Chicken Marsala Monday

A Chicken Nugget from the melange to help you start the week

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I appreciate the Chicken Nuggets – especially today’s – because I know the back story.  Without knowing where these drawings with words came from or why we took the time to develop them, they could be tossed off as so much fluff. A nice sentiment. But.

What is it to stand in another person’s shoes? To understand the feelings of another? An other. Not me. Nice sentiments are rarely easy when put into practice.

There is a direction in Empathy. It is a reach toward an other. To reach out. To reach across a boundary, seen or unseen.  To try. The direction is important to grock. ‘To understand’ is a fundamentally different thing, a radically different direction and intention than ‘trying to be understood.’ It suggests an openness to possibility, a willingness to consider. A shedding of the armor. It unlocks the magic of “what if….”

There is a big drum banging the opposite narrative – closed doors, closed ears, closed eyes. It is easy to believe that we-the-people are incapable of listening, that we are unwilling to consider and are only adept at shouting each other down. Putting each other down. Closing off. Closing down. But.

Take a walk today. Count the moments of generosity that you see. Count the times that others reach. Count the times that you reach. You might be surprised how different your actual experience is from the prevailing narrative. Human beings are, for lack of a better analogy, a pack animal. We run together. We die when we close-off. We wither when we turn in. No human being, if we are honest with each other, knows who they are absent of relationship with others. We know each other together. Reaching is what we most naturally do. We reach when we see others hurting.  We open doors. We run into burning buildings, not for ourselves, but for the sake of others. It is infinitely more common to reach than to withdraw. Fear may demand a narrative of opposition, of irreconcilable difference, of standing alone in singularly righteous shoes. But, to believe it, you’ll have to close your eyes. You’ll have to disappear in the corridors of your busy, busy mind.

Today, do what is most natural. Open your eyes. Reach out. See what they see.

TRY TO SEE WHAT THEY SEE merchandise like gift cards, wall art, apparel,…

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try to see what they see ©️ 2016 david robinson & kerri sherwood

 

 

DR Thursday

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This is a confession: for these blog posts, for these DR Thursdays, I’m finding the morsels of my paintings – a slice, a small detail – infinitely more interesting than the full painting. It’s not that I don’t love the whole painting, I do. But the morsels are helping me to see the original painting anew. The detail is illuminating the whole. Also, the morsel is spinning my artistic dials. I suspect my visual exploration is about to jump the fence into new pastures.

Kerri calls this morsel Cityscape. It comes from The Bass Player, a painting pulled from the deep recesses of my archive. It comes from a time when I was in love with vibrant color and the work of David Hockney. The Bass Player has lived in galleries, and coffee shops. It hung for many years in a now defunct bar in downtown Seattle.  More people have inquired about this painting than any other horse in my stable but it’s never found a forever home. I’m delighted that through this morsel, Cityscape, my colorful Bass Player has found another moment to step into the light. Who doesn’t need some color-pow! on a Thursday in March?

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The Bass Player, 24″ x 48″

CITYSCAPE merchanise

THIScityscape LEGGINGS copy

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THE BASS PLAYER reproductions

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cityscape ©️ 2018 david robinson & kerri sherwood

The Bass Player ©️ 2002 david robinson

Two Artists Tuesday

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Jim told me that he was suspicious of this culture that seems to need to plaster messages on the wall, on shopping bags, or indelibly tattooed on body parts. Begin Anywhere. Live Loud. This life is not a dress rehearsal. Peace. Home.  “It’s too simplistic,” he says.

So. Brave.

Are we branding our lives, marketing our selves to ourselves? Are these ubiquitous expressions reminders? Encouragement? Aspirations? Desires? Statements of intent? Flags planted in the metaphoric sand? Are these flags too simplistic?

Joseph Campbell once said that  to find more-than-ample evidence of the collapse of our unifying culture/story (our mythology) one need look no further than the daily news. Violence and division dominate our day. It is the seedy sensational story we tell to ourselves. It seems we’ve traded the commons for higher ratings. The common good falls apart in the face of the lobbyist’s payout. Can there be a center when another set of ubiquitous expressions dominate our dialogue: tribalism, polarization, fake news. Us. Them. Again, more flags planted in the metaphoric sand and are they also too simplistic?

On the stage, when actors have no direction and lose sight of the common story they might otherwise tell, they default to a condition lovingly (yet accurately) known as “Save-your-ass-theatre.” It is every man/woman for him/her self. It a group of artists on stage feeling isolated and all alone but pretending to be together. It is fear with a thin smile pasted on its face. It is awful to watch. And, it is easily remedied: save-someone-else’s-ass. Instead of pushing your drowning mate down so you can reach air, lift them up so they might breathe. They will immediately return the favor. Restore the commons. Step back into the common story.

