How Utterly Good [David’s blog on KS Friday]

I’ve been pondering something Horatio said during our call yesterday. “Circumstances change but that doesn’t change how you have to live.” he added, “You still have to live a good life.”

It is not a new concept. How many times have I said to groups, as if I knew what I was talking about, “You are not your circumstance.” In the school of hysterical irony, I am constantly catching myself teaching what I most need to learn. I heard in Horatio’s comment something often spoken but discerned for the first time: You still have to live a good life.

What does it mean to live a good life? What does it mean to me? To you?

In a broad sense we were discussing the many changes we’ve experienced over the past decade. Decades. Aging. Climate. Loss of loved ones. Pandemic. The politics/division of our times. Technology. A flurry of fast moving circumstance. What seemed so important a decade ago is now barely a shadow memory. Aptly, an illusion.

You still have to live a good life.

Horatio spoke of going into his studio. “Immersing in the tangible,” he said. Painty fingers. Music. Charcoal dust. The smell of coffee and conté crayons. Exiting the noise and inhabiting the now. That’s a good life. I recognize that place.

Inhabiting the now. Kerri and I walk the trail arm in arm until she spots the next photo-op. “Lookit!” she chimes, showing me her new image-capture. “Green on green,” spoken with the enthusiasm of a five year old. Our walks are immersions in the tangible. We’ve had so much rain lately, there is an explosion of green in our world. We walk slowly so we might see it. Sense it. The shapes are as extraordinary as the many shades of green.

Horatio’s comment struck an ancient chord in me.

Sitting in our stream in the mountains of Colorado, Kerri and I talked about the next phase of our lives. A intentional creation. “The Sweet Phase,” she called it. It is inaccurate to suggest that we will create The Sweet Phase as much as we will inhabit it. The tangible. The now. Just like entering the studio. We’ve already started. Our practice is to not get swept into the swirling drama of circumstance. “…that doesn’t change how you have to live.”

It’s a question of recognizing it. Regardless of the circumstance, how utterly good living life really is.

I Didn’t Know/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 GREEN ON GREEN

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Very, Very [David’s blog on DR Thursday]

Last night, sitting on the deck enjoying the waning light, I had a great idea for this post. I didn’t write it down so, of course, I have no idea what my great idea was. All morning I have tried to retrace my mental footsteps but alas, they, too, are lost in the mist.

It would be just like me to write about perception. This is a curtain separating the backstage V.I.P. area from the raucous dancing audience. Kerri tried to take a photo through the curtain. Cameras and purple permeable curtains might serve as metaphors for all manner of my blah-blah. Focus placement, assumptions, obstacles, yada-yada! But, none of that well-worn blather was my great idea.

I’m rarely in V.I.P areas since I am rarely a V.I.P. In fact, this particular V.I.P. area was my first and I have to admit I liked it. I didn’t get crushed in the crowd. I wandered freely. There were drinks had I wanted one. And chairs. Security didn’t blink when I walked up and stood at the apron of the stage. I adored watching the dancing furries and acrobats prepare to take the stage. To me, backstage is magic precisely because it’s behind the curtain: the furries take off their furry heads and sip drinks through straws; the acrobats smoke a joint, laugh and talk politics. Now, backstage magic might be a fun post but it wasn’t my great idea.

I did ponder the designation (of course). It wasn’t just an I.P, important person section, it was a very important person section. Wow. Very. More important than important. Since Craig was performing and we are his parents, I suppose we earned the adverb. Kerri did for sure. I didn’t give birth to Craig (thank goodness! I’ve heard stories…). She did so is most certainly a very. I’ve only moved his stuff a few dozen times but was happy to don the extra designation.

That we were fortunate enough – from a place of privilege – to watch our son perform on a BIG stage, and perform well, – also was not my big idea. He wanted us there and made it happen. There’s nothing better on earth than having a son who wants to share his artistry and successes with his parents. The V.I.P. was icing on the cake, an experience everyone should have once in their life.

That was big but it wasn’t my great idea.

I suppose half the fun of losing a great idea is the search-and-rescue effort to find it. I know it’s in there somewhere. As I grid my recent past in search of some great abstract idea, I couldn’t be happier to have found so much actual-beyond-greatness. Heart experiences. New experiences that resurface all the stages and backstages of my past. A son in his bliss. A mother in her bliss. A crowd of adoring people sharing their bliss.

Maybe writing about bliss was my big idea! If it wasn’t, it should have been. People who I love in their bliss. Nothing better. Very. Very, very.

read Kerri’s blogpost about THE CURTAIN

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What if? [David’s blog on DR Thursday]

A few months ago Horatio told me that I needed to paint. Lately I’ve been mostly writing. He suggested that it would be good for me to get back into the visual part of my brain, the part that isn’t reliant on words. Horatio is wise. This morning I went down stairs and spent some time in the studio. As is usually the case, he was right.

