Shimmy Dance [on DR Thursday]

Barney the piano has been in residence for over 7 years. His sound board was ruined and he was on his way to the junkyard when Kerri intervened. She played him on his first day here. He gave sweet voice for a few musical lines and then went silent. We’d occasionally wander out and press his keys but he was absolute. He was finished with his former purpose and ready for the next chapter.

Over time he lost his facade. The white veneer peeled from his keys and exposed the wood beneath. His decorative layer also began to curl. Pieces fell in strips like bark from a tree, exposing the rougher wooden structure.

Chipmunks have taken up residence. The squirrels glory in sitting high on his bald pate while lecturing Dogga. He’s beginning to sag in his middle and sink into the ground. He has been home to flower pots and once acted as our herb garden. Currently, we’re on the prowl for an appropriate chandelier to hang above him. I understand that pianos, at any age, love a good chandelier.

Barney has become an institution in our backyard. A fixture. I mow around him and never give it a second thought. We turn on the sprinklers to water the grass and water Barney, too. The first time we watered Barney, 7 years ago, Kerri cringed. It seemed sacrilege to spray a piano with water. She couldn’t look and retreated into the house. Now, Barney and the grass are one.

Sometimes at night we sit on the deck and watch the daylight wane. The pond light is on a timer and illuminates the fountain. The shadows dance on Barney. If we sit in the right spot, it seems the fire from our small tower dances in time with the fountain shadow on Barney. Fire and water move in a perfect shimmy dance. The elements come together. Alchemy.

Sitting in the waning light, watching the dancers dance with Barney, I’m reminded that magic is happening all around us. Everyday. Every moment. And, if I stop moving long enough to pay attention, I can see it. Barney also reminds me that we are never the same moment to moment. The changes are visible over time – long periods of time, but the movement is continuous. Slow. Joseph Campbell said that the universe creates forms and take them down. Creates forms, takes them down. Barney was once a piano. Now? To us, he is many, many things.

read Kerri’s blogpost about BARNEY AND FIRE

Think About It [on DR Thursday]

Generosity works like blowback: offer support to others and you’ll find yourself supported. Offer kindness to others and you’ll overflow with kindness. Give courtesy, get courtesy. And, it’s not the response or reaction of the recipient that generates the blowback. It’s the act of generosity. The blowback is self-induced.

Of course, meanness works along the same principle. Hate and you fill yourself with hatred.

Often on our trail we find painted rocks. Symbols, messages and whimsy that someone planted for us to find. They make us laugh. They lift our spirits. We generally don’t take them home. We leave them for others to find or, sometimes, we move them to a new location. We re-plant them. Either way, we giggle. It feels like participating in the kindness.

“I want to paint rocks, too!” Kerri’s inner 5-year-old pouted. She went so far as clenching her fist and knitting her brow. Pouty mouth. I fell on the floor in delight after glimpsing the insistent child she was-and-still-is.

We gathered rocks. We bought crappy craft brushes. We brought out the paint. On a gorgeous Saturday evening, sitting outside in the summer breezes, we painted rocks. Compared to the clever rocks we find on trail, our first attempt was crude but inspiring. “We need better tools,” she said, hands-on-hips, admiring our gallery of rocks-ready-to-be-placed-on-trail.

She googled. She asked friends. Armed with information and the desire for better rock art, she’s in hot pursuit of the proper supplies to produce magical rocks that will evoke smiles from people we will never meet.

Someone out there – a person – one day on the trail, giggled and placed a colorful painted stone in the knot of a tree. It set off a ripple of trail giggles in us – and others. How many people, just like Kerri, found their inner 5-year-old, and exclaimed, “I want to do that!”

The, “I want to do that,” isn’t about the rock (though that’s great fun). It’s about the giggle it evokes in strangers. Think about it.

read Kerri’s blogpost about ROCK PAINTING

chasing bubbles © 2019 david robinson

Intend Renewal [on DR Thursday]

Context is everything. When we chose this picture for our Melange, I thought I’d probably write about renewal. Out of devastation, a phoenix rises. Or, perhaps the kind of renewal that doesn’t just happen but requires a bit of scraping, new soil, scattered seed, and hay-net to prevent the birds from feasting on the seed. Intentional renewal.

Context. Between the day we chose this photo and this cool quiet morning that I’m attempting to write about it, the mass shooting at Highland Park happened. I’m finding it nearly impossible to write about renewal.

Highland Park is not far away. We attend the annual art fair on their small-town Main Street. We’ve driven through 4 times in the last two weeks.

