Edge Of Time [David’s blog on KS Friday]

It was here for a moment. The snow on the wall. The tall grasses bowing beneath the weight. Today the grass is standing. Time moves on. Circumstances flow and change.

Yesterday we sat at a counter in the Public Market and ate gumbo. Kerri and the server, a young woman, talked about the oddities of aging. It was Kerri’s 65th birthday so the topic was vital and current. Both women laughed at how out-of-sync they feel relative to the number of their spins around the sun. “What is this supposed to feel like?” they asked in unison. The old man sitting next to us almost spit out his salmon.

We arrived at the art museum an hour before closing. She said, for her birthday, she wanted to visit her boys: Richard Diebenkorn. Ellsworth Kelly, and Mark Rothko. We sat in front of the Rothko for several minutes and I swear, like a good wine, the painting opened. The longer we sat with it the more it beckoned. The richer the color became. “I wish there was a bench in front of Richard,” she said. She loves her other boys but Diebenkorn is her favorite.

On our way out we stopped by the enormous Anselm Kiefer painting, Midgard. The mythical serpent doing battle at the end of the world. It’s a metaphor in darkness: cycles of renewal amidst constant destruction. A crucible. I always visit Anselm as he is a favorite of my friend David. I sent him a photo of the painting and realized that it has been almost eight years since I have seen him.

Catching a glimpse of my image in the window and not fully recognizing the man that looked back, I said, “This time thing is crazy.” She squeezed my hand.

“Tell me about it,” she said. And then asked, “So, what’s the next part of our adventure?”

Boundaries/Right Now © 2010 Kerri Sherwood

Kerri’s albums are available in iTunes and streaming on Pandora and iHeart Radio

read Kerri’s blogpost about SNOW

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Welcome This [David’s blog on DR Thursday]

My series, Earth Interrupted, is as yet incomplete. I started it like I start most things – a happy accident – or more accurately, my brush giving voice to something rising from the deep that had not yet hit my brain. I completed five canvases and then stepped away. It needed to simmer. I needed to simmer.

The Lost Boy – my play with-and-about Tom Mck – took over a decade to germinate and find its place on the stage. My new play, Diorama, is an idea that has been with me, stewing, for many years. Last fall it rolled out of me in a process that felt easy though I know better. It took a long time to find “easy”. Now the real work comes: finding the path to performance and release into the world.

I spent the morning looking at my Earth Interrupted series. I’ve not visited these pieces since just prior to the pandemic – so it’s been awhile. The original impulse must have stewed long enough because the series is calling me back – though not in the usual sense. I have no images in my mind. I have no real passion to explore the initial notion behind them. I do, however, want to get lost in what I know will be the slow evolution, the process of allowing the image to find me, not through my mind, but through my quiet. I yearn for the quiet. I quite literally ache for the stillness that I experience when I paint. It’s the process that calls.

This series began as a meditation. It feels as if the sun is reaching through a thick layer of clouds. I am lucky. I listen for the voice rising from the deep. It’s been a long time. I welcome this meditation returning, breaking the surface at long last, and signaling that it’s time to come back home.

Earth Interrupted 1, 48″x53″, mixed media

read Kerri’s blogpost about THE SUN AND CLOUDS

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Come Home [David’s blog on Two Artists Tuesday]

I don’t know why but this photograph reminds me of a song by Dan Fogelberg:

End of October
The sleepy brown woods seem to
Nod down their heads to the Winter.
Yellows and grays
Paint the sad skies today
And I wonder when
You’re coming home…

Old Tennessee from the album Captured Angel. I played this album – this song – over and over again when I was painting. I could sing loud in my studio because no one could hear me. So, permission to sing horribly and with gusto. My fantasy musician fulfilled!

Woke up one morning
The wind through the window
Reminded me Winter
Was just ’round the bend.
Somehow I just didn’t
See it was coming

It took me by surprise again.

It was present with me the moment she took the picture and showed it to me. “Lookit!” she said. “It looks like a glimmer wand!” A glimmer wand. A wish ready to be granted. And the lyrics began running through my mind. A song of loneliness. A song of yearning.

End of October
The sleepy brown woods seem to
Nod down their heads to the Winter.

