Posted on February 13, 2026 by davidrobinsoncreative
There are two sacred objects in the life of Dogga: snowman and candy cane. Both are cheap plastic squeaky toys that he carries from place to place, repositioning them throughout the day. His ultimate safe spot, the most sacred space for his most sacred objects, is in Kerri’s studio, either beneath or positioned close to her piano.
I believe her studio has become his sacred place because it is her sacred place. Her piano is her most sacred object. When she enters the room and plays he always joins her. He walks loops beneath the piano. The Dog Whisperer says that dogs are human-energy-readers and I think it is true. Kerri’s aura changes when she plays her piano. When she plays her energy brightens; it becomes pure. Dogga senses that. He sees it. Is it any wonder that he would bring his sacred objects into this sacred place?
Yesterday she sat down to play. I heard the clackety-clack of Dogga’s nails on the wooden floor as he scooped up his snowman and headed for the studio. I stopped what I was doing and literally absorbed the profound beauty of the moment. A pure moment. Two sacred objects, piano and snowman, brought together by the love shared between two sacred beings.
Societies disappear but their art remains. The art serves to carry forward through time the essence, the beliefs, the customs, the inner space and outer limits of a culture. Culture is a force greater than politics. Artists carry in their work the flame of culture; they serve a greater truth. The same cannot be said of politicians or captains of industry.
Like it or not, the artists at the Grammy awards spoke directly to the current horrors of our politics. They know the reach and power of their words and their artistry to inspire action. Bruce Springsteen’s song, The Streets of Minneapolis has become an anthem celebrating the courageous people who refuse to hide from the bully. It is a call to the essence of the American spirit while also calling out the lies of division and brutality of ICE and those who’ve created this mindless monster.
On the National Mall a sculpture appeared of the authoritarian-wannabe holding hands with Epstein. It’s entitled “Best Friends Forever”. A second installation, a ten foot replica of The Wannabe’s Birthday Card to Epstein, has shown up. The work of Banksy and those who emulate him are showing up on walls all across the world. A picture is worth a thousand words.
Anselm Kiefer, among the greatest visual artists of our times, has spent his life working “…themes of German history and the horrors of the Holocaust”. His work speaks directly to the fascist moment we now face in the USA.
Art inspires action because it reaches beyond words to touch souls. It simplifies the complex. It clarifies the chaos.
To say we live in complex times is an understatement. An old world order is collapsing. The gap between the haves and the have-nots is ever-widening, our politicians sell our future to the corporate dollar and create oligarchs, who, in turn, would have us believe that the people are incapable of governing themselves.
In our lifetime there has never been a greater need for the artist’s voice. We are daily served an avalanche of lies meant to keep us confused and off-center. Consider this: every person on the streets blowing a whistle or recording the brutality of ICE is an artist. They are calling our attention to the truth. They actively pierce the ugly rhetoric to expose the stark reality. They challenge the lies. They support us in knowing with absolute clarity who we are so that we might come together as a community and say to this administration, “You do not represent us. We are better than this.”
To all the republican politicians out there: be certain that culture is coming for you.
Posted on January 30, 2026 by davidrobinsoncreative
A meme flew by. It used the events of last Saturday to illuminate two different ideas of masculinity. The first as demonstrated by Alex Pretti, a man trying to help a woman who was just shoved to the ground. He stood between the woman and her attacker. The second model of masculinity was demonstrated by the ICE-men who tackled, beat and murdered Alex Pretti.
After the meme flew by I wished that I could amend it. For me it did not illuminate two models of masculinity, rather, it made a clear distinction between a man and a beast, between a healthy human being and a rabid animal. It highlighted the difference between a good intention and a toxic drive.
Most hearts in the nation are heavy. Witnessing yet another execution in the streets by agents of the government – and then defended by the leaders all the way up to and including the authoritarian wannabe in the White House – has left us aghast. John Pavlovitz suggested that our heavy hearts are necessary; they are a sure sign of our humanity. They are fuel for our outrage.
