On The Cusp [David’s blog on DR Thursday]

The phrase “On the cusp” can be misleading. There is rarely a single point, a moment of before-and-after in the passage from this-to-that. I smiled when she named this photograph “winterspring.” Yes. both/and. Not-this-and-not-that.

No passage is immediate. Caterpillars do not become butterflies in a snap. Teenagers do not become adults overnight. Transitions take time. Becoming is less a journey with an arrival than a discovery that “I am no longer that.”

Artistry is like that, too. Passions change. Not overnight but over time. What was vital to explore ten years ago seems distant, passé. The body of an artist’s work serves as a roadmap for their becoming, for their dedication to essence. Flip through the work of Matisse or Chagall. They grew simpler at the end of their lives as if pulled into a center. Michelangelo is another. At the end of his life, he broke form, entirely. It took the world 500 years to understand what he was chasing at the end.

We have been on the cusp for quite some time. Not-this-and-not-that.

Yesterday we walked the trail during the eclipse. The glasses were sold out everywhere so we didn’t see it. But we felt it in the light. We felt it when the light returned. The deer seemed to feel it too. Usually skittish, they held a quiet vigil. They allowed us to pass within a few feet. We reveled in the magic we experienced during the moon’s passage between the earth and the sun. We listened to news reports of people cheering. We talked of the intensity of the color.

“Someday we will look back on this time.” I said. “And, this is what we will remember.”

Three Graces, 32″ x 56″, acrylic on canvas

read Kerri’s blogpost about THE CUSP

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Belonging [David’s blog on DR Thursday]

It’s hard not to imagine the light-circles dancing on the far wall as a visitation of spirits. Ancestors or angels come to check-in, to let us know that we are not outside but within the circle of their warm embrace.

Last year Kate took us to a cemetery where many of our ancestors are buried. It was a revelation. Although right along the road, this graveyard was hard to find. It was hard to see. Yet, once inside, it opened wide; a bluff overlooking cornfields. As we walked from stone to stone, she told us what she knew of the life of each person. Of how we are connected.

I felt rooted in that place, surrounded by those lives. Like the light-circles dancing on the wall I felt inside the warm embrace. That’s a rare feeling for me.

Many years ago I had a casual conversation with a psychic. I told her that I didn’t feel as if I belonged anywhere and she laughed. “Belonging is not an issue,” she smiled but did not elaborate. Standing on that grassy knoll on a warm Iowa day, the psychic’s words came back to me. Belonging is not an issue.

Belonging is a word with both a horizontal and a vertical plane. There’s the circle that is seen. There is the circle that is felt. There is the circle of warm embrace that is today. There is the greater circle that reaches back and back and back. Those are the light-dancers, the surprise visitors who, on a sunny morning, show up for a moment or two, twinkling to remind us that all is well. We can rest easy knowing that, no matter what, we are and always will be surrounded by their love.

an oldie: Embrace, acrylic

read Kerri’s blogpost about MAGIC LIGHT

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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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A New Day [David’s blog on DR Thursday]

A new day.

Sometimes it takes a storm blowing through to make you realize what has value and what does not. The tornado takes the house, scatters the possessions, but the family is safe. No one is harmed. The wind takes the clutter and leaves a certain clarity.

I once knew an accomplished artist who lost his life’s work in a house fire. What I assumed would be tragic, for him was an opportunity: “I’m alive,” he said, elated. “Now I have a completely clean slate and can discover my work all over again.”

The storm comes. The veil falls. The Great and Powerful Oz is nothing more than a man with levers and illusions of grandeur hiding his real face behind a curtain. Dorothy suddenly knows without doubt what is true and what is fabrication. It’s quietly liberating.

She watches The Great and Powerful drift away in his hot air balloon and clumsy illusion. Dorothy realizes that no one can give her what she already possesses, an integrity of purpose, a vibrant spirit, surrounded by honest people who love her in a place she calls “home.”

A new day.

Nap with DogDog & BabyCat, 36″x48″, mixed media

read Kerri’s blogpost about A NEW DAY

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Pluck The Symbol [David’s blog on DR Thursday]

Tonight, as we near the day of clover, the celebration of St. Patrick’s snake dance, we will make corned beef and cabbage for our weekly dinner with 20. There will be Guinness, too. The snakes in the story, by-the-way, are symbolic. There were no actual snakes in the region. Remember, as I will when tipping my Guinness, it’s a religious holiday though, through the advent of Guinness, pagans like me can play, too.

One of my favorite things about human beings is how blind they are to their natural curiosity. For instance, read the wikipedia entry for four-leaf clover! There’s layers and layers of data on the odds of finding a four-leaf clover. Sometimes curiosity looks like study. Sometimes it looks like science. Or engineering. It’s one of my least favorite things about human beings: we can kill the spark, snuff the magic of the curious story-telling-mind, by how we tell the story.

Believe the snakes are literal and you miss the point of the story and misunderstand the reason for the holiday. The same is true with arks filled with animals and the Red Sea parting. Metaphors made literal: the apple remains uneaten. Knowledge dies on the vine.

Symbols open stories. Symbols make the story universal which is impressive if you stop and think about it. How can two people, living in two different cultures, who don’t share a common language, understand in-a-flash the same idea? Symbol. Metaphor. Heart openers. Mind expanders. Experience joiners.