Yellows and gray
Paint the sad skies today
And I wonder when
You’re coming home
I wonder when you’re coming home.

Later, looking at the photograph, I realized that we – Kerri and I – are singing a song of yearning. We are awaiting the glimmer wand, the wish to be granted. A coming home. A return to ourselves. Lost jobs, broken wrists, all wrapped up in a global pandemic…Artistry as we knew it went missing. The life that we knew was lost.

For awhile we waited in silence. And then we went looking. And now, we know better. There is and never will be a return to what was. It cannot be found. Rather than seek for what was lost, we realized that it’s time to get acquainted with what is. Not artistry as it was but as it is. As it will be. Learning anew who we are. Now.

This life! As Kerri would say (in her cartoon self): “Sheesh!”

Somehow I just didn’t
See it was coming

It took me by surprise again.

read Kerri’s blog post about GLIMMER WAND

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Trouble Maker [David’s blog on Merely A Thought Monday]

“The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive.” ~ Pearl S. Buck

“What did you take a picture of?” he said enthusiastically, crossing our path on the trail!

“The cattails,” she answered, showing the stranger her photograph. “They’re glowing!”

“Ah! You’re seeing! Most people walk these trails to get through them. Very few people are curious enough to learn. It’s only when you see that you can learn. It’s only when you learn that you can see!”

His name was George. I couldn’t place his accent. We guessed his age to be near 80 though he was more spry and alive than people half his age. Pulling up his AllTrails app, he shared stories of the local trails that he’d walked. “This one is gorgeous!” he exclaimed.

As we parted he turned and shouted, “Remember, you’ll never get in trouble if you are learning! Only ignorance will get you into trouble!”

And odd parting sentiment. An apt parting sentiment for our times. I wondered if we just had a happy visitation from a wizard. A forest sprite. A wise hermit.

For the rest of our walk I thought about his parting sentiment. Trouble. John Lewis said, “Get in good trouble.” There is a kind of trouble that only comes when you see – when you learn. Artists and academics, seekers of truth, are problematic for authoritarians and bullies. Seeing – truth – learning – is problematic for purveyors of lies and promoters of ignorance. John Lewis got into plenty of good trouble in his life and our lives are better for it.

Kerri and I both have been branded “troublemakers” at various points in our lives. We are too sensitive, some have said,”… too sensitive for our own good.” We have artist natures. As premises go, George’s parting comment is accurate: ignorance always leads to a whole bunch of trouble. Ignorance is loud and, these days, wears a red hat.

It is equally as accurate that learning, calling out ignorance, speaking quiet truth, brings its own brand of trouble. Good trouble. The kind of trouble that actually makes people’s lives better.

read Kerri’s blogpost about TROUBLEMAKER

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Language Blossoms [David’s blog on Two Artists Tuesday]

I just experienced something new: a visual route to a find synonym. That might not seem like a big deal but for a visual-guy like me it fundamentally changes my relationship with language.

I wanted another word for “shine” and, instead of finding a static linear list, a blossom of interconnectivity unfolded on my screen. Shine in the center, five interconnected primary synonyms, with each of the five subsequently sprouting five fingers of word possibility. I was gobsmacked. Like a child with a new toy, I clicked back into the site again and again so I might see the word bloom.

I’ve directed (and loved) many of Shakespeare’s plays. I am an avid reader. I write everyday and spend more time than I care to admit chasing down words. Yet, had you met me when I was a wee-lad of 22, none of these things would have seemed possible. It hurt to read. The worst hell imaginable for me was diagraming sentences. My knuckles were rapped by stern-faced English teachers more than once for poor use of language, rotten sentence construction. And, although I had an undeniable enthusiasm for the theatre, I literally hated reading plays when I was in high school.

Linear sequential is not my friend.

One day in my 24th year an actor introduced me to Shakespeare. Active language. Delicious sounds and living images. The penny dropped. The world opened. I have been a voracious eater-of-language ever since. When rehearsing, I dance my words.