The opposite of fear is not courage. It is community. Bravery is nothing more than the choice to stand in fear and reach. Cowardice is the choice to stand in fear and pummel. Fear that flourishes in isolation dissolves in the common story. From the studio melange on this Tuesday we offer the only flag worth planting in the sand: be brave enough to turn to the center. Reach. Help someone find air. Is it too simplistic?

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brave ©️ 2017 kerri sherwood & david robinson

 

Chicken Marsala Monday

thismomentunique WITH EYES jpeg copy 2“What do I see?” It is, perhaps, the most important and fundamental question any person can ask. Seeing is never passive. It is never pure. Interpretation begins the moment you open your eyes. The ‘see-er’ stories – gives meaning to – what is seen. It is a simple truth: the very act of opening your eyes is a creative act.

Every moment of our lives is new. What else? You have never lived this moment before. You will never live it again. We blunt ourselves when we tell ourselves the story of ‘same-old-same-old.’ We dull ourselves when we weave the belief that this day is routine, that this moment of life is nothing new.

We blur our seeing and muddle our moments by asking the wrong question(s): how do they see me? what do they think of me? These are impossible crazy-making questions to answer. They generate a directional challenge. It is not your superpower to determine what the world sees when IT looks at YOU – mostly because you can’t. The world is not looking at you. You are seeing it.  IT is not giving meaning to you. You are giving meaning to IT. That is your genuine superpower.

The thought for today from the melange: open your eyes. See the new-ness. Create this moment as unique in every way.

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ThisMomentUnique mug  ThisMomentUnique framed print ThisMomentUnique clock ThisMomentUnique pillow

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this moment unique in every way ©️ 2016 kerri sherwood & david robinson

Chicken Marsala Monday

fallingdown WITH EYES jpeg THIS COPYIf blocking  your creative arteries is the goal then there is no better illusion to consume than trying to be perfect. Eating the idea that you can be free of flaws or experience mastery without mistakes is guaranteed to clog your capacity to move. Notions of perfection turn the imagination toward the fear-monsters and breeds an especially severe  inner critic. Perfection is like the Medusa, give her your gaze and she’ll turn you to stone.

Imagination, creativity, learning, growing,…are words of movement. They are experiences of free flow. If investments like perfection crimp flow, then granting simple graces like trial and error, or “seeing what happens” will inevitably open the channel. Creative flow, like profound learning or wild imagination happens when inner-judges retire; it happens when nature is allowed to take its course. Nature is movement. Falling down is a necessary form of movement. Perfection is about appearances. Learning is about process.

From studio melange on this Chicken Marsala Monday comes this simple reminder. Try. Remove failure from the gallery of options. Get on the bike and ride. Expect to fall down. It’s the only way to learn how to stand up.

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chicken falling down mug     chicken falling down pillow

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falling down is an essential part of learning ©️ 2016 david robinson & kerri sherwood

 

 

 

DR Thursday

NapOnTheBeach

Nap on the Beach, mixed media, 22.25″ x 55.5″

“I paint the way some people write an autobiography. The paintings, finished or not, are the pages from my diary.” Pablo Picasso

I’ve been selling my paintings from my studio, un-stretched and unframed. When potential buyers come to my studio they view the raw canvas tacked on the wall or spread on the floor. Many of my pieces are big. It’s how I like to paint: big canvas stretched and tacked to the wall. These days when I ship paintings to another state, when I ship paintings to those courageous people who take the leap of faith and buy an expensive (and very personal) painting based on an image from the internet,  I roll them. They receive the piece in a tender unembellished state.

There are practical reasons for my seeming-shoddy showmanship. It saves my customers money to stretch and frame the canvases themselves. The cost of shipping a large framed canvas is breathtaking! If I stretch or frame it myself, if I sell a painting through any gallery, online or brick-n-mortar,  the cost is easily inflated by 70%.

But, that’s not why I show the unfinished edges. Before moving from my Seattle studio I had studio open houses. People inevitably drifted to the paintings stapled to the wall. They touched the edges. They asked me about the drips and marveled over the charcoal lines. They gently brushed the bumps of paint. They entered the story and became a part of it, they took on a role greater than witness. Instead of approaching art – my art – as an untouchable abstract thing, they engaged with it, questioned it, touched it. I loved it. Art is supposed to be accessible. It is supposed to open and say, “Follow me.”

Recently a client slid this painting, Nap on the Beach, from the pile of paintings stacked on the ping pong table, touched its complex surface, and, with Kerri, he held it by the corners saying, “Oh, this canvas is heavy! This one makes me yearn for summer!” And then he asked, “Did you take a nap on the beach? Is this about something you did?”

Yes. And yes again.

On DR Thursday, on your visit to the melange, I hope this painting inspires you to embrace the raw edges, the drips and bumps, and perhaps give over to a quiet mid-winter yearning for sun and sand and a spontaneous nap.

