A Pendulum With What? [David’s blog on Merely A Thought Monday]

“Along the way, we have unlearned how to live wide-eyed with wonder at what Hermann Hesse called “the little joys” — those unpurchasable, unstorable emblems of aliveness that abound the moment we look up from our ledger of lack.” ~ Maria Popova, The Marginalian, January 28, 2025

I am aware that reading my recent posts, my letters to the world, are like riding a wild pendulum.

Side note: instead of using the word “pendulum” I was going to use “Newton’s Cradle” only I couldn’t remember what the device was called. I was having trouble Googling it because I couldn’t figure out how to ask the question necessary to produce the result. Kerri pulled up “Newton’s Cradle” in a nanosecond. “How did you do that?” I asked, “What words did you use to get it so quickly?”

“A pendulum with balls,” she said. I burst out laughing. “What?!” she protested, “That’s what it is!” I’m still laughing.

And so, a pendulum with balls. Newton’s Cradle. Lately, reading what I write is like riding that – whatever that is. One day my post rages at the coming storm. The next day my inner Buddha grabs the keyboard and espouses the virtues of presence. Kerri is also writing like a ride on Newton’s Cradle but she’s a better writer than I am, more conversational and heart-full, so her posts are less whiplashy than my raging.

Riding the pendulum is a hot topic of conversation here at the international headquarters of kerrianddavid.com. It’s relatively new to our experience, this bouncing between awe at the little wonders of the day and utter disgust at the titanic horror of our historical moment. Do we honestly give voice to what we are thinking/seeing all the time or only half the time? How much is too much? Who do we want to be in this Brave New World? What is the purpose of writing anything?

When does an artist become trite?

I am reminded of the many, many, many times in my life that I’ve stood in front of school boards, boards of directors, faculty boards, boards, boards, boards, and reminded them that the arts actually serve a purpose in a society beyond entertainment. In fact, neutering the artists is among the first acts of every dictator. No autocrat wants a mirror of truth held up so society might see their reflection.

And so, as we ride the pendulum with balls, we walk through our days with no answers to our questions. We know our job is to see and reflect the full spectrum of our experience, the little joys and the worst nightmares. The sweet cardinal that came to our window, the message scratched in the snow on the side of the trail, all the while ringing the alarm that an arsonist has the keys to the national house. Both/And. Holding on for dear life riding Newton’s Cradle.

read Kerri’s blogpost on Merely A Thought Monday

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No Comparison [David’s blog on Not So Flawed Wednesday]

“So as long as the mind is comparing, there is no love, and the mind is always judging, comparing, weighing, looking to find out where the weakness is. So where there is comparison, there is no love.”
Jiddu Krishnamurti, On Love and Loneliness

The snow was nested in the pine needles when the wind blew the bundle from the safety of the branch. Together, snow and fascicle landed far below on the well-worn path. I would not have seen it had she not suddenly knelt, pulled her glove from her hand with her teeth and braved the bitter wind to snap an up-close photograph.

Many days later, while choosing photographs for our next Melange, she asks, “Which do you like better?” She shows me the snow-and-pine-needle-embrace among many other photographs. I rarely have a coherent answer to the better-or-worse question. Her photos are always beautiful or curious or interesting – they are certainly moments-in-the-world that I would have missed had she not stopped to capture the image. While she gazes at the beauty on the trail I am generally lost in my thought. It is generally impossible for me to compare the worth of one photograph over another.

I am working on a painting and have given myself full permission to make a mess. It’s harder than you might imagine to turn off the inner-critic, the one who demands better work, the one that compares me with others. In comparison, I always lose.

I am employing a strategy to silence my inner voice of comparison: when the critic roars I pick up a rag or wide-tool incapable of nuance and I smear. I am afraid that I don’t know what I am doing – so I make certain that I don’t; I dive head-long into not knowing. In splodging paint, I guarantee that there can be no comparison to others or to any version of my past-artist-self.

“When you are comparing, you are really not looking at the sunset which is there, but you are looking at it in order to compare it with something else. So comparison prevents you from looking fully.”
― Jiddu Krishnamurti, On Love and Loneliness

In the moment she kneels on a bitter cold day to capture the embrace of snow and pine needles, there is no comparison. She is looking fully. What I see when she shows me the photograph is a moment of seeing, a moment of beauty recognized. Love realized. It’s the same reason I stand at an easel and wipe away my trepidation. To see, subject and object undifferentiated. For a moment, no comparison. One.

read Kerri’s blogpost about SNOW AND PINE NEEDLES

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Howling Inside! [David’s blog on DR Thursday]

“A great fire burns within me, but no one stops to warm themselves at it, and passers-by see only a wisp of smoke” ~ Vincent Van Gogh

It’s become an inside joke. She always protests when I write the phrase, howl-with-laughter. “You do not howl,” she insists, “You use the word ‘howl’ but it’s never true!” She’s a tough editor, demanding truth. I insist that I am howling with laughter on the inside and what hits the surface only looks like a giggle. It’s really a howl.