In the epic of Saint Patrick, as a pagan I’d be one of the metaphoric snakes driven into the sea.

And remember, the data suggests that for every ten thousand three-leaf clover that you spy, you’ll find one stem with four. A symbol of good luck, no matter what the data suggests.

Train Through Trees, 51″x46″, mixed media

read Kerri’s blogpost about CLOVER

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Know The Context [David’s blog on DR Thursday]

Things are rarely what they seem at first glance. One tidbit of information, one step to the left or right and a new perspective opens, the image shifts, and everything comes into focus. Change need not be monumental. More often than not it happens in the tiny steps, the subtle rearrangement of expectations, full understanding alights with proper context.

The picture comes into view. A nice way of implying comprehension. The penny drops. The light bulb goes on. I knew immediately what this was a photo of – I know the context. It’s familiar to me. Outside of my context this photograph might be a mystery. A Rorschach inkblot. A request for a psychological interpretation. A blob on mesh.

It’s Dogga, taken through the screen door. He’s looking back at the camera. Even at rest he tracks us, he knows we are watching before we know we are watching. Even at rest, he is invested in our well-being. Our safety. He delights us with his antic awareness.

Things are rarely what they seem at first glance. Although it may not be immediately recognizable, it is a photograph of quiet joy. An image of home. Heart warmth. A sign that all is right in the world.

All My Loves, 24″x40.5″, mixed media on hardboard

read Kerri’s blogpost about the SCREEN DOOR

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I’ll Leave It To You [David’s blog on DR Thursday]

Yesterday we sat in these chairs, ate lunch, and took a few minutes to close our eyes, faces to the sun. And then, late last night, the temperatures stepped off a cliff. The snow you see on the chairs is not really snow. It is encrusted ice. If I hit the chairs with a hammer they’d shatter.

I took down the chimes in anticipation of the wind gusts. The arborist tells us that the tall pine tree standing outside of our bedroom is strong but his assurance does not keep us from laying awake on the nights when the wind roars. We imagine the worst. Last night we lay awake listening to creaks and groans of the swaying pine, readying ourselves to roll off the bed in a desperate act of survival.

We are both artists. There is no lack of imagination going on in our home. There’s no lack of drama when our imaginations entertain certain demise.

I probably made up the part about the chairs shattering. I wanted to test my theory, the product of my imagination sometimes referred to as a “hypothesis,” but Kerri intervened. She stood between me and the backdoor. “You can’t hit the chair with a hammer,” she said. She was calm and also she knows my weakness. “Besides,” she added, “It’s really cold out there.” She knows how much I hate the cold.

Okay. I made up the part about Kerri standing between me and the popsicle chair. Plus, I was only thinking about getting a hammer to test my theory. I imagined what she’d do if I actually gave into my imagination and went for the hammer. She suffers me.

Okay. I didn’t make up the part about her suffering me. That’s not my imagination. Call it observation. To be fair, she is given to improvisational madness, too. I’ve had to stop her from testing an unreasonable hypothesis a time or two. Or at least try to stop her.

Okay. I made up the part of trying to stop her. I imagined it. I know better than to get between her and a theory. She’s more dangerous than the pine tree. At least in my imagination. And my experience. Believe it or not.

Okay. I’ll leave it to you to sort out what’s true and what’s imagined. It’s a snow day so we have to stay inside. Imagination is the way we keep ourselves entertained. Or terrified. Or confused. Or filled with gumption.

Icarus, 30.5″x59.5″, acrylic on canvas

read Kerri’s blogpost about SNOW DAYS

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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.

Lean Into It [David’s blog on DR Thursday]

And what did the oracle say? Did she give you insight? Wise counsel? Did she offer a prophesy? Divination? Are you on your way? Do you know where you are going?

This song has been playing through my mind all morning: “Mama pajama rolled outta bed, she ran to the police station…” Simon and Garfunkel. Down by the School Yard. I think it’s in my head because, for many days, it was rolling through Kerri’s head. Transference. The difference is that when she sings the song it sounds like it is supposed to. Queen of Corona.

Before Simon and Garfunkel moved in, I was awash in The House at Pooh Corner. Kenny Loggins and John Messina. “I’ve wandered much further today than I should and I can’t seem to find my way back to the woods…” I hadn’t thought of this song for years and, this time, Kerri wasn’t a source of song-transfer. Where do these things come from?

A friend wrote last night. Like me, he is a wanderer. He thinks it might be time to find a place to settle. Settle, not settle down. I get that. I looked for my home for years and, as it turns out, it had to find me. A person, not a place. She’s filled with music. “And I’m on my way, I don’t know where I’m goin’ – takin’ my time, but I don’t know where…” I hope he finds his place, his person. I hope he is filled with light.

Impressions on a page. The Balinese taught me it is all a shadow on a screen. The moment I put a name on it, I cleave it in two. Subject and object. Mind and matter. Future and past. The only real place is in between the definitions and it cannot be fully grasped. Just lived. Johannes said, with our words, we make images, projections, and, if the image is good, we lean into it. Reaching for the impression.

“Count all the bees in the hive. Chase all the clouds from the sky…”

Prayer of Opposites, 4’x4′, acrylic on hardboard

read Kerri’s blogpost about FOG AND TREE

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buymeacoffee is a shadow on a screen, a simple story to tell.

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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