We were about to go out the door and walk to our local 4th of July festival when the news arrived. We looked at each other, no words necessary. We kicked off our shoes. We decided to stay home. Going to a place where people congregate – like grocery stores or elementary schools or places of worship or movie theatres or parades meant to celebrate our “independence” – seemed unsafe.

Context.

HIghland Park was one of three locations in the USA that experienced mass shootings on the 4th of July. No, check that. Four locations. Even as I type, Kerri brought news of the mass shooting that happened here – not so many blocks away – on the 4th. Staying home was a good choice. Oops. Check that. More news. There were eight. Oops (again). Check that. Eleven.

I cannot write about renewal but, for the third time this week, I am tapping out thoughts about interconnectivity.

It is a trick of language to say, “I broke my toe” and believe that only the isolated body-part called “toe” is injured while everything else is fine. Except it’s not fine. An injury anywhere to the body is an injury to the whole body. Everything is impacted. Everything adjusts. The pain-impulse you feel in your toe has already completed a round trip to your brain. Your posture adjusts so expect your hip or back to be sore tomorrow. Your spatial awareness goes on high alert: it’s best to avoid toe contact with any immovable object. If you desire to understand interconnectivity, consider how your whole body might respond if you happen to stub your seeming-isolated-and-already-broken-toe. Whole body response. Imagine it.

There have been over 300 mass shootings in the United States this year. So, the single most puzzling comment to come out of HIghland Park? “How could it happen here?” As if “here” is somehow isolated from Uvalde or Buffalo or Boulder or…it’s a long list and growing.

The whole nation-body is injured. It’s the illusion of isolation that underpins the mad-thought that more guns, unrestricted, are a solution to gun violence. Build a fortress? Isolate? Better doors? Arm yourself? It’s only the toe.

Where exactly is the boundary of “here?” And why would it be okay for “it” to happen “there”?

We’re all here. There is no “there” that is “safe.” Context is everything.

Perhaps I am writing about renewal. The intentional kind that requires some leadership scraping, new soil, seed, and a whole-body community united and relentless in their demand for proper protections from the insanity of guns.

read Kerri’s blogpost bout NEW GRASS

may you © 2015 david robinson

Consider The Symbol [on DR Thursday]

Because it is outside, she grabs her camera. Were it inside, I’d hear the special scream saved for spiders and I’d come running. The power of a screen, flipping fear to fascination. “It’s amazing,” she said and cringed.

Spider symbolism – like all vital symbols – carries the power of a complex split-metaphor. On one side of the screen they are toxic, malicious, potential bringers of slow venomous death. On the other side of the symbol, they are world creators, weavers of life and interconnectivity. Certainly, they are central characters in this world-wide-web that we enjoy.

In this era, we attempt to restrict our symbols, preferring them to be absolute, one-sided, either this or that. Symbols never work that way. They lose their power when cut in half. To be potent, a symbol must embody both sides of the moon. Limiting a symbol to only one side flattens it, robs it of dimension, renders it useless. The real power of the symbol ignites when both aspects are understood and embraced. Symbols are polarities.

We would be wise, in our nation, to look at both sides of our symbols. Our history, embodied in our symbols, is both shining and dark. Vapid fear-stories like “replacement theory” fester in a flattened symbol culture, a half-told history. Ugly nationalism grows in the spaces left empty by a cleaved symbolism, a highly-edited narrative.

Gaze through the screen at both sides of the symbol, and a fuller, richer, more color-full story emerges. An honest narrative.

Nations, like people, become healthy when they embrace all sides of their story, the dark side and the light, when they acknowledge both aspects of their symbol, when they take responsibility for their actions, the venomous and the virtuous alike.

read Kerri’s blogpost about THE SPIDER.

Prometheus Resurrection © 2008 David Robinson

Pull In [on DR Thursday]

I suspect the turtle understood the giant blonde woman with the camera aimed at this face as a threat. He did what turtles do when stressed: retreated into his shell. “I’m not going to hurt you little guy!” Kerri said, on her knees, snapping pictures. The turtle was, at best, dubious of her reassurances.

We were considering going to an outdoor concert until we saw photos of large crowds of people packed together. Covid has made us crowd averse. “I’m not sure I’m ready for that,” we chirped together and laughed at our stereo response. “I wonder if I will ever be ready for that,” Kerri mused.

At this moment I know more people with Covid than I have personally known throughout the entire span of the pandemic. I suppose this virus that rolls on and on, shapeshifting as it goes, would exhaust our guard sooner or later. I am guilty of thinking, “What’s the point?” as I don my mask to enter a store. Yet, every day this week, a new name or group of names has joined my roster of friends-with-Covid. So, I put on my mask. I pull my head into my protective shell.

