All But One [David’s blog on Two Artists Tuesday]

Is it about the subject, the seagull feather, or the overall composition? It’s a more relevant question than you might imagine.

Of note: another word for ‘composition’ is ‘constitution’. Framework. Anatomy.

Begin here: the Supreme Court just ruled on a question of presidential immunity. Was their ruling about the subject (presidential immunity) or the constitution (the framework that fundamentally defines our national identity)?

Hint: In school we learned to speak The Pledge of Allegiance. “…with liberty and justice for all.” With this ruling, with hands over hearts, the words spoken daily by children and adults alike must now be, “…with liberty and justice for all, but one.

In taking up the question of presidential immunity -a puzzling choice on their part at the outset since the answer to the question of immunity is already deeply imbedded in something sacred that every American school child recites by rote at the beginning of each school day – the Supremes altered the composition of our picture. The very constitution of our democracy. All, but one.

In his weekly newsletter, artist Nicholas Wilton writes that we must see our work as telling our story. With this ruling, the work of the Supremes, on our behalf, set course for a much different story. A fundamentally different composition.

When was the last time that you read and considered the power and import of the Preamble to The Constitution? “We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.”

We the People (the composition). All, but one (the subject). The Supremes reversed the subject and the composition: All but one is now the composition. Where does that leave we the people? It’s a more relevant question than you might imagine.

Hold your nose and say it with me: I pledge allegiance to the Flag of the United States of America, and to the Republic for which it stands, one Nation under God, indivisible, with liberty and justice for all but one?

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Stroll With Alexander [David’s blog on DR Thursday]

20 knew we needed a get-away. He suggested a stroll through Milwaukee’s Third Ward. Knowing it was our favorite, he offered to treat us to a bowl of gumbo and a glass of wine at The Public Market. It was a successful temptation. We chose a beautiful day and drove into the city.

Among the many gifts that day as we strolled in and out of shops was the very present spirit of Alexander Calder. Almost every shop we entered featured a mobile or some variation of sculpture suspended from the ceiling. Paper planes, vibrant lemons in tidy lines like a Sunny-Roman-legion on parade, colorful shapes and orbs delicately balanced and dancing in the air, casting shadows. All paying homage to the art work of Calder. My bet is that few of the shopkeepers knew the origin, the ancestry of their twirling displays.

Calder’s mobiles were radical when he made them. He changed our understanding of sculpture and opened a new world of possibilities. Nearly 50 years after his death, his innovation is commonplace. Incorporation into the norm is the hallmark of profound innovation. Computers are ubiquitous but when they first hit the scene they were revolutionary. Electric light, the telephone, automobiles, televisions, cameras, elevators, air conditioning…They change us. They change our expectation.

So, too, the work of artists. The Impressionists shocked and appalled their contemporaries when they initially showed their paintings. They did not know that they were Impressionists. They were reacting to the latest innovation-of-their-day known as the camera – a device that could easily record reality, important events, make portraits of royals… the job of painters – so they either had to explore new avenues of painting or become irrelevant. To our eyes, 150 years later, their work is anything but progressive or shocking. It is everywhere.

Artist not only change what we see, they change how we see. They challenge us to see what we do not yet see.

A-I is currently stirring our dust and is already being incorporated into the daily grind. The pace of change compresses the distance between the moment of profundity and incorporation into the everyday. The realities of the pace-of-change are, like the camera, changing the nature of what it means to make art.

It’s good to remind ourselves that it hasn’t always been this way. What’s twirling over my head is clever and is the ripple of a revolution. It’s why I loved my stroll with Alexander Calder through the Third Ward. 20 didn’t know it, but he gave me so much more than a getaway, a bowl of gumbo and a glass of wine.

a page from an old sketchbook

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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

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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.”

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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

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A Constant State [David’s blog on Merely A Thought Monday]

The word that stopped me was “nevertheless.” All the same. Even so. Still.

Despite the obstacles. Despite the opposition. She persisted. She continues on. She perseveres.

She.

A female judge gave her some advice: “As a woman, it’s not enough to be prepared. You have to be 200% prepared.” She was speaking from experience. “It hasn’t changed since I graduated from law school,” she added, “And that was over 30 years ago.”

So, she prepared. And prepared. And prepared.

Perseverance in the movies comes with a soundtrack. It also comes with inevitability. In real life it’s not that way.

Her day to be be heard finally came and she stepped into a foregone conclusion. All the males in the room were afforded the opportunity to speak. She left the building at the end of the day still waiting to be heard. The men spun their tale, objected when she opened her mouth, and then called it a day.

“Systems usual,” she said, upset but undeterred.

I wanted to buy this small dish for her. Nevertheless she persisted. An encouragement.

“It’s what all women have to do,” she said, looking over my shoulder. “We don’t need a reminder. We walk through the world in a constant state of “nevertheless”.

Nevertheless, she.

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Look-At-Me-Look-At-You [David’s blog on KS Friday]

It struck me that as the crowd gathered to watch the family of foxes, the foxes, in turn, gathered to observe the rabble of humans. Look-at-me-look-at-you. I wondered if they thought of us as wild, uncultivated. I know they were delighted that a makeshift fence stood between us and them.

The mother fox leapt onto a stone and seemed to pose for photographs but I was certain she was drawing attention away from her brood. Look-at-me-not-at-them. She knew how to make her frolicking children disappear. And they did. Once safe, she stepped off her platform, no rush, and also disappeared.

A local woman walking her dog saw the crowd and asked, “Is it the foxes?” I nodded. “Thought so,” she said and nonchalantly continued on her way. A family of foxes in the center of town. Nothing new. For her it happens every day. For us, passers-through, it was a surprise. A delight. A family of foxes have never rollicked on our street at home. I may never see this again. She will see it again on her stroll tomorrow, just like yesterday. Thus, the power of perspective.

