Imagine It [on Merely A Thought Monday]

we deserve better copy

This is a tale of two schools, both in the same school district. It is the story of the very day when the younger version of me grasped with both hands the absolute importance of the arts, when I understood to my bones that art was not a luxury but a necessity in a healthy world.

As the manager of the theatre conservatory, I sometimes went to observe the actor outreach programs in the schools. On this particular day, two schools were on the schedule. At the first school, I followed a team that went into the younger classrooms, 1st graders. They played imagination games with the students. I saw princesses and dragons and superheroes reach into wild possibilities.

We left the first school and literally drove across the tracks to the poorer side of town. I decided to follow the same team. They played the same imagination games with the same age group but, at the this school, the children played “Where will the rent come from?” This time, instead of flying into possibilities, these children hit an imagination glass ceiling. The hard realities of life already had a strangle-hold on their creative minds. The actors had to work hard to break through the glass ceiling. I realized that, for these children, it was not safe to entertain possibilities.

Picasso once said that, “He can who thinks he can, and can’t who thinks he can’t. This is an inexorable, indisputable law.” We dream ourselves into being. That is the point and the power of the story we tell ourselves about ourselves. That is the purpose of art, to open our imagination so we might create  a better, more expansive version of ourselves. To intend and give shape to what we imagine.

This inexorable, indisputable law applies to nations and communities as well as to individuals.

We have always been a nation divided. There have always been tracks to cross. Our history is of a two party system tug-of-war. We’ve espoused equality while practicing slavery; even our rhetoric is at odds with itself. The new wave of immigrants have been subjected to unspeakable cruelty from the previous generation of immigrants. There has always been “haves” and “have-nots.” The question of whether of not we can unite in the face of diversity is at the epicenter of the American experiment. Can we imagine ourselves whole? Can we create opportunity for all? It is a question with no definitive answer because it requires us to engage with it again and again and again. We must imagine ourselves anew each and every day.

We unite when we are at our shining best. We pride ourselves on the dream of creating a new world where all people experience the freedom to create what they can imagine. Creative tension, competition on a level playing field, invites innovation and invitation. We can.

We divide when our imagination fails us. Fear always fills the void left by vapid imaginations. We are – like people of all nations in all times – easily manipulated when we lapse into fear and turn our angst on each other. It is, after all, a strategy. Divide and rule is the oldest trick in the book used by dictators and emperors to fracture an otherwise powerful populace.  It will play out as it always has and always will – a weakened nation. A collapse. People who turn in and cannibalize each other.

We-the-people are telling ourselves a miserable story. The pandemic is merely exacerbating our real dilemma. Divide and rule is filling the void, installing hard glass between us and our best imaginings. We are eating each other alive.

We are better than this. We deserve better.

 

read Kerri’s blog post about WE DESERVE BETTER

 

? website box copy

 

InstrumentofPeace copy 2

an instrument of peace

Leave Her A Note [on DR Thursday]

IMG_2686 copy 2

my loves, mixed media, 24 x 48IN

I came around the corner just in time to see it. Kerri crawled onto the bed, resting her head on DogDog, she closed her eyes. BabyCat, not wanting to be left out of the snuggle, moved over and curled into the cuddle. I stood very still and memorized the moment.

My artistic well has been dry all winter. I believe dry spells are great opportunities to experiment, to make messes and learn again to be free, to not take anything on the easel too seriously. And so, in my emptiness, I began playing with my memorized moment [last week I published the rolling iterations this image passed through].

Sometimes playing with an image feels like wrestling with an angel. It has the upper hand and is toying with you, the mere mortal. One day, after wiping the latest iteration off the canvas, I had a very mortal thought: this might be the last painting I ever paint. Pandemic thoughts reach deep.

And, what if this was my last painting? What if? I would want my last painting to be a love note to my wife. I would want her to know that one day, as she laid her head on DogDog and BabyCat curled against her, I stood in absolute adoration and appreciation of my family, my wife, my moment. My life. My loves.

 

read Kerri’s blog post about MY LOVES

 

 

pumpkinfarm website box copy

 

my loves ©️ 2020 david robinson

*this painting is not yet up on the site. the paint is still drying.

