that keeps us safe and warm. The list spirals out from that constant center. The orange day lilies that brought a smile. The sunrise. The slow evening walk that we enjoyed. The enormous hibiscus that stopped us in our tracks.

It is an important question to ask at the end of each day, “To whom or what did I give my attention?” I wish I would have asked this question of myself earlier in my life. I would have seen many more flowers. I would have been a better friend. I would have spent less of my limited time on earth giving attention to abstract futures or nonsense achievements.

No matter. I cannot go back in time. And that is precisely the point. I have attention to give and rather than look in the rearview mirror, how much more satisfying is it to give it to this moment, to today, the first sip of coffee in the morning, the clicking sound of Kerri’s keyboard as we perform our morning ritual, writing posts together, about the marvels that we experience, like an enormous hibiscus that caught our attention and shared with us a little bit of its time.

read Kerri’s blogpost about THE HIBISCUS

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What Do You See? [David’s blog on Two Artists Tuesday]

In this cloud Kerri sees a dragon. What do you see?

34 years ago Dave bought one of my paintings. It was so new that I’d neglected to sign it. In fact, I’d hung it on my living room wall because I wasn’t certain that it was finished. I was studying it. It was at best a happy accident that he even saw the painting. He loved it and bought it. I boxed it up and shipped it. I didn’t even have a proper photograph of it. Recently, out of the blue, he contacted me to ask if I might issue a certificate of authenticity. I was delighted to whip up a certificate for him but even more delighted to finally have a photo of the painting.

During our email exchange he asked me a question that is commonly asked of artists: “Maybe you could help me with a conversation I have had countless times with my wife and friends over the years.What is going on in the painting?” I smiled, knowing that he was going to hate my answer.

The first rule of artistry, as it was pounded into me, is to never answer the question, “What’s going on in the painting?” Or the song. Or the dance. The reason has nothing to do with keeping it a secret or whipping up a mystery. The reason is that “the art” happens in the moment of direct engagement, the moment when someone (not the artist) sees something in the painting, something personal. Something they bring to it or pull from it. They re-create the painting as theirs. That moment is a moment of creation. It’s the reason I get cranky at curators who feel the need to tell an audience what a painting means or what is going on in the composition; the curator steps between the viewer and their direct experience. They interrupt the creation. It’s like a priest inserting himself between a worshipper and their direct personal communion with their higher power. Some things need no interpretation.

Art is meant to open people to personal insight, to evoke questions or a deeply personal response to what they perceive. To spark conversation and lively debate.

When an artists tells someone what they intended, they are closing down the possibilities, stopping the moment of re-creation.

Dave wrote, “I have had people say it’s a panoramic of a hectic bar scene complete with a dog. Others say it’s showing an individual struggling with themselves, or a metaphysical exercise with multiple persons showing multiple emotions. Any light you can shine on the subject of the painting would be very helpful.” I adored every interpretation he shared.

Many years ago, at my very first art show, during the opening, I followed two old guys around the gallery. They did not know that I was the artist. I followed them so I could eavesdrop on their very lively conversation. They speculated about the meaning of each piece. I was amazed at what they saw. They had fun debating the sanity of the artist. They finally concluded that I must be insane BUT wrapped in their conclusion was the single best compliment I have ever received. After determining that I was insane, one of the gents leaned into his friend and said, “All of the good ones are, you know.”

Imagine how disappointed they’d have been if I had tagged along and told them what each piece meant to me. Trust me, their interpretations were infinitely more interesting than my intention just as, for Dave and his friends, a hectic bar scene with a dog or an internal struggle or a metaphysical exercise…are wildly more satisfying than any light I might shine on the painting. My light would kill the fun and the power of their re-creation.

What do you see? Kerri sees a dragon in the clouds…

Untitled, circa 1992, approx. 36″ x 112″, acrylic, house paint, animation cell paint on canvas

read Kerri’s blogpost about DRAGON IN THE CLOUDS

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Complete Verity [David’s blog on Not So Flawed Wednesday]

Edward Hopper might have painted this scene. A lone person sitting on the bench would have sealed the deal. Everyday American moments of isolation made beautiful by light, line and perspective.