I read that foxes are observers. They easily meld into their surroundings. They vanish so they can watch. So they can see. “If Fox has chosen to share its medicine with you, it is a sign that you are to become like the wind, which is unseen yet is able to weave into and through any location or situation. You would be wise to observe the acts of others rather than their words at this time.”

Tom Mck told me that as he aged he felt that he grew invisible. I feel much the same way these days though my encounter with the foxes has made me realize that I have mostly lived my life as an observer of others. Like the wind. I much preferred coaching people over the phone: I could listen purely – no negotiating of image – and easily hear the message behind the words. Perhaps I have not grown invisible but am only now fully realizing the truth of one of my gifts. Weaving through any location or situation: Look-at-me-look-at-you.

Every Breath/As It Is © 2004 Kerri Sherwood

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

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Grasp The Enormity [David’s blog on Two Artists Tuesday]

Benison was my word-of-the-day. It was a new word to me and it means a blessing or benediction (to bestow a blessing). I especially appreciated this word-of-the-day since I’ve lately been listening for the word “blessing”. It’s become something of a study or a game. I laughed when the word popped into my inbox. “Good timing!” I chirped.

I rarely go a day without hearing someone, somewhere, utter the word “blessing”. On the street, in the grocery store, neighbors chatting over the fence, in a bar, passing people on the trail…I’ve decided it’s a blanket word, generic, used to include many experiences. “What a blessing!”

I was considering adding it to my list of over-used and no longer meaningful words, like paradigm or story except that lately I’m of the opinion that this whole life, the entire ride with all of it’s ups and downs and confusions and clarities, is a blessing. A benison. A gift. Every single moment.

It flies in the face of common sense since I was given to understand that blessings are unique, something special. If every single moment is a blessing, then what’s the point of elevating this moment over that moment? Of course, I realized that I was (again) missing the point. The whole ride is a blessing. We mostly don’t realize it. We are mostly unconscious of it. Our awareness is some-other-place making lists or worrying worries so we mis-understand it. The word “blessing” is a descriptor of something unique and precious: those rare moments we actually grasp the enormity of being alive. Full stop and, as Lydia reminded me, breathe in the awe.

These days I think Kerri and I are practicing seeing our blessings. We are cultivating our capacity to notice. We note with delight the first buds of spring. We savor tastes. We love on the Dogga. So, when the Red Admiral butterfly landed on the Adirondack chair on a sunny early spring afternoon, “a symbol of spiritual awakening, transformation and renewal” we simultaneously said, “What a blessing!”

A benison. Yes, for us, a gift.

read Kerri’s blogpost about BLESSINGS

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Take Time [David’s blog on Not So Flawed Wednesday]

“Take time to see the quiet miracles that seek no attention.” ~ John O’Donohue

We donned our heavy vests, stepped into our Uggs and winter boots, pulled the Adirondack chairs into the spot of sun bathing the edge of the patio. The house served to block the chill breeze, more winter than spring. Like sinking into a warm soothing bath after a hard day’s labor, we sank into our chairs, faces to the sun, moaned. The rays of the sun reached all the way to our bones. We’d dreamed of this moment for months and the reality was so much better than our imagining.

Those same rays are calling forth the wild geranium at the base of Barney, the piano. The day lilies are reaching through the crusty soil and dead leaves. The bunny is again in residence though this time her nest is beneath the deck. Dogga’s nose relentlessly investigates her trail but he has yet to catch a sight of her. We keep a watchful eye for the appearance of her babies.

The squirrels empty the bird feeder in a matter of hours. They are incredible acrobats, ninjas. Were I a jewel-thief-in-the-movies I would study squirrels. The birds gather at the base of the feeder pecking the leftovers from the squirrel raid. “It should be the other way around,” I say. “Birds at the feeder, squirrels at the base.”

“Will you refill it anyway,” she asks, already knowing my answer. I smile. The order of things is of no concern to her. She delights in the critter antics no matter how they play out in the yard.

She squeezes my hand. Small miracles abound. I settle back into my sun-warmed chair grateful that we take time to see them.

read Kerri’s blogpost about SUN IN THE YARD

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My Wise-Eyes [David’s blog on KS Friday]

We were awake in the middle of the night. I don’t mind these doughnut holes in our sleep because we tend to have heart-to-heart chats. In the dark hours we reach deep into reflection and yearning. We ponder. Last night we talked about our writing. The differences in our styles, what we have learned from each other, how we are becoming better-and-better writers because we write side-by-side, share our work and edit each other.

Every artist needs a person to view or read their work who is completely honest. No energy need be spent protecting the artist-ego. In the theatre that person is called “wise-eyes.” And, in order to take full advantage of the wise-eyes, the artist needs to have open-ears capable of hearing honest reflection. It’s a relationship of deepest trust: “Tell me what you think, see, hear…” Wise-eyes are hard to come by.

Last night, as we talked, I was suddenly overwhelmed by my good fortune: we can – and do – talk about anything. I trust her feedback and insights implicitly. She has my best interests at heart and I have hers. And so we grow. I married my wise-eyes.

The gorgeous shock of dried flowers against an impressionist’s blue sky. I would never see this image were I to walk on my own. And that’s the point. She has me opening my eyes to look at the world in ways that do not come naturally to me. Paradoxically expanding my view to include the close-in, the detail. My head is usually in the esoteric clouds. My wise-eyes-wife is teaching me to also look down, to plant my feet on the ground, to (as she says) “gear-down”. To challenge my idea of what comes naturally. I am becoming a much better artist for it.

Untitled Interlude/Released From The Heart © 1995 Kerri Sherwood

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

read Kerri’s blogpost about DRIED FLOWERS AND BLUE SKY

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