Alex Pretti’s heavy heart required him to step into the streets of his city and video the brutality enacted upon his neighbors. Renee Good’s heavy heart did the same. Service to others is often an action inspired by a heavy heart. It takes a great deal of courage to stand between a masked thug and his victim. It takes great strength to video the abuse as if to say, “We see you and you will not get away with this”.
I opened The Marginalian this morning and read this: “Here is the mathematical logic of the spirit: If love is the quality of attention we pay something other than ourselves and hate is the veil of not understanding ourselves, then loving the world more — the other word for which is kindness — is largely a matter of deepening our awareness and sharpening our attention on both sides of the skin that membranes the self.”
Love is the quality of attention we pay something other than ourselves. Hate is the veil of not understanding ourselves. Hate is self-focused. Love is other-focused.
Democracy is by definition other-focused. Authoritarianism is by definition self-focused.
Our heavy hearts are propelling us into the streets. It just might be that our heavy hearts will be the necessary ingredient that saves our democracy from the rabid authoritarians. It just might be that our heavy hearts will propel us to stand between the self-centered oligarchy currently shoving Lady Liberty to the ground. Our heavy hearts do not make us weak. They are the source of our outrage and fuel for our courage.
Posted on January 23, 2026 by davidrobinsoncreative
To begin, let’s start with the term “Ant Farm”. It’s otherwise known as a formicarium, a container habitat that “approximates” a natural environment. It’s made of clear plastic or glass allowing us to watch the behavior of the ants, the social hierarchies, physical structures (like tunneling and chamber making), dynamics with the queen, the life cycles of the ant colony.
I wonder if the ants know that their farm is the approximation of a natural environment or if they carry on as they would in any old environment without witnesses and walls? Are we watching the ant adaptation to a thin-world-construct? Are we watching an ant performance?
I imagine we place ourselves much higher on the critter hierarchy pyramid than the ants. It brings to mind a quote from E.O. Wilson, a brilliant man who studied ants: “If all mankind were to disappear, the world would regenerate back to the rich state of equilibrium that existed ten thousand years ago. If insects were to vanish, the environment would collapse into chaos.”
We are unique in our hubris. We are startling in our blindness.
These days it makes me wonder what larger consciousness plays witness to our behavior in our approximation of a natural environment. Doesn’t it sometimes feel like we are in a the subjects of an experiment? How many freedoms will we surrender, how many horrors will we tolerate before we challenge the unnatural delusion of supremacy? Would we rather erase ourselves than to recognize our natural interdependence? In the past 75 years in our ant farm, in an evolutionary step in consciousness, we’ve acknowledged our need for each other and created societal structures like NATO.
250 years ago an evolutionary idea took one giant step forward. It is called democracy in diversity, a society – an ideal – where the many participate together as one.
Will we step backwards into the fallacy of supremacy and collapse our farm? Will we thump our chests and erase ourselves? Or will we root out the diseased minds and delusional leaders, dismantle the false hierarchy and recognize our utter need for each other and our interdependence with our environment?
Who is watching whom?
Kerri’s albums are available on iTunes and streaming on Pandora
Posted on January 16, 2026 by davidrobinsoncreative
In one of the more absurd chapters of my life I was awarded a full-ride scholarship to a graduate program in costuming. As an undergraduate student in the theatre with a focus on acting and directing I’d spent a goodly amount of time in costume shops, sewing buttons, repairing shoes, badly hemming pants. It is fair to say that anything that involves fabric makes little to no sense to me. Many dear and patient costumers kept me busy during my required costume hours with tasks that I could not bungle. They found my level of competence (very low) and helped me succeed there.
My capacity to draw opened the door of costume absurdity. While interning at The Walden Theatre in Louisville, Kentucky, the director cast me as Oberon in a production of A Mid Summer Night’s Dream. She also asked me to design the costumes. She’d seen my drawings. I was delighted and drew characters with absolutely no idea whether or not my drawings could be translated into actual garments that people could wear. The very gifted head of the costume shop recognized my vast limitations and gently helped me make fabric decisions. I learned the art of the question from her. She knew what was best – and I knew nothing at all – so her questions were precise with the correct answer baked into the framing of the question.