Edward Hopper would have wanted to paint Jack Smith sitting across the table from Nicolle Wallace during their recent interview. An American man isolated by his integrity. A few times during the interview, given the chance to complain or judge, he opted instead to elevate others. Rather than focus on the corruption he said he’d rather spend his time uplifting the true heroes of our nation, the people who honor their oaths and hold firm to their dedication to public service. People who seek facts and value truth rather than clamor for the spotlight. He would rather throw light onto the people holding the line of equal justice for all in our nation of laws.

Hopper most certainly would have been interested in painting Major Jason Watson as he was arrested on the steps of the Capitol. Isolated in his integrity, lonely in his commitment to upholding his oath to the Constitution, he held a sign, “Impeach, Convict, Remove”. A quintessential American moment. Protest. An action with real consequences for the actor. Strong lines and light. Perspective.

“Hopper created subdued drama out of commonplace subjects layered with a poetic meaning, inviting narrative interpretations. He was praised for “complete verity” in the America he portrayed.”~Wikipedia

Complete verity.

Verity: the quality or state of being true, factual, or accurate. Verity is in short supply in this republican administration.

A painter of verity. The America Hopper portrayed turns away from the noise and stares into the silent night. Hopper knew that lies are loud and mostly uninteresting. Truth is often whispered. Truth is tacit. Truth is worth honoring, dabbing brush into paint. Although the paper-cowboy-republicans might loudly proclaim exclusive ownership of the American spirit, Hopper would have no interest in them or their screeching leader.

Although the keepers of truth might appear isolated, most definitely under siege, made to look and feel alone by a raging authoritarian and his Murdoch-propaganda-fox-noise-machine, there are far more Jack Smiths, Jason Watsons, Nicolle Wallaces…out there – out here.

Jack Smith suggested that our path to reunification runs through reclamation of integrity, of attending to fact rather than losing ourselves in daily doses of ratings-driven-screeds.

Complete verity, as found on a lonely railway platform, staring into the quiet of a summer night. Waiting for the train. Strong lines. Powerful light. Perspective.

read Kerri’s blogpost about THE TRAIN STATION

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Hand It To Chance [David’s blog on Not So Flawed Wednesday]

“Mark the mark on purpose, hand it to chance, and see what comes back.” ~ Nicholas Wilton

Quinn always said, “Cultivate your serendipity.” Allow luck to greet your ability. Or, as I am learning again (and again and again…), to grow, ability needs to let go of control.

The final lesson learned by a performer, perhaps the hardest lesson of all, is to let go of the work. All of the rehearsal, all of the study, all of the repetition, the preparation, the quest for perfection…needs one final action to fulfill itself: the performer has to get out of the way. Hand the good work to chance. Let it go.

After weeks and weeks of research, she chose the peony that she wanted to plant. The root arrived with specific instructions. She chose the best spot in the garden and the right day in the right season and planted the root at the right depth facing the right direction. And then she waited for spring. She fretted the prescribed amount, no more, no less.

The little green stem broke through the earth and seemed to stall. She studied appropriate amounts of water, she studied angles of the sun and questioned her planting placement. We put up a tiny fence to protect the tender shoot from critters and our Dogga who digs. I believe, although I do not know this for a fact, I believe she offered daily prayers to the peony-powers-of-the-universe. Her little stem, like the little engine that could, struggled and produced one tiny blossom.

She studied when and how much to cut back her peony, what to do over the winter months – namely, nothing – but sometimes arriving at nothing requires copious amounts of study. At some point, feeling as if there was nothing left to be done, nothing left to investigate, somewhere between the dark of winter and the return of the light, she surrendered. She gave over. The little peony was on its own.

Ability met luck. A wet spring with warmer than usual days had peonies a-poppin’! The little stem returned with some serious chutzpah, producing not one but many vibrant beautiful blossoms. It now stands in our canon as the single most photographed peony plant in our entire peony history. “I can’t stop taking photographs,” she said, “It’s so amazing!”