**there’s another canvas on the easel with a painting already in process! (phew).

Learn It Again and Again [on DR Thursday]

the story of a miss copy

“I begin with an idea and then it becomes something else.” ~ Pablo Picasso

This trail of images, all on the same canvas, is an idea trying hard not to become something else. It is a series of fitful starts and dissatisfied restarts.  It is not uncommon, when I feel that my well is dry, to start a painting and shove it through many phases of discontent. I pull on it and push on it like so much taffy.

I’ve learned (or I am making it up at this very moment) that this exercise of discontent is important. It is a necessary skill to develop – not to get too attached to an idea or invested in how it “should” be. When my well is empty, I generally stumble into this old mistake: I try to force a result. I try to make it happen. I somehow forget that the best work is a relationship, a process that has very little to do with muscle and everything to do with heart. And so, I roll through a series of forced images.

And then, one day, I throw up my hands and all thoughts of my precious idea go out the window. I let go. And that is the exact moment that the idea becomes something else and the painting can finally begin.

 

read Kerri’s blog post about THE STORY OF A MISS

 

drc website header copy

 

shadows on TPAC sidewalk website box copy

 

 

Consider Levitation [on Two Artists Tuesday]

pear on wine bottle copy

And what does this mean, this pear sitting atop a wine bottle? Certainly this was not a naturally occurring event! No pear could possibly achieve so grand a seat without some form of assistance. Or, could it?

Levitation is a possibility but it is doubtful that this pear – or any pear, for that matter – is capable of the necessary powers of concentration required to raise itself to wine bottle heights. And, if levitation is the answer, we are still left with the primary question: what does it mean?

The pear might answer, as George Mallory answered when asked why he might want to place himself atop Mt. Everest, “Because it is there.” Meaning making does not require depth but it does necessitate curiosity. “Because I can” really means “because I want to.” The grass is always greener. Why step on the moon? Why sail to the edge of the world? Why paint a painting or compose a song? Something calls.

Because it feels good. Because it is beautiful in my eyes. Because I might learn something about myself and, therefore, the world in which I create/inhabit. Most explorations are internal journeys even if they look like mountain ascents. Soul searching leads to more experiences with soul. The best questions lead to bigger questions, like this one (last week’s winner for best question): Does the soul live in the body or does the body live within the soul?

It seems like a good time to borrow a title from Joseph Campbell: what exactly are The Inner Reaches Of Outer Space?  What are the outer reaches of inner yearning?

Does this pear have yearnings? What does it mean, this pear sitting atop a wine bottle? Believe me, I’ve asked the pear and it remains silent on the subject. Wise pear! It knows I must make my own meaning and hopes that I will never cease asking my questions and, above all, never delude myself into thinking I have even the slightest bit of an answer.

 

read Kerri’s blog post about the PEAR & THE BOTTLE

 

savannah selfie WEBSITE BOX copy

 

 

Angels_at_the_well_jpg copy 2

angel at the well

 

Ask, “What Now?” [on DR Thursday]

weeping man copy 2

“Although each of us is fashioned in careful incompletion, we were created to long for each other. The secret of our completion can only be found in the other. Huge differences may separate us, yet they are exactly what draw us to each other. It is as though forged together we form one presence, for each of us has half of a language that the other seeks.” ~ John O’Donohue, Beauty

My favorite definition of “story” comes from Robert Olen Butler: a story happens when a yearning meets an obstacle. It is, of course, also a great definition of the experience of being alive. In our “careful incompletion” we yearn for other things and other places, other ideas of ourselves. And, so, we set sail. We seek.

Without yearning there would be no story. Without obstacles there would be no story.

Like you, I have spent my time on the kitchen floor, Kerri’s code-phrase for weeping.  When my obstacle was insurmountable, when my yearning required leaving. Loss. Weeping invited surrender. Surrender required weeping. Letting go.

And, after the weeping, emptied of what was, I, like you, stood, took a deep breath and asked myself, “What now?”

 

read Kerri’s blog post about WEEPING MAN

 

 

cropped head kiss website copy

 

weeping man ©️ 2015 david robinson

Keep Playing [on Two Artists Tuesday]

tendonitis copy

As I reported several weeks ago, if you where standing on the far side of the piano, you’d never know Kerri was playing with casts on both of her wrists. You’d never know that she was playing with two broken wrists, her right thumb completely out of the line-up. Nine fingers doing the job of ten.

As a composer, singer-songwriter, a person whose entire career, her livelihood, has been about playing the piano, she was at the keyboard four days after her fall. She had to know if she could play. I couldn’t believe my eyes or my ears. In my best mother hen voice, I suggested, “Maybe you should wait a bit.”