One day a man came to audition actors for a graduate program. The audition room was lined with my costume designs. After the auditions he found me and asked me to interview with the tech faculty of the university. It was a crazy idea, a wild hare, but I did it anyway. At the time my ship had no rudder and there was nothing on my horizon following my internship. Plus, I believed there was no way, given my very very low costume competence, that they’d offer me a spot. But they did. And I accepted.
When Kerri resurrected her box of clothes-patterns it surfaced my long forgotten time in graduate school as a costume designer. I could draw and design everything. I couldn’t construct anything. More than once I reduced my professors to tears of laughing-disbelief at my attempts to sew. More than once I stopped them in their tracks with my capacity to imagine and paint. I began that year believing I was on the wrong path – I knew I was never going to be a costume designer – and I ended the year having learned that there is no such thing as a wrong path. Those good people, the incredible artists that surrounded me each day, helped me see and embrace my gifts. They helped me laugh at my foibles. They helped me understand the great creative power – and necessity – of pushing on a limit and stepping into an unknown. They helped me find my way.
Posted on January 9, 2026 by davidrobinsoncreative
about this week: there is a peril, it seems, to writing ahead these days. we had decided that this week – the first full week of a new year – we wished to use images of light as our prompts, we wished to linger on the possibility of light, of hope, of goodness. though our blogposts might stray from that as we pen them, it was without constant nod to the constant updating of current events – a mass of indefensible, unconscionable acts. we pondered what to do about these blogposts we had written and decided to keep them. we hope that – whether or not any absence of the happenings of the day, whether or not the chance these written words seem somewhat inane at this moment – you might know that those events – of corruption, illegality, immorality, and now murder – do not distill or distort our intention – to bring light and hope to this new year – the first days of which bring more insanity and unnerving instability. we are still holding space for light.
I learned something new about the Statue of Liberty. There are broken chains and shackles at her feet. “Sculptor Frédéric-Auguste Bartholdiincorporated these elements to represent liberty breaking free from servitude, a powerful message about emancipation.” (Statue of Liberty/Ellis Island Foundation) The name of the statue standing in NY Harbor is “Liberty Enlightening the World”.
We are witness to what happens when a nation, when a people, grow so accustomed to their symbols that they forget – or take for granted – their meaning. It’s times like these that the symbol is either reinvigorated or emptied.
Especially during the dark winter months, we light candles every evening. They are comforting, calming. If you asked me what they symbolize to me I’d answer, “Hope”. I used to meditate every day and I’d begin my meditation with lighting a candle: a beacon for concentration and connection. Peace. We light candles on days that significant people in our lives have passed. The flame is a call to memory, to gratitude and, again, connection.
Light that calls to us to peace. Light that evokes hope within us. Light that encourages us and connects us. Light that guides us home.
In the past I kept a candle burning in my studio while I was working. It was a companion or perhaps a signal to the muse that I was ready. Now I have a salt lamp that serves the same purpose.
Lady Liberty holds a torch. She has broken chains and shackles at her feet. Truly, it’s times like these that our symbol is either reinvigorated or reversed, made to mean the exact opposite of what it originally represented. Will it serve to evoke in us a call to create/defend freedom and justice for all or will we turn our backs on our symbol and allow it to descend into a curiosity, a bit of bygone americana. In this historical moment we have the choice of embodying the symbol as it was originally intended, holding up the light of liberty to guide ourselves through this dark night – or to flip it over, plunge the torch into the harbor and step willingly into the shackles of authoritarianism.
[I wrote this on the morning that the current occupant of the white house, without participation or knowledge of Congress, invaded Venezuela, a resource grab not unlike Putin’s unlawful invasion of Ukraine. I’m editing this on the morning after an ICE agent murdered Renee Good in Minneapolis. It seems we have arrived at our moment of choice: to fully embody our symbols and defend our dedication to freedom and justice for all – or not. This is not an abstraction.It is not hyperbole.It is immediate.]
Posted on January 2, 2026 by davidrobinsoncreative
Thoughts from the trail on day number 2 of a new year:
In my distant past I led workshops and retreats. Attendees, after having a significant revelation, would inevitably ask, “How do I take what I now know back into my day-to-day life?” At the time I generally threw the question back at them. “How do you take it back?” There is no formula.