Weeks ago I sketched a painting on a canvas. It’s been sitting on my easel. Waiting. For today.

It took a few minutes for me to let go. Standing and staring at the sketch, I felt locked up. I grabbed a small brush which is always a signal that I am thinking too hard. I was trying to “solve” the image through a linear sequential process. I put down my little brush, opened a jar of paint, and dunked my fingers in the jar, and began to spread the red paint just like I did when I was 5 years old. I used a rag to smear and pull and shade some of the globs. I reminded myself that I didn’t need to know where I was going. In fact, I needed to “not know” where I was going and dance with the image.

After a while I stopped thinking and started responding. I sighed a deep sigh of relief. I lost track of time. I felt a wave of spaciousness roll in to my too tight mind. Energy restoration.

Horatio must have seen it in me. My grief.

It’s a question of balance. I have lately of my artistry been asking the question, “Why?” As I roll into the next phase of life I am revisiting my roots. Why did I start doing this anyway? Why, as a child, did I paint through the night. If you’d have asked the child version of me the question “Why?” I’d have answered, “Because I have to.” There was no choice. There was no “Why?” There was a driving imperative. A siren call to “What if?”

An aging Daisy. Kerri’s photograph brought to mind Tom Mck. He told me when he entered his sixties, he became invisible. He felt as if he was stepping into the prime of his creative years yet the people he’d mentored or directed or coached – the people whose careers he had informed, shaped and helped launch – the people he reached out to after retiring from his “real” job – no longer considered his artistry valid or valuable. They never told him that he was no longer viable in their eyes but he knew. They either didn’t return his calls or it was months later that he’d get a dodgy response to an inquiry or a question.

I am experiencing some of that.

Today in the studio I realized that I have been asking the wrong question. I already know why. Asking “why” is like picking up a little brush, it is to think too hard. The truth is that I’ve always known: Because I have to. The five year old version of me was not concerned with value and validity in the eyes of others. That version of me thought nothing of dipping his fingers into paint and swirling them across the page. Because it felt good. Because it felt right. This version of me – after I stopped thinking – knew just what to do. I “thought nothing” of opening the jar, dipping my fingers into the paint… What if?

My visibility or invisibility is, in fact, irrelevant. As Tom Mck drilled into me: A writer writes. A painter paints. The rest is simply out of my hands.

County Rainy Day. Underpainting the sketch with painty fingers

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Yes. It’s Like That [David’s blog on Two Artists Tuesday]

I used to wonder how Emily Dickinson, living most of her life in the isolation of her family home, could write poetry so soul-expansive. Her world of experience was impossibly narrow yet her view into the human heart so broad and deep. I am no longer confused about the limitlessness available in a tiny garden. There is more life teeming in our small backyard than I can possibly comprehend.

It had been years since we gathered with the Up-North gang in our home. They commented that our yard was “zen”. It’s true. We’ve come to think of it as our sanctuary. A creation borne of Covid isolation, of necessity during the pandemic, we brought our full attention to the only place in the world that seemed safe. Our yard. Over long winter months, sitting at the black table in our sunroom, we stared into the backyard. We watched the patterns of the birds and discovered the nests of bunnies and chipmunks. We watched with awe the subtle changes of seasons and the play of light. We wondered how we could make our safe space more comfortable for us and amenable to the plants and animals. We dreamed. And slowly, throughout our isolation and beyond, we carefully attended to our peace-of-heart. Is it no wonder that we now adore sitting in our yard, daily trying to comprehend the abounding life within our eyesight?

Emily Dickinson wrote her poems from just such an expansive place. Lately I feel an affinity with her. More than once, lost in wonder, I have thought, “How can I possibly describe what I’m seeing and feeling?” I understand, like Emily, it’s not possible to capture, but isn’t that the artist’s job, the poet’s errand, to somehow express that which is beyond our capacity to grasp? To bring hearts and minds together through a poem or play or a composition, so we might together whisper, “Yes. It’s like that.”

read Kerri’s blogpost about THE ORB

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Only With The Heart [David’s blog on Not So Flawed Wednesday]

I just re-read The Little Prince. Our imaginary child, Chicken Marsala, made me do it. He’s lodged an idea into my heart and suggested I revisit some classics. Kahlil Gibran’s The Prophet is on Chicken’s short list of recommendations.

“One sees clearly only with the heart. Anything essential is invisible to the eyes.” Antoine de Saint-Exupery, The Little Prince.

