Posted on August 26, 2021 by davidrobinsoncreative
I’m not sure when I started using floral shapes and imagery in my paintings. There was Sam The Poet and Eve, trees as symbol.
Sam The Poet, acrylic, 48 x 48IN
Eve, acrylic on hardboard, 48 x 48IN
I know my sketchbooks began filling up with flower shapes and symbolic landscapes. Petals appeared throughout my Yoga Series. Leaf and flower shapes found their way into the bodies as well as the surrounding spaces.
Joy, mixed media, 50 x 56IN
I played with tissue paper over color as a ground for the images. When Tony recently visited my studio, he said my paintings were sculptural, visually commanding. I wrote his words on a scrap of paper since artists are mostly terrible at describing their work. He is an artist so he knows that the proper answer to the question, “Tell me about your work?” is “Go look at it and then you tell me about my work.” He didn’t ask the question; he went straight to the looking.
Tango With Me, mixed media, 39 x 52IN
We walked down a path at sunset. Kerri saw the sunflowers and I knew a photo op had arrived. “You should use this as your Thursday post,” she said, showing me her photo, “because your paintings always have flowers in them.”
Well, good enough, then. Sunflowers, shape and symbol, will find their way into the next painting, I’m sure of it.
Posted on August 19, 2021 by davidrobinsoncreative
strange sky
“Can a shallow mind appreciate beauty?…When the mind is merely concerned with itself and its own activities, it is not beautiful; whatever it does, it remains ugly, limited, therefore it is incapable of knowing what beauty is.” ~Krishnamurti,Think On These Things
What accounts for the strange color of the sky? Smoke from the fires? A coming storm?
The quote above is only half of the thought. It is the set up for the real point to be made. A shallow mind is concerned only for itself. And, while consumed with the lesser, it misses the greater. It is the unintentional theme that emerged for me this week: losing the greater for the lesser. The baby goes out with the bathwater.
It is a matter of perception, of focus placement.
Yesterday I wrote about the judge questioning the potential juror about his capacity to experience hardship in order to keep the system going and growing. The juror entered the exchange with a self-focus and exited, admonished, with perhaps the possibility of seeing something beyond his own agenda. Perhaps.
I read that Rome fell when the luxuries became more important than the essentials. Societies fall when they can no longer discern between what is important and what is not, when the lesser is protected at the expense of the greater.
Years ago, during a facilitation, a young woman pulled herself from and exercise. She sat on the sidelines and brooded. After the exercise, during the debrief, she claimed that she was discriminated against because her team did not listen to her ideas. Initially, her team scrambled to apologize – one does not want to be accused of discrimination. We asked the team to explore the situation a bit further. Because the young woman’s idea was rejected, was she truly a victim of discrimination? It was an illuminating conversation. The problem – the real problem – arises when we can no longer discern between what is discrimination and what is not? There is terrible discrimination in our world and needs to be addressed. It can’t be seriously confronted if we are incapable of distinguishing between the rejection of an idea and laws that prevent citizens of color from voting.
In a pandemic, a mask is not a breach of personal freedom. It is not the state ripping away control of your body. It is a minor inconvenience to ensure the mitigation of a virus that is killing scores of fellow citizens. Despite the rhetoric otherwise, the fearmongering and tribe-building, wearing a mask is something done for the health of the whole. It is not unlike jury duty.
It is a matter of perception. Of focus placement. Self or other? Lesser or greater?
The rest of the quote: “Whereas, a mind that is not concerned with itself, that is free of ambition, a mind that is not caught up in its own desires or driven by pursuit of its own success – such a mind is not shallow, and it flowers in goodness. Do you understand? It is this inward goodness that gives beauty, even to a so-called ugly face.”
Pay attention to the verb. Beauty is given. Concern for the well-being of the other is a sentiment expressed and championed in every corner of the world, by all the figures we quote, elevate, and sometimes emulate. Martin Luther King, Ghandi, Abraham Lincoln, Mother Teresa,…it’s a very, very long list.
Communities thrive when they are capable of enduring hardship for each other, for the benefit of the whole. They also thrive when they hold boundaries and protect the rights of the individuals. Those two seemingly different actions are, in fact, one and the same.
Societies fall when shallow minds prevail, when they can no longer discern between essentials and luxuries, privileges and responsibilities. When personal comfort takes precedence over enduring ideals.
It’s a matter of perception. Of focus placement, and make no mistake, focus is easily led. Just like a package of pastrami mistaken for a strange colored sky.