So far she isn’t buying it. Now, when we are in public and I find something amusing, I am quick to point out that my grin is really a howl. “Did you see that!” I exclaim, “That’s me howling.” She rolls her eyes.

It’s also true when that when we are out-and-about and I see something that irritates me and I scowl, I say, “Did you see that! That’s me howling.”

“Me, too,” she says.

She is more apt to accept the truth of my inner-editor-claim when I am suppressing a howl of disdain.

When I was in the first phases of my artist-life many of my paintings were howls that hit canvas. Howls of pain. Howls of resistance. Howls of fear. Even now I am not sure what a howl of laughter would look like on a canvas but I’d like to find out. I’m ready for a full spectrum howl.

Weeks ago Horatio suggested that I let myself paint “crap.” He meant that I should howl on canvas without discernment or restriction. Howl with abandon. A few days ago he attached one of Kerri’s photos in an email – sending it back-at-me – and wrote: “Dude. Make some crap from this absolutely stunning photo. Riff on it. Mess with it. Do it more than once. There’s juice in this image.” He’s working for my muse, stoking my fire, and I hope she’s paying him appropriately.

Of course, Kerri said, “Did you see what he wrote about my photo?” she gloated, “He said it was absolutely stunning. Stunning. Absolutely. Stunning. There’s juice in it. Juice!”

I maintained my best poker face. I allowed no expression to hit the surface. I did not want to feed her swagger. She smiled, saying, “I know. I’ll bet inside there you are just howling!”

one of my howls, a totem circa 1990

Visit my gallery site

read Kerri’s blogpost about THE FIRE

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Restless [David’s blog on Not So Flawed Wednesday]

“To be fully alive, fully human, and completely awake is to be continually thrown out of the nest.” ~ Pema Chödrön

These dark days rolling into the winter solstice make me restless.

Last week, while cleaning her studio, Kerri found a demo tape. It was recorded for her producer and included song possibilities for her album As Sure As The Sun. It was just her and her piano, single takes. Simple. I was moved to tears. I didn’t know her during those years. When all of the production values are stripped away, there is nothing between you and the purity of the artist and this demo is a recording of pure artistry. Sharing it with me made her restless.

I have a new painting in progress. I’m painting over another piece, covering a painting I never liked that now reminds me of a not-so-good-time. I began the new painting using rags because I have a tendency to go to detail too fast. With a rag as a brush, detail is not possible. With a rag as a brush, fun is possible. I sighed with relief as the last bits of the old painting disappeared.

We haven’t walked much in these past weeks. It’s been cold and we’re not yet back to full speed after our visit with Covid. It’s making us restless. Our restlessness is helping our impulse to clean out our house. The energy has to go someplace and it’s finding release in moving furniture and tossing old relics. It’s finding release in tossing out long-held stories and too-rigidly-held-beliefs.

We’re mostly in the demolition stage of recreating our nest – and ourselves. There’s no rush. Winter promises to be long. The incoming kakistocracy is not going away anytime soon so our sanctuary-improvement-project, our strategy for self-preservation, need not be rushed and can move at a restless turtle’s pace.

Who wrote that discovery is more useful than invention? I can’t remember. No matter. We are restless and so, therefore, we are wide-open to discover. The gift of restlessness.

“…and the vessel was not full, his intellect was not satisfied, his soul was not at peace, his heart was not still.” ~ Hermann Hesse, Siddhartha

read Kerri’s blogpost about SNOW

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Use The Discrepancy [David’s blog on Merely A Thought Monday]

Every once in a while I flip open one of my well-loved-and-well-worn books to a random page and read a few paragraphs. It’s my way of giving this wise-old universe the opportunity to drop a pertinent message on me. What tidbit of wisdom might I need to hear today?

Yesterday I opened Robert Fritz’s book, The Path Of Least Resistance, and began reading about discrepancy: what is the difference between where you are right now and what you want to create? I read that most people try to remove or deny their discrepancies. They try to eliminate the tension. Artists, on the other hand, understand their discrepancies as fuel. Creative tension. Discrepancy ignites the imagination. The last thing an artist wants to do is blunt their imagination, deny the discrepancy. An artist uses it. It’s a “process focus” rather than an “achievement focus”.