And, so it is. A performer’s lesson as played in the garden. And just look what came back!

read Kerri’s blogpost about THE PEONY

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Play And Walk Away [David’s blog on DR Thursday]

This is the season of vibrant color. The muted tones of winter have traveled through the pastels of early spring and stepped boldly into full saturation. The greens are not holding back. The magenta of the peony is unabashedly electric. The purple and blue blossoms on the trail demand an audience. Nature’s color wheel abandons the monochrome of the cold months and proudly and loudly performs in full contrast.

Breck-the-aspen-tree grows a few inches every day. “I wonder if we stared at Breck would we see her growing?” she asked.

We are on peony watch. It was only a few days ago that the tiny buds appeared and then like old-fashioned Jiffy pop they visibly swelled and are now bursting open. The peony flowers have a very short life-span so we give them our undivided attention and appreciate every eye-popping minute that they give us.

I bought a full color spectrum of cheap craft paint. I am in the mood to play and don’t want the expense of the paint to be a barrier. I don’t want taking-myself-too-seriously to be an obstacle. I have several small canvases and some panel pieces just waiting to be splashed. Master Miller sent me some cool painting tools so I’ve made a single rule that no brushes are allowed until the final washes – and the only brush allowed is a cheap 3″ house painting brush. Only the cool tools, scrapers, wipers, palette knives, crayons, my hands…and anything found on the shop floor. No thinking is permitted, just playing, impulse and intuition. Play and walk away. There will be plenty of time for serious study in the fall.

I want to take full advantage of the fearless energy of spring.

Kerri calls this little ditty “Primary.”

read Kerri’s blogpost about COLOR

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A Growing Up [David’s blog on Not So Flawed Wednesday]

“The role of the artist is exactly the same as the role of the lover. If I love you, I have to make you conscious of the things you don’t see.” ~ James Baldwin

It’s always been dangerous to be a jester. It’s akin to working on electrical lines in the rain. Rarely does power like to be contradicted or hear the truth or be the target of a joke – but it is never-the-less the role of the comedian, the artist, to strip away the illusion. To tease forward the truth. Throughout time despots have tried in vain to silence the voice of the jester, the song of the composer, the vision of the painter. Hitler. Pol Pot. Stalin. Kim Jong Un. And now? Sadly, we have produced one of our own. Take heart: artists are servants of love while despots are prisoners of rage, and, in the end, love is always bigger than hate. It is possible for a period of time to silence the individual artist but the love of truth always transcends the volcano of hate. “Truth will out.” (William Shakespeare, The Merchant of Venice)

Stephen Colbert and Jimmy Kimmel will be making us laugh long after this rage has burned itself out.

A truth? Our nation, my nation, refuses to grow up. It turns its back on its history. It runs from its shadow. It is like the spouse of an alcoholic pretending that all is good. It is akin to a parent who abuses a teacher who dared give their child a well-deserved failing grade. Appearance is all.

Love is substance.

Proof of our Peter Pan nation lives in the White House. He has surrounded himself with a band of lost boy pirates. The despot-wanna-be is not an aberration, he and his pirates are the ultimate expression of entrenched immaturity. They are boys who swear the dog ate their homework, responsible for nothing, responsible to no one. They do not care to compete, earn or work for betterment yet desire every trophy for their shelf. They gild themselves like the ballroom. They celebrate the vapid and court superficiality. They somehow believe 19th century nonsense that whiteness makes the man. They build their clubhouse high in a tree and post a sign: No Gurls Aloud! Their skins are thin, their intentions self-serving.

It is why artists are such a threat. They see the childishness and make fun of the lost boys vapid antics.

In such an immature playpen, there is no love, there is no capacity for love: only a competition for toys. “Mine, mine, mine!”