Posted on August 12, 2021 by davidrobinsoncreative
The space around and between. Shapes that share edges. Emptiness that provides definition. In art it is called negative space. Not-the-object. In art classes, students draw the negative spaces in order to see or to learn a new way of seeing. Try it. See the holes and the space around the leaves as primary. It’s not as easy as it sounds.
Some folks use the term “air space” because they get snagged on the word “negative.” It’s a term of opposition when set next to “positive.” Yet, just as there is an electric field that flows between negative and positive ions, electrons and protons, there is a field that flows between negative and positive space. Yin and Yang. A dynamic polarity. A creative field of movement and energy. The air space is alive because of the perceived opposition. The positive space is not visible without the negative.
When I was a consultant, I used the phrase “the space between” to imply relationship. There are people. There is the space between people. Relationship is invisible but it defines the people. Relationship illuminates the otherwise unknowable individual. They are impossible to separate. In a community obsessed with nouns, bottom lines, test scores and individual rights, the verbs and the relationships often go unnoticed and unappreciated. As if the negative space didn’t matter. The space between is where the movement lives and the problems are solved. It is where new seeing is possible. It is created and creative. The word “community” lives in the space between.
Try it. Take a day and focus on the space between. See relationship as primary. You may experience a whole new way of seeing.
20 sent this image,a memorial. It makes the point.
As much as our wily-ole brains would like us to believe otherwise, we can be nowhere else but in the present. Everything else is imagination.
Years ago I belonged to a support group of independent consultants. We met once a month to discuss our business challenges, insights, and to give and receive some advice. One of the members of the group was a Byron Cady coach. I have no memory of the discussion that prompted her to offer this Byron-thought-metaphor: “If your house burns down, rather than race around in panic, the best thing you can do is sit on the curb and appreciate the moment.”
To the consumer-mind, wisdom often sounds like bad advice. That you are alive, that you have this moment, means that no real possession was lost. The question is, in the face of calamity, what will you make of the moment?
Brother Joseph told the story of holding a woman wearing expensive furs, each finger was diamond encrusted, as she died on the street. He was, in the moment, overwhelmed by the worthlessness of her stuff. The illusion of value once life has gone.
Life. This moment. Calamity is certain to come. Sit on the curb and see what is there, beyond what you think is there.
We’ve had our share of adversity these past few years. I would like to report that we laughed heartily in the face of lost jobs and broken wrists and pandemic madness and civil unrest. We did not. We shook our fists at the sky. We made up words and ran loops like Chicken Little. We invested in all manner of fear-of-the-future and ran from monsters-of-the-past. None of our racing around or fist-shaking brought comfort or change.
But, the moments that we took a breath, walked a trail or sat on the back deck and listened to the cardinals and crows, sipped hot coffee on cold mornings, held hands – sat on the curb and appreciated the undeniable truth of our moment: we have everything. We have this moment – the only moment of life that we’ll ever inhabit. We have each other. The rest, the fear of future, demons of the past, are pure imagination. In those moments, wrapped in a circumstance of calamity, we laughed at the beauty of it all.
“There are people who prefer to say ‘yes’ and there are people who prefer to say ‘no’. Those who say ‘yes’ are rewarded by the adventures they have. Those who say ‘no’ are rewarded by the safety they attain.” ~ Keith Johnstone
A violent storm blew through so we spent the night hunkered down in the basement. We had very little sleep. Sleeplessness always leads me to moralize and for that, I apologize.
A frame of reference is a powerful thing. Experiences are interpreted through a frame of assumptions. We are witness to a time in which verifiable reality is denied because it doesn’t jive with the tribal frame.
Master Marsh passed along this quote from E.O. Wilson’s Sociobiology: “(Humankind) would rather believe than know.”
Knowledge often challenges the frame. That is the point of knowledge. Growth. And growth is always a challenge to what was formerly believed possible.
It is somehow easier to lapse into a conspiracy theory, demonize an other, deny what is indisputable, than it is to allow that the frame is just that, a frame. It’s not a truth. It’s a context. It’s a binding agent. Culture is a frame of reference. Religion is a frame of reference. What we believe of ourselves is not a fact. Identity is a frame of reference. Democracy is a frame of reference. Autocracy is a frame of reference. Supremacy is a frame. Equality is a frame. Every-man-for-himself is a frame. Brother-and-Sister’s-keeper is a frame.
None are truth. Frames are creations. Agreements. Aspirations.
Frames that allow for challenges, for growth, are sustainable. Those that do not, those that deny insight, fact, data, new knowledge, those that are threatened by opposing-point-of-view, inevitably collapse in their denial.