“I have to know,” she said with THAT tone in her voice.

When I first met her, I took note that she stands when she plays the piano. She is not a bench sitter. Rather, she is a full-body player. She is a full body composer. Sometimes the piano literally hops with the force of her playing. She is little but grows exponentially in energy and presence when she steps up to the keys. The first time she played for me I had to step back from the power that came through her.

Now, several weeks into her mending time, the casts are off and the splints are on. I tell her that they make her look all Mad Max. Michael Jackson’s glove is bush-league compared to her performer-fashion-statement: double black splints.  She looks like a pugilist getting into the ring with her piano. The disparity between her bruiser-piano-vogue and the beautiful music she creates makes my head swirl.

Of course, all of that piano punching has brought a new hurdle in the wrist recovery saga: tendonitis. She went on a Google frenzy when the hard nodules began forming in her palm. They hurt. “My palm is on fire!” she said, “What do you think they are?” Google inflamed her already wild imagination with horror diagnoses and none of the scenarios were good. In fact, they were downright dire.

Doctors were called. Photos of palms sent. A scary foray into the medical facility mid-pandemic was arranged. She emerged from the facility, pulled off her protective mask and climbed into the truck. “Well?” I prompted.

“I didn’t touch anything,” she announced.

“I’m asking about your hands,” I huffed. “What did they say about the nodules growing in your hands?”

“My tendons don’t like that I’m playing with casts,” she said. “Probably tendonitis.”

“That’s good news!” I said and she hit me with THAT look. “Okay, so. Well. Not great news. What are you supposed to do?”

“Keep playing,” she said, looking out the front window. “They gave me some exercises. Advil. But, I keep playing. What else can I do?” she asked, a question not to me.

“Good then. You’ll keep playing.” My mother hen suggestion went unvoiced: maybe some rest? I didn’t want to be hit with THAT look two times in a row. Instead, knowing full well that she is not a bench sitter, knowing that she is a full-body artist and that, for her, to play is to heal, I said, “Okay. Let’s do it. Let’s keep playing.”

 

read Kerri’s blog post about THE SAGA CONTINUED

 

 

their palettes website box copy

See Anew [on Merely A Thought Monday]

baconwrapped pears copy

It seems that everything during the pandemic is a study of circumstance-driven-change. For instance, I am a painter of people. I’ve never been interested in still life studies. Even in school, I cringed at the bowls of fruit placed before us by the instructor. Shape, shade, blah-blah-blah. Give me figure drawing any day! Suddenly, to my great surprise, I am photographing big bowls of fruit. They are gorgeous. I’m thinking about a painting featuring fruit.  What’s happening to me?

The devil is in the pandemic detail. We used to go to the store everyday. We used to buy what we needed for the next 24-48 hours. There were no big piles of fruit, no explosions of color in the fruit bowl or waves of color rolling across the counter. Now, in the time of pandemic, we stock up. We are – like you – buying massive amounts of bananas and oranges and apples and pears. They are, to an artist’s eye, when assembled, simply beautiful. They are, I suspect to an accountant’s eye, also beautiful, but my thoughts stray beyond merely eating.

Beautiful.

We are also in a fit of food experimentation. To delay our need to go into the wild COVID world and shop, we comb the empty larder, asking “What do we have? What can we make with what we have?” We throw our random ingredient list into the Google pool and voila! Yummy options emerge. Bacon wrapped pears. Oh. My. God. It never would have occurred to my bear-brain to wrap a pear in bacon. I savored it. I moaned. My eyes rolled back in my head.

Beautiful. Delicious.

When you study change processes, you bumble across something akin to a rule. It goes like this: if you know where you are going, then it is not really change; it is controlled reordering of what already exists. It may look new but is really the same old wolf in new sheep’s clothing.

Change is what happens when you step into unknown and strange lands, when all of the old points-of-orientation are gone. Only then will you step into something new and surprising. Only then will you see without the old dulling filter. For me, apparently, change looks like a big bowl of beautiful fruit.

 

read Kerri’s blog post about BACON WRAPPED PEARS

 

 

 

 

 

 

 

banana copy

Look Again [on DR Thursday]

EARTHInterrupted7.THIS ONEJPG copy 3

It’s all a matter of context. As it stands, this is the seventh painting in a series I call Earth Interrupted. This piece would not exist today except Kerri stopped me from painting over it. She likes it. I find it dark. Foreboding. Of the seven paintings, it is the darkest piece in the series. When I painted it, I didn’t know how to place it – I didn’t know its reference point. It wasn’t and isn’t comfortable.