I suppose it might seem odd that our imaginary child makes book recommendations but before you leap into full-blown judgment, I would ask you to ponder this: why might you consider anything borne of imagination as odd? This device that I am typing upon was once a figment of someone’s imagination. Consider this: there is power in imagining kindness. Peace will come first to the world through our capacity to imagine it as possible.

This past weekend we were at Pride-Milwaukee watching our amazing son perform on large stages and small. I loved being in a celebratory mob that embraced difference, that celebrated the divergent, that held an all-inclusive understanding of love. There was not a hint of body shaming, in fact, there was the opposite. Can you imagine that? “One sees clearly only with the heart.”

I had a minor epiphany standing behind the stage at the street fair. Watching the revelers, strangers dancing with strangers, people fearless in their acceptance, reaching one-to-the-other – these people unashamedly promoting acceptance-and-love-of-others are regularly branded as deviant. Our world is upside-down. Or perhaps it simply lacks imagination.

read Kerri’s blogpost about HEART LEAF

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Just Gorgeous [David’s blog on DR Thursday]

It wore a small plaque, a designated historical landmark. Even so, it’s a study of contradiction in decay. The building is a little worse for wear. Like an old skin, weathered tar shingles crack and peel from the corners. Pieces are falling off. And yet it is beautiful in its collision of textures. The weather-beaten wood carries the same green and orange as the copper hinge.

And, oh-the-hinge! Made in a time when function was an opportunity for ornamentation, now grown more beautiful with the patina and wreckage of age. It’s missing part of the pin. It’s crudely screwed into the wood, an after thought. Still, it is the first thing we noticed when we walked by the decaying structure. “Look at that hinge!” she gasped, reaching for her camera. Its imperfections make it a siren, a luring call to an aesthetic eye.

There’s a beauty that only age and imperfection can muster. Wabi-sabi; the riches of imperfection. The glory of transience. The building was happy to be noticed. It was more than patient with our photo shoot and made no attempt to hide its bumps and barnacles. “You see me!” it seemed to say, so used to people passing-by with nary a glance.

“You’re gorgeous,” she sighed, her lens focusing tightly on every intricacy, reveling in the smallest detail. “Just gorgeous!”

All My Loves (newly reworked), 24″ x 41 3/8″ mixed media on hardboard

read Kerri’s blogpost about THE HINGE

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The Way Home [David’s blog on Two Artists Tuesday]

This peony-perspective begs to be the inciting image of a children’s book. I imagine the main character comes from a world where people are smaller than flowers. Where bumblebees are happy Ubers delivering their small human riders to distant neighborhoods when they need a lift. Where nature is magical, playful and esteemed.

Not all ideas make it to the final draft so it’s important to stack up the ideas and have fun with the images. The main character sleeps inside the peony. The Uber bees are chaotic fliers and one never knows where they land; in this world, destination is always a surprise. Spontaneity is the norm.

In this world where people look up to flowers, “Home” is everywhere for everyone – so people, unacquainted with ownership or territory, have evolved as intrinsically helpful. Generosity of spirit is a highly prized character trait. Survival is not of the fittest but of the kindest.

Hummingbirds know the secret of finding sweet treats, caterpillars know the secret of patience.

Since this storybook is evolving as a sweet utopia, it begs the question, “What’s the conflict?” Stories do not work without obstacles. The bigger the better. What is the lesson our main character must learn? What gets lost that must be found? Maybe our little person, like Adam and Eve, falls out of their garden? Perhaps an Uber bee unwittingly flies our hero/heroine through a magic portal, to a place where people are bigger than flowers? In a world that seems sad and upside-down, the question becomes, how does our little person, lost in the land of big, find their way home?

read Kerri’s blogpost about PEONY PERSPECTIVE

Bonus! Perhaps this amazing composition will be the theme for the animated version of the story book once it garners a world-wide audience!

The Way Home/This Part of the Journey © 1997/2000 Kerri Sherwood

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Walk The Path [David’s blog on DR Thursday]

It’s been awhile. I’ve fallen into an art book, Ancestral Modern: Australian Aboriginal Art. I bought this book after attending the exhibit at the Seattle Art Museum. It was – and still is – one of my favorite exhibits, reaching me on many levels. I went back again and again so I might spend quality time with a few of the paintings.

The paintings of the Aboriginal artists are mythologies, though not as we think of mythologies. They are more than dusty stories. Explanatory. They are active guides on a life path. Were I Aboriginal I’d “read” them. I’d know the stories so each piece would speak personally to me. The paintings would escort me along my life-path. Mythology as my story.

This is what amazed me most: many of the pieces were as abstract as a Rothko or Frankenthaler. Vibrant lines and color. They shimmered. Dreaming. Living foundational narrative carried in energetic swirls and dots of paint.