Words matter. They are alive when not forced to toe-the-line. Symbol and sound, makers of meaning, each intimately connected to the other. When I come back to this earth I will hopefully be a poet, attempting to capture in language that which is impossible to articulate. The beauty of a pink tulip. A flower selected by a mother for a rare visit from her daughter. Our daughter. Our daughter: a surprising and remarkable combination of words I never thought I’d utter.

Language unfolds and reaches deep into pools of meaning. Words blossom. And nothing is ever the same.

read Kerri’s blogpost about PINK TULIPS

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Learn About Silence [David’s blog on KS Friday]

Sometimes an action is not what it seems. For instance: she decided to sell her cello. It sounds so simple, doesn’t it?

When she broke both of her wrists in the same fall, she worried that she’d lose the ability to play her many instruments. To bow a cello requires a flexible and strong wrist. It healed and she recovered. Bowing the cello was not a problem. And then there was the second fall. A newly mopped floor with no signage. Her first words, laying on the wet linoleum, writhing in pain, holding her right wrist: Oh God! Oh, god, I can’t believe it!”

She lost degrees of movement in the second fall. It sounds mathematical, doesn’t it? Simple math. On a good day she has half the degrees of movement that she had before she met the wet floor. Enough to open a door but far short of bowing a cello.

After three years and countless hours learning about degrees of silence, she decided to sell the cello. “It needs to be played,” she said. “It deserves to be with someone who can play it.”

A simple action. A very complicated story. A heartbreaking moment when the luthier handed her a check. She touched her cello, turned, head down so the man could not see her tears, and walked away.

Last I Saw You/This Part of the Journey © 1997/2000 Kerri Sherwood

Kerri’s albums are available on iTunes and streaming on Pandora and iHeart Radio

read Kerri’s blogpost about THE CELLO

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Look Closer-In [David’s blog on DR Thursday]

Nicholas Wilton flipped back and forth between an image of his recent painting and one completed a decade ago. He wanted to show that the recent painting is, in many ways, a close-up view, a morsel of the ancestor painting. Look closer-in. The seeds of today’s work come from explorations of the past.

I’ve been thinking about color. A tour through my gallery site reveals a very narrow band of color. I’m filled with the impulse to break it open. One day soon, after the BIG HOUSE CLEAN moves out of my studio, I’m going to mess with color. Paint with my fingers. Fully explore the new tools that Master Miller has sent my way. They scrape and pull and smoosh. They are not recommended for nuance and that is exactly what the art-doctor ordered.

More than once I’ve recounted this story: early in our relationship I told Kerri that, “I don’t sing and I don’t pray.” The other day, because of this story, I had a good hearty laugh at myself. In our reorganization of the basement I was moving my paintings so, I had a good look at every single painting. By far, the theme in the majority of my paintings? People praying. People in moments of touching something bigger. Or trying to. I howled at my unconsciousness. I may not pray but my paintings do.

Look closer-in. I started my life as an artist by drawing eyes. Hours and hours of drawing eyes. I was not attempting to draw realistic eyes; I was attempting to get behind them. Through the eyes, the mirror of the soul.

Perhaps I found my way in. Perhaps not. This I know: color is pulling me just as the eye used to pull me -either further inside or perhaps it beckons me to come out, to return to the place where I started. This time, instead of #2 pencils and typing paper – my seeds – I have scrapers and pullers and paint and old canvas. I look forward to what I might find there.

read Kerri’s blogpost about SEEDS

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buymeacoffee is either an opportunity to begin again or a natural progression to the next.

Life Spilling Out [David’s blog on KS Friday]

If this beautiful winter skeleton of Queen Anne’s Lace was a sculpture – my sculpture – it would be titled The Impossibility of Containment. Trying to hold on to the magic movement of life. It spills out in every direction.

I once had an espresso martini in Aspen, Colorado. It was the single best drink I’ve ever had. It was so good I did something I never do: I had two. I savored every sip. Occasionally since then, in other watering holes on earth that offer a drink by the same name, I’ve tried to replicate the past. To no avail. The bar in Aspen no longer exists so, like a good sand painting, my espresso martini revelry lives where it belongs, on the wind and in my yearning.

This week I completed another trip around the sun. I look in the mirror and am sometimes surprised by the face that stares back at me. My eyes remain consistent, yet what my eyes are capable of now seeing has changed dramatically. Although I occasionally yearn for my younger face, I would never exchange my current eyes for my former sight.