How do we integrate new wisdom into ancient patterns? How do we weave our dreams into our white-knuckle-grip on reality?
There are ubiquitous platitudes that offer not-very-helpful-advice: “Out with the old and in with the new.” “Just do it.” “Pull up your bootstraps.” “Put on your big-boy pants.” These bromides are built upon faulty notions that 1) change is a one-and-done achievement rather than an ongoing process, 2) change is a linear path, and 3) change is something done all-by-yourself in a vacuum.
We only know ourselves in relationship to others. There is no arrival platform in this ever-changing life. Although we would like it to be otherwise, learning (change) is cyclical – it is never linear – and has no end (well, there is one definitive hard-stop).
I could have responded to my attendees with a question like this: To what story are you married? What makes your new insight a threat to the old story? Can you relax, breathe and detach from parts of the old story? I might have suggested that the question “how” presumes needing to know before acting. Is it possible that knowing “how to do it” is something seen after the fact? What if the “how” of taking a revelation back into life can only be understood after it is experienced? And what if “how” is a series of discoveries that never end?
I worked with a man who preached that people only change when, “The pain of staying the same becomes greater than the pain of making the change.” There is some truth to his belief. Pain is a potent motivator. Not-knowing can be unpleasant and very few people willingly walk into discomfort. Discord is a prerequisite of concord. And, vice versa.
Yearning is painful. Holding a dream can be excruciating. Stepping toward a vision can be scary as well as exhilarating. Staying the course in the face of internal opposition is a choice that is made again and again with each new step. And, each new step reveals previously unseen possibilities.
Revelations create new images, updated visions. What if the only thing that matters is stepping toward the vision – especially knowing that each new step will inform and alter the vision? And, what if standing still or temporarily turning away is actually an action: moving toward rather than running from? There is grace in recognizing readiness.
Thoughts to myself from the trail on day number 2 of a new year. It is the day that the fog of holiday celebrations clear and we begin to doubt our resolutions and question the strength of our revelations. It is the day we ask, “How?”
Posted on December 26, 2025 by davidrobinsoncreative
“We have fallen out of belonging. Consequently, when we stand before crucial thresholds in our lives, we have no rituals to protect, encourage, and guide us as we cross over into the unknown.” ~ John O’Donohue, To Bless the Space Between Us: A Book of Blessings
What does it mean to fall out of belonging?
This season brings us Christmas and Hanukkah and Rajab. Since they are rituals of identity they are cycles of renewal. They affirm these are my people and with them I know who I am and what I value. Each year, through our rituals, we reaffirm who we are and what we believe. It is one way – perhaps the most important way – of understanding the return of the light.
To fall out of belonging means that the rituals are enacted but their purpose has collapsed. They are no longer the glue that binds but have dissipated to become merely economic. To fall out of belonging is to be alone together. It is to be valueless since value is an aspect of relationship-with-the-whole. To fall out of belonging means there is no whole – and no way personally or communally to be whole.
That seems like an apt description of this nation once again at war with itself, dismantling every value, trying to sort out whether belonging is inclusive or exclusive. Are we equal under the law or unequal members in an ever uglier caste system? Who are we and where are we headed?
The glass blocks on the stairway seemed an appropriate metaphor for this threshold we are about to cross into the new year. The image is murky at best.
I used to be certain that I did not belong until an unlikely voice challenged my certainty. “Belonging is not an issue,” she said. I realized how wedded I’d become to my story of not-belonging. Not belonging was central to my identity as an artist. My culture defines artists as deviant. I laughed aloud when I realized that my place on the margin was my role in the society, it was how I belonged.
I also realized that It was not so much that I didn’t belong to my society but that I did not want to belong to it. It frightened me, this community that regularly conflates money with morality. This society that fears facing the totality of its history.
What I learned then is more true now: belonging is not the issue. The issue is to what kind of society do we want to belong. It’s the relevant question – the only relevant question – we need to ask ourselves as we stand on this threshold, preparing the ritual parties and fireworks, as we decide where we will be and what we will do at midnight of the 31st, as we make resolutions that will carry us into the new year and into who we want to become.