The fire burns. A garden hose is not an effective defense, regardless of belief. Temperatures rise relative to emissions. Rain forests disappear. A lie undermines the foundations of democracy. Believe it or not. Harry Truman sat in his cabin nestled into the mountain called St Helens. Despite repeated appeals from fleeing neighbors, repeated rumbles and tremors, warnings from scientists and safety personnel, he believed he would be safe, that his mountain would never erupt. Traces of Harry have never been found.
So it goes with the denial of believers. Frames held too tightly blind rather than reveal.
Every artist knows the transformative power of a frame. A frame can make almost any scribble look substantial. A cheap frame can diminish the greatest masterpiece.
New knowledge meets an old frame. Growth or entrenchment? Blind acceptance or emerging possibility? Yes? No? Both?
Duke and Eileen sat at this table for many years. And, because St. Vincent de Paul wouldn’t take it for second hand sale because the top had dings in it, it rode around in the back of Big Red for many months. We forgot it was there.
When Covid roared in and the world shut down, we wanted to put a table in our sun room. That way, we could sit and look out at the day. We thought it would help buoy our spirits while in isolation. In the middle of wondering-out-loud where we could possibly get a table in a world-shut-down, we remembered that Duke and Eileen’s table was camping out in the back of Big Red. It was a perfect fit.
It began the transformation of a room that has become our favorite place in the house to sit and hang out. We’ve populated our former work table with plants. Duke and Eileen’s table is also home to many succulents and a Bonsai Gardenia sent as a birthday present from Kirsten and Chris. We resurrected an old fountain so the sound of peace is the sound of gurgling water. There are candles. Special rocks from special places. Water, earth, fire, and air; lots of air. We’ve created a sanctuary.
Watching Kerri and 20, Duke and Eileen’s son, sit at the table filling out paperwork for Eileen, I was struck by the circle coming back around, the story that this table might tell. 20, sitting at his mom and dad’s table, now center to our sanctuary, doing the work of a son to care for his mom.
It also occurred to me, standing outside, looking in at these two siblings-from-different-mothers sit at the table filling out forms (Kerri and 20 are truly brother and sister), that in the midst of “living in interesting times,” our response to the pandemic, to civil unrest, to our town literally being on fire, amid job losses and wrists breaking, has been to create a place of peace. A center of quiet around which the chaos spins.
“Make all the world your studio” was once – and still is – a mantra for me. And, now at the center of my spinning-world-studio is an intentional space, a bright and happy room bringing together all of the elements, built around the long history of comfort etched in the top of Duke and Eileen’s table.
This story begins with the absence of central air, a black dog with lots of fur, and a woman who suffers severe hot flashes. Add to the story-mix a very hot and humid day in a long string of hot and humid days – which translates into sleepless nights which becomes situational madness. Sleep deprivation and extreme heat-topped-with-humidity makes for some awesome facial expressions and short bursts of guttural conversation.
It also must be noted that, even after hosing down the black dog (and ourselves in the process), our poor pooch could only lay on the floor beneath a ceiling fan and pant. His idea was so good that we joined him. The whole family on the floor, too hot to move.
As they say, necessity is the mother of invention, and in our moment of necessity, Kerri jumped to her feet declaring, “It’s happy hour!” I pulled a cold bottle of white wine from the fridge, and, after “a significant pour” in two glasses, we ran for the car, chanting “Do you want to go on errands?” Our chant was not heat-induced-madness or some strange incantation, but Dog-Dog’s cue to run for the car.
This is the story of how we came to be sitting in the car in the driveway, the engine running, the air conditioning on high, sipping cold white wine with our black dog wagging his tail for the first time in days [note: Kerri made me add the detail about the driveway. She doesn’t want you-the-reader to think that we were breaking the law by drinking behind the wheel on the street. I told her that there was no driving involved so there were no-laws-broken but she’s a better-safe-than-sorry-kinda-girl].
The night I met her, we climbed out a second story window with wine-in-hand, sat on the roof and watched the sun set. I remember thinking, “We are cut from the same cloth.” I was already smitten but the wine-on-the-roof thing put me over the top. Now, eight years later, rings-on-fingers, sitting in a car-to-nowhere, sipping cold wine and cooling down our beloved pooch, I can only smile. Same cloth. A new story to go in the annals. Life is good, very good, even on a too hot and humid day.
Back in my Don Quixote days, with the onset of a camera in every phone, one of my favorite exercises to give to groups was to send them out in search of textures. Gather texture. Gather pattern. It was quite literally eye-opening. It was also, quite literally, presence-enabling and life-invigorating.
There is enormous power in the simple phrase, “Stop and look.” See.