I see possibility spilling out in every direction. Simplicity. I see extraordinary friends all around. Each morning I open my eyes to the one face that fills my heart to bursting. I am, as Nietzsche suggests, loving my fate. Every pothole, every mountain-to-climb, every seeming obstacle, every frustration, a magic moment, a heart-seed leading to who-knows-where. Life spilling out in every direction.

I’m practicing the skill of opening wide my arms, welcoming the impossibility of containment.

Sweet Ballet/Released From The Heart © 1995 Kerri Sherwood

Kerri’s albums are available on iTunes and streaming on Pandora and iHeart Radio

read Kerri’s blogpost about QA LACE

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buymeacoffee is a possibility cast onto the winds of time.

Look To Nature [David’s blog on DR Thursday]

Like waves frozen in time, the tall grasses have taken on the persona of an angry sea. We’ve stood in wonder at the whipping wind sending wavelike ripples across a field of wheat; this is not that. These waves are motionless.

They are worthy of Andy Goldsworthy. If they stretched for miles and miles I’d be certain they came from the mind of Christo. Yet no human hand or mind is at work here. Nature mimics herself in these grasses. They merit our awe and attention.

Along our trail there are several nests visible. Sparrows and swallows and hornets. I cannot imagine creating something so delicate and intricate. I have opposable thumbs so would be working with more than a beak yet I doubt I could craft such a miracle. It’s taken a lifetime for me to see beyond the word “nest” and see – really see – these fabulous sculptures made of grass, sticks, and mud.

Admiring the rolling grasses as Kerri kneels to snap her photograph, E.O. Wilson slips smiling into my mind and repeats: “Nature holds the key to our aesthetic, intellectual, cognitive, and even spiritual satisfaction.”

Yes. I remember.

from my long-ago unfinished project: Kichom and Fucci. An illustration study for a story told by Kichom Hayashi

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read Kerri’s blogpost about ROLLING GRASSES

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buymeacoffee is what you make of it. nothing more. nothing less.

See The Third [David’s blog on DR Thursday]

Rules of composition are really a study of human perception. It’s not the work of art that’s being examined, it’s the human being. Why do we consistently – universally – respond positively to visual compositions that follow the rule of thirds? Divide a composition into thirds, either vertically or horizontally, and then place focal areas of the “scene” at the meeting points of the lines. A professor in art and design school teaches the rule as a basic tenet, not because it was a concept that was invented but because someone, somewhere in time, noticed that people generally like their paintings, photographs, murals, quilts, architecture… when the focal point lands on one of the thirds. It was a discovery about the nature of people. Human nature.

Even the most abstract painters adhere to the rule of thirds. There is structure beneath seeming chaos.

There is something about humans and the number 3. The structure of a joke has three parts – the set-up, the detail, and the punchline. Most religions sport a trinity: father, son, and holy ghost. Brahma, Vishnu and Shiva. Buckminster Fuller’s Geodesic Dome is a festival of three. Pay attention and the rule of thirds pops up in everything from brain science to marketing messages. Triangulate and even the most lost hiker will be found.

When I first met Kerri I was disconcerted. Her compositional eye is infinitely better than mine. How could this musician come into my studio, snap a photo of my work-in-progress, and show me that her cropped version of my composition was infinitely better? What the heck? Her crops were never radical; simple adjustments merely. After I recognized how natural yet specific her eye sees the thirds – while I am clumsy in my seeing – in a fit of re-composing, I almost took a saw and scissors to my paintings. It was so obvious. Now, I ask her early and often to come into the studio and tell me what she sees (Imagine my horror when she stands silently for several moments and finally utters, “Well…”).

On the trail she stops often to “take a picture.” I play a game with myself. I look at where she aims her camera and then I predict where the focal point will land. Which third will claim the prize? I am almost never right but always delighted by what she shows me. “Lookit!” she says, smiling. A perfect third. Naturally.

prayer, 9″ x 24″ acrylic on hardboard

read Kerri’s blogpost about LACE AND SNOW

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buymeacoffee is not a third. It is something else.