I pulled it out of the stacks last week. Now, in this time of pandemic, I know exactly what it represents. Everyday in the news I see a graphic of the virus. It is dark and foreboding.  Earth interrupted.

In an earlier version of myself I spent a great deal of time trying to educate educators to this simple truth: art is not supposed to be entertainment. It can’t always be comfortable. In fact, it holds diminished value if it doesn’t sometimes challenge, sometimes upset, sometimes confront, sometimes incite. Art is powerful because it confronts us, asks us to question what we see and think and believe.

And now, looking at this painting that makes me uncomfortable, I find it necessary to listen to that earlier version of me. This painting is beautiful, not because it makes me feel good or takes me away, it is vital because it upsets me. It lands me squarely into this inescapable moment in time.

 

read Kerri’s blog post about E.I. 7

 

k&dbw backs website box_ copy

 

earth interrupted vii ©️ 2018 david robinson

Add A Stone [on Not So Flawed Wednesday]

southport cairn copy

I am fond of a labyrinth tucked into the woods at The Whidbey Institute. I’ve spent many a sunrise and sunset walking the meditation path to its center and back again. After each trip into the labyrinth, I’d add a small stone to the cairn that stood adjacent to the entry point. A ritual to mark my passage. A location stone.

I hadn’t thought of the labyrinth for years.

Last week, on a stormy day, we took a long walk through our neighborhood and emerged on to the beach at Southport.  We were stopped in our tracks by what we found there. A field of cairns. Someone – or many someones – had created dozens of stacked stones. Each unique. Some playful. Some sorrowful giants. Markers of the way home? Funeral stones? Sculpture merely? The intention didn’t really matter. They brought us peace.

We approached silently just as I used to approach the labyrinth at Whidbey. We entered the field with a reverence that surprised me. We wandered through them, spent time with them. Some were massive, towering over us. Some very small, a few stones stacked at our feet.

Pebble and red brick trails ran like crazy lines connecting the cairns, a mixed up maze that begged us to follow, to make sense of the impossible. This labyrinth had no center. This meditation maze led nowhere specific, looping back, a dead end here, a path to the water, and over there, a line that stopped at a heart made of rock, a spiral. A wish. A message. An inspiration.

I could imagine no better monument to this pandemic. A shattered labyrinth. Burial monuments. A field of markers standing ready for the day when we might find our way out. A quiet reverent place where we are called to add a stone, a simple gesture to remember our passage through.

 

read Kerri’s blog post about CAIRNS

 

 

cairns website box copy

 

 

Look For The Manatee [on DR Thursday]

canopy copy

This has never been Kerri’s favorite painting. When I chose it for this week’s melange I asked her why she didn’t like it. She said, “Because there’s a manatee in it.”

“A manatee?”

“Keep in mind,” she said, “that I’m inkblot challenged.”

Wait. What?

Responding to the blank look in my eyes, she added, “I could never see Jesus in the pancake. Stuff like that.”

“The pancake?” My synapse fell short of the hoop. She Googled inkblots to demonstrate her disability.

“See (she pointed to an inkblot on the screen)! There’s Florida and I’m supposed to see Jesus. Wait. Oh. There he is. Wait! There’s a lot of stuff in there!” she marveled, squinting at the blot.

Blink. Blink.

“Oh! Maybe it’s that I see too much stuff in the inkblot!

I pulled up the image of the painting. “It’s called Canopy,” I said. I enlarged the image.

She looked close. “Wait. That’s not a manatee!” she exclaimed. “That’s a person’s leg!” She looked closer. “Hmmm.”

It is, after all, what I love about art: It is never complete. It emerges anew with each new look, each new performance. What I intend has very little to do with what is perceived and in that space between artist and audience, a new creation, a new conversation arises. Imagination is like that. It opens worlds of surprising possibilities. It projects itself into the known, into the painting, and magically transforms it.

“So, you don’t like manatees?” I tease.

“I love manatees!” she huffs. “Just not in your paintings.”

 

read Kerri’s blog post on CANOPY

 

 

 

 

 

not our best morning minturn website box copy

 

canopy ©️ 2009 david robinson