In “gather” there is no judgment. Consequently, the photos that came back, rich in texture and collision of texture, patterns revealing themselves everywhere, were gorgeous. Dynamic. But, mostly, they were revealing. Otherwise serious adults, who believed that there was nothing new, that life was less-than-exceptional, came back from their texture-gather with open eyes. Some giggled. These people, claiming that they did not possess an ounce of artistry, would show their photos to the group and say, “I pulled that in so we could see it better.” Or, “Don’t you just love how those two things come together?” Or, my favorite, “You didn’t give us enough time! I couldn’t gather it all!”
Ah. Not enough time to see it all. Not enough time to take it in. Now, isn’t that a statement of the-love-of-life? Isn’t that the epicenter of an artist’s life. Isn’t that a more interesting path than, “Same-old-same-old”?
Dots. Diamonds of dots. Lines. Pattern. Texture. Too much to see. Too much to experience. And the best, most simple way to step into vibrancy is to stop and look.
But, there is one more step, the part that made the exercise powerful. The essential part was and is almost always overlooked. Stopping and looking and gathering is great but only has meaning – only becomes artistry – when it is shared. Without fear or judgment. Stop. Look. Gather. Come back to the center and share what you see.
Although it probably does not appear this way to you, this photograph is the road back to my easel. It was an immediate inspiration. Kerri did not intend for it to spark the cold coals of my artistic fire, but it did. It was immediate. I couldn’t stop staring at it.
This painting is called Joy. Look at the floral shapes and lines both within and around the figure:
Joy, mixed media, 50x56IN
Many of my paintings of the past several years are floral wonderlands. They infuse the figures, they are bouncing balls of symbolic trees and oversized shrubbery. They remind me to have fun. To play and experiment. I must have forgotten all of that or turned away.
I hit a wall when I painted my red mess. It’s been on my easel for months. Beneath the red mess, the painting that I’d originally sketched on the canvas, is this:
I think I’d had too much of despair-and-comfort and needed to explode my themes. Thus, the red mess.
When Kerri showed me her photograph of tiny pink flowers, I saw the painting, this painting, complete in my imagination. Not despairing, but vibrant and subtle, alive with those amazing floral shapes, five-petal-bursts of life. Contemporary. Huge. Broad strokes. Almost a sculpture.
There is a story from Plato’s Symposium that I’m using as the basis for my script revision for The Creatures of Prometheus , the original human, cleaved by the gods because it was too powerful, searching through life to find its other half. This painting is (or will be) about the search for love, the transcendence of separation. Finding.
And, as you know, once it lives in the imagination, all that remains is the volition to get there.
“Readers…will welcome the enlightening description of ’emptiness as a beneficent state before creation.” ~ Anna Freud, forward to ON NOT BEING ABLE TO PAINT by Joanna Field
Kendy gave me the book, On Not Being Able To Paint in 1999. That was the year I burned almost all of my paintings. Let’s just say that I hit a wall. Another interpretation of my 1999 big fire is that I needed to create space. It’s a paradox I very much appreciate: as an artist, the overwhelming need to create space when feeling completely empty. ‘Being empty’ is not in-and-of-itself spacious.
Emptiness before creation is…biblical – it is pre-biblical, Chaos and Abyss are players in the Greek-god-canon. The universe abhors a vacuum but welcomes space.
This painting, lovingly dubbed THE RED MESS, has been on my easel for months. It predates the great basement flood. It’s what I was painting when I entered the void, when my tank went empty. I must have known I was low on creative fuel because I was trying something new. Red. The painting was, before I wiped it, an image of Kerri taking a photograph of a train through the trees on the Des Plaines river trail. She has a series of Trains-Through-Trees and I’ve delighted in watching her race to catch the shot.
Karola, perhaps the wisest AND happiest person I have ever known, encouraged me to allow myself to “go empty.” At the time, I was in my twenties, I feared emptiness. I thought my muse might leave and never come back. I fought her advice while trying to take her advice. One foot on the gas and the other foot on the brakes. “David,” she said in her German accent, “you have to let the glass go empty before it has the space to fill up! Let yourself go empty!” She laughed so hard at the look on my face that tears came to her eyes.
Now, I’ve sorted out my pedals. I descend into the studio every day and stand before this red mess. I don’t want to take it off the easel. It’s helping me embrace-the-space. It’s a loving postcard to myself, a reminder to respect the emptiness. To stand in the void and welcome the spaciousness.
Muses do not leave. People routinely turn their backs on the muse. Mine is right in front of me, sitting on my easel, draped in brilliant red, just like a stop sign. It is not a matter of hitting the gas or the brakes. Sometimes you just have to get out of the car and rest your eyes for a while.
The Direction of Intention 