Belonging is not passive. It is not a given but requires our participation and commitment to renewal of what we value.
To what kind of society do we want to belong? The answer to that question will determine the society that we will create. It is up to us to determine which unknown we will cross into, whether we will continue to fall out of belonging and further into the dark divide – or whether we will choose to fall into togetherness, as our rituals of renewal, when truly valued, have always aspired: out of many, one.
Posted on December 19, 2025 by davidrobinsoncreative
“The world is full of magic things, patiently waiting for our senses to grow sharper.” ~ W.B. Yeats
Standing at the back of the theatre watching a performance of a play that he’d directed, Roger whispered a frustration that most artists whisper at some point in their career: the audience will never get all of the layers of story. Very few will appreciate the totality of the hard work, the heart, the intention, the nuance…So much goes unseen, un-felt.
There is, of course, only one response to his whispered frustration. They may not get it all but you – the artist – does. Sometimes I think the skill of the artist is to slow the world down so that they can more fully see it. Or, more accurately, slow down so they can see the magic in the world. And then their work is to help their community see it, too. The great gift of artistry is that the work is never finished. The process – the capacity to perceive and share more of the magic – is never ending.
I regularly ponder the impact of the pace of work and life in the age of the internet. It’s a raging river of information that never slows. In fact, “progress” is understood as an increase of speed. We worship at the business alter of efficiency-and-effectiveness; people are rewarded for striding at an ever faster pace – so anything, like artistry, that suggests slowing down might be beneficial, is radical. There is a reason that an audience might not “get it”.
I’ve been aware this week, as we deal with the impacts of the snow and cold on our house and car, that we’ve mostly unplugged. Necessity has made us present. It is not an accident that the prompt-photos for this Melange week are mostly close-ups. Detail. We’ve been staring at the miracle of the icicles. The patterns in the snow clusters on the Adirondack chairs have captivated us.
Yeats knew only pen and ink. He stared at blank pages and not at flickering dynamic screens that pulled his attention this way and that and filled his mental bucket with information. He did not sort through hundreds of emails each day or navigate the mind numbing onslaught of social media. Yeats took walks and stared out windows to clear his mind. He sought other poets and thinkers, he spent time with them so he might challenge and expand his ideas, his perceptions, his capacity to see and feel.
The world of magic things, patiently waiting for our senses to grow sharper, knows that our senses are so inundated with information and noise and stimulus that we are less and less able to sense anything at all, especially the magic things. We are distracted, often misinformed and thoroughly entertained – and less and less capable of sustaining a span of attention, let alone sharpening our senses.
Sharpened senses – otherwise known as presence – opens the door to the ubiquitous magic things, things that patiently wait for us to slow down enough to fully appreciate them.
Posted on December 12, 2025 by davidrobinsoncreative
The story of the BabyCat chair is the story of the tides of human emotional life. Holding on. Letting go. Holding on. Letting go.
After a titanic struggle with all that it represents to us, we let it go. We took it to the curb where it sat for a few days with no takers. We discussed chopping it up but couldn’t bring ourselves to do it so decided to wait. We decided to not-know what to do with it. We placed it in a spot beside the garage, like a memorial bench on a trail, it seemed an inviting place to sit and ponder the driveway.
And then the birds found the chair. We hadn’t considered the chair’s proximity to the bird feeder when we placed it by the garage so we were delighted when we looked out the window and discovered a score of birds enjoying the BabyCat chair. They were chattering, hopping armrest to armrest as if testing the comfort of their new chair.
“I guess the B-Cat chair has found a new life,” she said. “Perfect spot.” Keep in mind, we have a piano in our backyard so a chair in the driveway is not completely out of character.
The birds scattered when the workmen came up the driveway following the cable lines to the pole behind the garage. They had to move the chair to gain access to the pole. They were clearly puzzled by the chair since it was so obviously placed – rather than dumped – in that spot. They looked around before carefully moving the furniture-in-the-driveway.
With the snows, we’ve discovered that critters other than the birds have enjoyed a respite along their way. We’ve seen squirrels occupy the chair and found evidence of raccoons napping or at least pausing in their daily maraud.
The Direction of Intention 