At the stop sign she stopped just shy of the bumper of the car in front of us, pulled out her camera and snapped a photo of the sticker on the window: I hope something good happens to you today. “Now that’s refreshing,” she said. In our travels we see plenty of aggressive bumper messages. Almost daily Kerri asks, “Why would they put THAT on their car? Jeeeeez!”

A wish for something good to happen to you. Today. What is the distance between us-as-a-nation right now, in this very dark moment, and a community that actually hopes for something good to happen to and for everyone? Can you imagine it? Walking in the world with a hope in your heart for good things to happen to everyone you meet, to everyone whose path you cross?

It is an understatement to suggest that there’s quite a discrepancy between what-is and what-could-be. There is a veritable chasm between the incoming angry nightmare and those who voted for hope, decency and kindness. And so it’s a vital time to be an artist. There’s rarely been a time more in need of imagination to counter the backward-looking-conservative-fascist-fantasy.

There’s plenty of fuel for the imagination borne of our massive discrepancy. Hoping for something good to happen to you today – whoever you are – is a great place to start.

read Kerri’s blogpost about SOMETHING GOOD

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Caching Zeal [David’s blog on Not So Flawed Wednesday]

The season of fallow. The period of time when nothing seems to happen. The fruit has long since disappeared. The vine has dropped its leaves. The flowers are long gone; only the hard stalk remains.

And yet, plenty is happening beneath the surface. The energy goes to the root. Rest is, after all, an action. Recuperation. Growth need not be immediately visible. First comes the resupply, storing fuel for the impending internal stirring.

Our cleaning out of the house and our studios is just like that: energy going to the root. Creative disturbance. The blossoms of the past are…past. We are attending to the source or, better, we are tending the source. Making space is like dropping old leaves. Empty branches shedding the once-was to make room for the what-will-be. Caching zeal.

Letting go. It’s a mixed bag, this necessary austerity. At the moment it seems chaotic and harsh but in time, the season will change, the energy stored in the root will sense the warming soil and appear as new buds. In time it will make perfect sense.

read Kerri’s blogpost about WINTER THISTLES

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Embrace Invisibility [David’s blog on Two Artists Tuesday]

In a recent documentary about his life and work, artist Anselm Kiefer said, “Being is nothingness and nothingness is being.” He was pondering how small and insignificant we are in the scope of the infinite universe, and how, for him, our smallness relieves the stresses of having to succeed. He added, “I fail before I begin.”

The best advice I’ve received recently? Horatio’s suggestion that I go into the studio and “Paint crap.” In other words, loosen up, have fun, completely detach from outcomes. Fail before I begin. Sage counsel: paint for pure pleasure and for no other reason. Drop the measuring stick and reclaim the child who loved to paint. The other stuff will take care of itself.

We regularly check in on Martijn Doolaard. He’s reconstructing old stone buildings as his homestead in the Italian Alps. His weekly update films are gorgeous. His way of working is more so. In his own words, he focuses on process. There are goals, certainly, but everything he does, he does beautifully. He is attentive even in the most tedious of tasks, working, not to get through it, but to do it well.

Staring out the window over the kitchen sink, we switched on the backyard light so we might see the arrival of the snow. The season’s first snowfall came in the night. I thought about a post I wrote and then erased, about achieving invisibility. It wasn’t a complete thought and I wasn’t certain whether I was writing about my fear or my freedom. Anselm made an appearance in my mind as I marveled at the flurry of snow made visible by the light: Being is nothingness and nothingness is being. Embrace invisibility and dance with abandon in the fields beyond failure and success. What else?

read Kerri’s blogpost about THE FIRST SNOW

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My Constellations [David’s blog on DR Thursday]

Like stars in the sky, there are moments in life that form constellations. Actually, the stars do not form the constellations, we do. We are pattern seekers in our incessant meaning-making. I constellate my memories, sense-make my path, generate my revelations.

In our dedicated cleaning and rearranging of the house, the restoration project of my studio after the flood, we bought new shelves. My art and work books were piled high on an old computer desk, made mostly inaccessible. Gathering dust. With the new shelves, the ease of access to my books, comes new energy.

I sorted through my books before placing them on the shelves. Many of the work books, the resources I used for my past life, didn’t make the cut. In fact, none of them did. It was a revelation, placing them in sacks and moving them out of the house. With open space comes new energy.