“Love does not begin and end the way we seem to think it does. Love is a battle, love is a war; love is a growing up.” ~ James Baldwin

read Kerri’s blogpost about HEART LEAF

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Done! [David’s blog on DR Thursday]

I am losing the recall of words and names. It happens. I threatened to take a brain booster and the notion sent us into gales of laughter because, we concluded, I am a more likable person with a less-sharp brain. I will do better in the world now that the edges are rounding. It is best to walk into the future without the booster and a few less facts-at-my-fingertips.

I confess that with my diminished capacity I have experienced greater contentment. Knowledge was armor and with less access to weaponry I’m having to exercise a different set of skills: keeping my mouth closed, listening, not-knowing…the things I’ve pursued my entire life but am now able to achieve because I have to practice them. Life is funny.

I’m splashing paint. I have a plethora of old canvas and odd shaped boards. Simultaneous to my new less-than-sharp brain, when in the studio, I’m experiencing the deep desire not to think about anything. To paint with no other purpose than to see what happens. Experiment. Art as life in the laboratory. Twice in the last week Kerri has come into the studio to see what I’m working on and said, “I like this one.” When I ask her what she sees, she squints her eyes, approaches the easel, and flips the painting over. Up is down and down is up. It is my clue that the painting is nearly complete.

“What would you call this?” It is always my second question: Without hesitation she gives it a name. I marvel at what she identifies in the splashes. I call the painting, “Done!”

Inevitably on the trail, she “Ooooohs” and kneels to capture the tiniest of blossoms. It is the time of year that nature gives her too much to photograph. We stop every few feet. And, although she has told me several times the names of each flower, the names never stick. That is not new. When I was auditioning actors I asked them to wear the same clothes during callbacks since I’d better remember their work by what they wore, not by their names. Visual memory. For me, the tiny blossoms are like actors. I recognize them without their names getting in the way of my appreciation.

Perhaps my recent word-recall-struggles are merely a matter of me becoming more of who I have always been? I’d pose the question to Kerri but she’d squint her eyes, flip me on my head and tell me that I was “Done!” Make no mistake, I’d be very careful NOT to ask her my second question! I do not want to know what title she’d affix to me, especially flipped over, with all the blood finding its way back to my brain.

After The Storm

read Kerri’s blogpost about TINY FLOWERS

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The Necessity Of Texture [David’s blog on DR Thursday]

“I like the flower against the wood,” she said. A statement of texture. Variance is infinitely more visually interesting than uniformity. Innovation is more about deviance than it is about conformity. Ingenuity is the blossom of wild imagination and not the child of practicality.

In every aspect of life, the pursuit of a question is far more important than the regurgitation of an answer. Learning is never about the answer. Life is never about having an answer. It is never about the hard-held-belief; it is about the capacity to challenge every scary assumption. It is about stepping beyond judgement into the unknown. That is known as expansion. It requires an open-mind.

The maga-man looked mockingly at the interviewer and said, “I don’t care what (the wannabe-dicator) does as long as he owns the libs.” What does that mean, to own the libs? The interviewer asked a maga-woman what she meant when she used the term “woke”? Like the maga-man, she has a particular hatred for folks who are “woke.” She admitted that she didn’t know what it meant but she’d heard it plenty of times and she knew she didn’t like it, whatever it is.

No ability to question or challenge. Regurgitation. This is known as a closed-mind.

To be educated – inquisitive – one need not pull a single right answer from a hat. It is far more essential to stoke curiosity and find a path of many answers en route to greater and greater questions. A single answer, unquestioned belief, though safe and perhaps temporarily gratifying, rarely provides life with texture and vitality.

It is not a mystery what will happen if this administration manages to scrub all the color from the nation, to eliminate the texture, the voices of dissent, to actually achieve dull conformity, the bland uniformity that they think will make America great. No variance. No diversity. No deviance. No ingenuity. No innovation. No imagination. No capacity to reach across difference.

A few questions, a recognition of the necessity of texture, might save this ailing nation a world of hurt and decades of self-inflicted pain.

Day Is Done (work in progress). Nothing but questions and texture.

read Kerri’s blogpost about WOOD ANEMONE

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