In my experience it is not uncommon in a gallery or museum to come across someone puzzling over a painting by a master artist and hear them say, “I don’t get it.” The abstraction is a closed door. “I could do that,” I heard a man huff while staring intently at a Jackson Pollock painting. The door is not closed between the Aboriginal artist and his or her community. The mythology has not broken down. The artist is not exclusively serving an individual expression, rather, they are maintaining an ancient connection, drawing from and carrying forward the deep well of communal story. “Meet Blue-Tongued Lizard Man…” Artists paying homage. Artists serving their role as keepers of the flame.

Kerri and I talked of our artistry as we walked the paths of the John Denver Sanctuary. He was a guide-star for her and continues to influence her work. Simple lines. Music that does not rely on acrobatics or embellishment. It was poignant that we had the sanctuary to ourselves. Sometimes it is nearly impossible to know whether or not our work-in-the-world reaches anyone or serves any real value beyond satisfying our imperative to create it. And sometimes, like that day walking the path through the sanctuary, the clouds rolling over the mountain, the Roaring Fork River singing at our side, the ancestry is clear. “This is where I come from,” she said. “This is where I belong”.

read Kerri’s blogpost about THE PATH

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All The World [David’s blog on KS Friday]

When I was on the verge of realizing my dream of creating an experiential learning school/program, I kept a poster on my office wall – the alphabet in butterfly wings. It was a layer cake of reminders: Nothing is original. Mimicking nature is a really good idea. We project our meaning onto the world and are oriented into a world of projected meaning. In other words: it’s all made-up. So, make it up!

Teachers are meant to follow a student’s questions, not stuff them with a heavy diet of unattached answers. Create a container of hot pursuit and feed the curiosity. Someday they will create and hold their own container of hot pursuit, if they are lucky enough to survive the system. That thought is not original to me. Every great teacher who I’ve known has told me some version of my borrowed-assertion.

Some day, if you are fortunate enough to take a walk with Kerri, be prepared to stop. Often. “Lookit!” she gasps for the umpteenth time and aims her camera. Stepping off the trail, kneeling in the weeds, tipping her head back to capture the clouds, hovering above an intrepid caterpillar… Catching the miracle is one of her hot pursuits. “I won’t take any more,” she says and I smile, knowingly. My job is to hold the container.

“Lookit!” she said. We were in the lobby of the theatre. Her hot pursuit is also an indoor passion. All the world is her studio. “It’s the letter K!” she smiled. “In lights!” Before I could respond she stepped away, aiming her lens at the ceiling. “It’s so cool!”

From butterfly wings to lights on the ceiling.

It occurs to me (now) that creating or holding containers of hot pursuit is one of my hot pursuits. All the world…

The Box/Blueprint for my Soul © 1996 Kerri Sherwood

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

read Kerri’s blogpost about K

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Epicenters of Mattering [David’s blog on DR Thursday]

If you asked me why we write I would tell you that it is because of Lydia. After reading my post Arrive, she must have sensed my low spirits and took the time to comment: Perhaps you have already arrived. Breathe. Feel the awe. In every moment. It is because of Alex who reads what I write everyday and bothers to let me know. Buffalo Bob. A simple like, telling me, “I am out here and what you write matters to me.”

Writing is a relationship like painting is a relationship like music is a relationship. It’s a dynamic feedback loop. A younger me would have told you that the impulse to create is internal; the current version of me wonders if there really is any such separation as internal and external. There is no actor without an audience, no writer without a reader. It’s a matter of mattering. To each other. Ultimately, the artist imperative is to share. It is hard to explain. Ours is essential. It is urgent. It is undeniable. It is an inner necessity – a word that I do not use lightly. To deny it would be to die – a statement that I do not offer lightly. Yet, without an audience, a reader, there would be no point.

We recently asked Rob his thoughts about how to get our words beyond our bubble. We love our bubble, our community of dedicated readers and listeners. However, the changes in the world of arts-as-a-business have made the work we were once paid for free for all takers. Although technology brings our words and music and art to audiences all over the world, it has also left us financially insecure. It’s an oddly mixed message of mattering. So many listeners and readers, so few pennies. Rob and others have been knocking on our noggins to open a Patreon membership. It’s taken awhile for us to embrace the realities of this brave new world.

Networks and relationships. Worth. Value. Mattering. Each of us an epicenter with lines of connection running in all directions. Sharing. Giving. Asking. So very appreciative of a “thumbs up,” so deeply moved when our words come back at us with a loving reminder to Feel the Awe. Breathe.

read Kerri’s blogpost about NETWORKS

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