There are real threats and there are nice ladies with cameras that only seem dangerous. “May you live in interesting times.” We do. A pandemic. Global warming has arrived. Nationalist madness on the rise. We cannot send our children safely to school – or shop at the grocery store – or attend a concert – without the thought of gun violence. We are awash in real threats and, like countless societies before us, we seem dedicated to our own demise. Madmen and women are at the wheel and we are in the backseat whispering, “Slow down,” looking at each other with, “Do Something!” in our eyes.

When Kerri showed me the photo of the turtle I was struck by the calm on its face. I recognize that turtles probably don’t have the facial muscles to fully express their fear but nevertheless I was delighted by the notion that the turtle-in-retreat was calm. Nothing to be done but pull into the shell and wait it out. No reason to panic.

We’ve discussed being more turtle-like in our lives. We live in Interesting times and there’s not a thing to do about it, other than perhaps write. Make art. Change a few behaviors. We need not wrinkle our brows or cry out in fear while pulling our heads into our shells. The sunrise is still as beautiful, we hold hands when we walk, make dinner together, love on Dogga at night. There’s lots of love inside our shell, no matter the surrounding madness, a quiet center in the storm.

read Kerri’s blogpost about THE TURTLE

shared fatherhood © 2018 david robinson

Embody The Symbol [on DR Thursday]

Everything in the Japanese Garden is symbolic, intentional. Pine trees represent longevity. Rocks, I’ve learned, represent the bones of the earth. They are as necessary in the design as are the “ephemeral blooms of the iris, rhododendron, and plum.” The symbol is not complete without both.

“The ephemeral existence of human life and the timelessness of nature.” Balance.

Entering the small yard of the Shoin House at the Chicago Botanical Garden is instantly calming for me. The small house is designed to “merge the outdoors with the indoors.” It is closed to the public but always beckons. I want to sit in the alcoves and write. Or do nothing at all. In the garden, I am instantly “connected.”

“Connectivity” is a word that has moved to the center of the work that I am currently doing. Amidst our ubiquitous capacity to share (Facebook, Instagram, Tiktok…email, chat, tweet, slack, text…) we are less and less connected. As Neil Postman wrote, we have made the irrelevant relevant and the relevant irrelevant. We share but do not connect. Shared information is not – and never will be – shared meaning.

Symbols empty of meaning when a community ceases to understand, honor, tend or acknowledge the significance of the symbol. And, symbols are the glue of a community. They are the physical, tangible location of an ideal. Disconnect from the symbol and the house falls apart.

I think that is why I am drawn to the Japanese Garden. There, beauty is intentional. The symbols are so well tended, so intentional, that one need not know the specific meanings to enter the symbol.

And, that’s the point. Connectivity happens when people, together, embody their symbols. They enter them. They become embodiments of their symbol(s).

It is the artist’s job to bring people into a shared moment. To give them access to a unified experience. To help them transcend the splinter symbols that divide – and see them for what they are. To help people step back and take a good look at what they, together, are creating. A garden? A desert? Balance? Imbalance?

read Kerri’s blogpost about THE ROCKWAY

prayer of opposites © 2006 david robinson

Wrap It [on DR Thursday]

Christo wrapped mountains in fabric. He wrapped coastlines. He populated passes with umbrellas. When I saw the candlesticks wrapped in plastic and ready to roll out the door, I thought, “Little Christo.” Wrap it and it becomes something else. Visible, invisible.

My favorite part of Christo and Jeanne-Claude’s website was found way at the bottom. Click on the words, “Projects Not Realized.” There were so many ideas! Whacky and wonderful visions that, for one reason or another, never made it off the drawing board. Why was one building wrapped and another rejected? Why did the mountain of barrels never block the intersection? What sense is there to be made of projects that are not invested in sense-making?

Sense-making follows experience and, in these times with so much media shouting for attention and propagandizing belief, it’s very hard to have a direct experience. I suppose that’s why Christo wrapped mountains. It takes an extreme act of non-sense to shock us into silent what-the-heck-ness.

I saw his umbrellas popping vibrant yellow along the pass from Bakersfield to LA. Giant dandelions stretching for miles. What I most remember as I stopped to get a closer look: children found it impossible not to dance at their bases. Make sense of that.

read Kerri’s blogpost about CANDLESTICKS

greet the world © 2011 david robinson

Sit In The Quiet [on DR Thursday]

Years ago I directed a production of Into The Woods and I wanted a set design alive with David Hockney colors. The production was gorgeous. The set the designer created was a vibrant fantasyland with the dark undertones wrought by dinosaur-size-too-big foliage. Tiny people in an oversized children’s pop-up book.