Carrying a particularly loathsome sack of books to the recycle bin, I realized that every major change in my life has come with a book purge. When I left Los Angeles, I gave my library of 1000 plays to a friend. When I left central California for Seattle, I took a truckload of books to the used book store. I left a pile of favorites in the building that housed the school and theatre programs I’d created.

My books about Picasso, Matisse, Renoir, Leonardo, Michelangelo…they’ve always made the cut. They are space openers. Life-givers. The connective tissue in the constellation called “My Life”. This is not a revelation. I wondered why I so often turn away from it, stack my books and my life in difficult-to-reach ways.

Another gift Horatio gave to me in our call last week: as I was dumping on him my truckload of excuses and justifications for not painting, he stopped me, saying, “I think it’s much more elementary than you are making it. Decide what you want to do and do it. Your challenge is that you don’t know what you like.” He added, “You have the germs of what you like…”

Cleaning and placing my books on my shelf was like coming home. When I stood back and could see all that I’ve carried through my many, many moves, there was no doubt what I like, there is no doubt about what connects the many stars in my constellation.

read Kerri’s blogpost on THE DISH

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So We Do [David’s blog on Merely A Thought Monday]

When I began blogging nearly fifteen years ago I believed that I would in a matter of days run out of things to say. I’ve now completely flipped in my belief: not only have I not yet run out of things to say, I now know that there’s not enough time in my life to write all that I want to write. My list of ideas is longer than my remaining days.

Kerri and I through our Melange have been writing together for six years and eight months. We’re having a hilarious experience that is becoming increasingly more and more frequent. When we are with friends and family and start to recount a story from our recent past, they will cut us off and say, “Yeah, I read about that in your blog.” It always takes us aback and makes us giggle.

We are an open book – perhaps too open! But we also edit. Our posts are rarely longer than 500 words. We write snapshots, not totalities. We know that people in our social-media-world won’t read what we write if it’s too long. Each day we ask, “Is this too much?” or, “How can I condense this?” Each day we ask, “Should I stop here?” We rarely tell the full tale. There’s always a next thought, a detail, a longing…There’s always so much more to say, much more that could be written.

It’s become a gift to me, a reminder that I can never know the whole story of any other person’s life. The important stuff as well as the little moments can never be fully expressed. Feelings and yearnings can’t be captured in words. Poetry is the art of attempting to express the impossible.

Lately, after we hear once again, “Yeah, I read about that in your blog,” when we are alone, Kerri asks me, “Are we too much?” It’s become something of a ritual.

Are we too much?

Rilke wrote, “Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart…” This is what I know: we love to write together so we do. And, we love to share what we love. So we do.

read Kerri’s blogpost about A BLANK PAGE

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Simply Arriving [David’s blog on DR Thursday]

“Each one of us is the custodian of an inner world that we carry around with us.”
~ John O’Donohue, Walking in Wonder: Eternal Wisdom for a Modern World

In my early artist-life, showing my paintings threw me into conflict: I really wanted my paintings to be seen but I feared what they might reveal about me – namely, that I believed that I had no idea what I was doing. I was the poster child for imposter syndrome, a boiling bucket of self-doubt. I used to describe myself as having one foot on the gas and one foot on the brakes.

Even though I was surrounded by wise elders and insightful mentors who assured me that no one really knows what they are doing, my fear of exposure shielded me from their sound advice. I huddled behind a fortress of my own making.

We came upon the vibrant yellow leaves still clinging to their branches, seated next to a field of brilliant ochre and orange grasses. The shock of color was enough to drop me into the present which – as always happens when I become fully present – made the colors that-much-more vivid. Then, the yellow sent me through a time tunnel, a visceral memory of that younger version of myself working in a studio, nearly dancing, smearing yellow paint on an enormous canvas. He was completely in the moment, fully alive.

I wished that this older version of myself could have tapped him on the shoulder and said, “This is what makes you whole, authentic.” I would add, “Someday you will understand. Someday you will leave the fortress behind.”

There is a thread, a consistent truth, that binds us, the young artist and this much older version: this beautiful world has always had a way of shocking me into presence; I have always understood the capacity to be shocked-into-presence as a gift. It has has opened my eyes. It helps me see.

And, when I see, I disappear into “something bigger” than myself. The dance beyond striving. I am lucky: not everyone understands the power of not-knowing, the pleasure of simply arriving, fully alive.

Self Portrait on the Oregon Coast (circa 1988?)

read Kerri’s blog about YELLOW

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