If I were going to direct the musical again today, I’d approach it through a different lens. I wouldn’t place it in the vivid palette of fantasyland; this world we journey through is fantastic just as it is. When Kerri and I walk, I am sometimes stunned to silence by the shapes and patterns and pops of color. Ominous and serene. Alive.

For reasons that have nothing to do with reason, I started using imagined leaf shapes, plant-symbols in my paintings. I know when I someday return to my easel, the plant shapes will be present – perhaps even dominant. There is no end to the eye-popping variations. Our walks in nature have me “seeing” again.

A few years ago, Brad and I talked about the deep backstory of why an artist creates. Of course, there’s not a single driving reason – it changes over time as we change over time. I know many artists who’ve set down their brushes, singers who stopped singing. They satisfied their backstory. They channel their creative juices into other forms. Based on the evidence, these days I am a writer. Lately, I spend more time drawing cartoons than painting paintings. And yet, I still think of myself as a painter.

In the past, a step away from the easel was acknowledging a fallow season, letting my batteries recharge. This time, the step away is different. My reasons are spinning, changing. The younger me-artist was finding a place to transform pain into presence. The middle-age-artist-me entered the studio because it was the only place on earth that made sense. It was a sanctuary. A quiet place.

Each day I walk down the stairs and stand for a few moments with the canvas on my easel. It’s a stranger. I hear my easel whisper, “Not yet. Soon.” I am content with soon. I feel as if I am in an extended meditation, borrowing a tradition from Japanese masters, sitting in the quiet until there is no space between me and the brush, no space between me and the motion. No space between me and the shape, the pop of color, the infinite variance of pattern. No space between me and the surprise-of-what-will-happen. No space between me and the story.

read Kerri’s blogpost about TRILLIUM

joy © 2014 david robinson

Know Secret Things [on DR Thursday]

I wanted to begin this post with a quote from Rainier Maria Rilke’s Letters To A Young Poet. As I always do, I opened his book this morning and fell into it. I couldn’t decide which quote to use – there are so many! Finally, I put it down because I concluded that I’d have to place the entire book into this post. So, I begin this day both quote-full and quote-free. Nothing to share and everything to share.

Showing me her photo, Kerri asked, “What do you think of this still life?” I don’t think I’ve ever heard her use the phrase, “still life.” It’s a painter’s phrase, much like the word “garment” belongs to costumers. “I love this,” I said, knowing why she used the painter-phrase. “It looks like a painting.”

My very first art teacher was a jolly older woman named Jackie Fry. She offered oil painting classes at the recreation center. I carried my paint box and canvas boards to Saturday morning classes. I was the odd ball in the class because I didn’t want to paint trees. I wanted to paint people. Not portraits. People. I felt badly about being the odd ball and she gave me the tidbit of advice that has informed my choices for decades: “Tree painters are a dime a dozen,” she said. “Follow your star and not theirs.”

Great advice. She made me paint still life set-ups. “You have to learn to see basic shape and color,” she said when she saw my frown. “People are shapes.”

People are shapes. Learn to see. Follow your star and not theirs. Advice worthy of Rilke, which brings a quote to mind:

“I want to be with those who know secret things or else alone.”

Phew. Now you don’t have to read the entirety of his very wise book just because I couldn’t decide which beautiful phrase to use.

read Kerri’s blogpost about THE GOURD

john’s secret (pray now) © 2010 david robinson

Watch For Turtles [on DR Thursday]

“The art of living… is neither careless drifting on the one hand nor fearful clinging to the past on the other. It consists in being sensitive to each moment, in regarding it as utterly new and unique, in having the mind open and wholly receptive.” ~ Alan Watts

The ferns have returned. Last week they were sharp tendrils poking through the leaves and earth; little green aliens. A mere seven days later, they are over three feet tall, fern-flags unfurling.

Driving to our trail we saw a turtle crossing the road. Kerri whipped a u-turn and I jumped out of the car, picked it up, expedited its journey, moving it from the pavement to the grass. There’s something special about the turtles. Throughout March and April, while walking on our trail, we’d cross the bridge over the Des Plaines River, and look for the turtles’ return. The turtle in the road was our first sighting of the season. Later, on the bridge over the river, we saw a dozen. “They’re back!” she said and smiled.

Lately we’re given to walking the same trail. We’ve seen it change through several seasons. We followed our loop last week and I swear, this week, it’s an entirely different trail. The trees are flowering. The trillium are showing their purple.

I used to wonder how Emily Dickinson thrived looking at the same garden for years and years. How did she write such beautiful poetry with such a small window to the world? Now I know that her world was enormous and my question was too small.

“Hope is the thing with feathers…”

read Kerri’s blogpost about FERNS

iconic © 2010 david robinson