A NAP ON THE BEACH reproductions

nap on the beach framed print

framed art prints

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canvas prints

 

A NAP ON THE BEACH original

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a nap on the beach ©️ 2017 david robinson

 

 

 

Chicken Marsala Monday

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High atop the list of obstacles we erect on our creative life path is this: I don’t know how…. As a coach, I heard it daily from clients. As a consultant, I heard it regularly from business leaders and educators (the pronoun changed: we don’t know how…) Artists regularly lock up in the face of a monstrous HOW?

When I was a young erector of massive obstacles in my path, Quinn would smile and say to me, “Nobody knows how. Just start.” I thought he was being flippant with encouragement but lived my way into recognizing that his advice was not only sound but it was sage.

Knowing how to do something is never a prerequisite for action. It is, however,  a really good excuse to prevent action.

Knowing how comes second. Always. It comes after the fact, after the experience of trying and adjusting and learning. It comes at the end of the day, looking back. That’s when “how” becomes visible. Today’s Chicken Nugget via the studio melange is timeless and simple advice. It would make Quinn smile: sometimes the best thing to do is start.

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sometimes the best thing to do is start ©️ 2016 david robinson & kerri sherwood

 

 

 

Think “And”

a second version, a second point of view of my painting Shared Fatherhood

I suppose it is the great trap in human nature to define life through oppositions. Was your experience good or bad? Are you liberal or conservative? Are you your brother’s keeper or is it every man for himself? Oppositions provide the illusion that there is a right way or a wrong way, that any issue can be reduced to a simplicity, a singular path. One way. Oppositions are great language devices for dictators and the righteous. They remove the grey tones and blunt the grey matter. With an opposition, us or them, “god” can be exclusively on your side (a small god, indeed) which self-grants permission for all manner of abuses enacted by “us” on “them.” The problematic word when employing oppositions is “or.”

“And” is a much more useful (and honest) term to employ when dancing with oppositions. Can you be your brother’s keeper AND take care of yourself? Certainly. Can you survive entirely by yourself without the participation of your brothers and sisters? Certainly not. No one lives in a vacuum; “or” is the great creator of illusory vacuums. “And” guarantees a conversation and perhaps a host of useful, challenging and robust perspectives. Both/And is always more functional than Either/Or.

AND the first version of Shared Fatherhood

The snag in “Or” is that there is very little truth in any reduction that ultimately lands on just One. This or that. All life is movement and all movement stops in One. Creative tension requires at least two points and a desire for someplace place to go. There is no single arrival station in real life. There is no achievement that stops all the presses. Every answer inspires new questions. Each question opens doors to multiple possibilities. Agreement is a fluid target at best and must be nurtured. Compromise is never an end state; it is a relationship imperative. Life is never found in the static “or.”

Do an experiment: go to the grocery store, choose any item and ask yourself how many people it took to bring your chosen item to the shelf at that moment. If you are not astounded by the complexity of participation, how dependent we are on actions of others, your imagination has most certainly failed you. Skip, entrepreneur extraordinaire and mentor to entrepreneurs taught me that a business cannot succeed until it serves its customer’s customer. Note the word “serves.” Businesses serve. Not simply a customer but the complexity of a customer’s customer. Entrepreneurism is a service to the creative genius of a community and multitudes of communities beyond.

Entrepreneurism, like artistry, ….even, yes, like governance…like all things vital, moving, complex and growing, live in service according to the good graces of AND. Anything else is a mirage.

 

 

 

Look For The Two Points Of View

My latest. As yet untitled. It’s about dreams and angels.

It is the time of thanks giving in these United States and this week when I say my quiet thanks I will include Horatio in my list. Our conversations are life-giving and art-inspiring. And, best of all, tracking Horatio’s thought path is an utter delight. He is an expansive thinker! Here’s an example from our recent call:

“I’m the last person to really see my work,” I said. “Kerri routinely stops me from ruining paintings. She forces me to leave them alone until I can actually see what I’ve painted.”

Horatio said, “You have a parallax problem.”

I thought to myself (who else would I think to?): Parallax is a great word! The last time he flung that word at me I looked it up. In essence, divergent perspectives when looking at the same thing from two different points of view. You might say our political parties have a parallax problem.

Horatio continued, “All religions say, ‘Love your neighbor.’ All religions say it. Love your neighbor.”

What!? I thought. How did we get to neighbor-love from parallax? Grab the reins and hold on!

“The fundamental human problem is to know yourself.” Horatio said. “And artists confront that problem every moment that they stand in front of the canvas or sit down at the piano. Every moment is an exploration of the self, what you see, what you believe.”

From parallax to loving your neighbor to knowing yourself.

“Self. Other. That’s it!” Horatio continued: “That’s all there is! Isaac Bashevis Singer said that the purpose of literature [he was a writer but you can insert any art form] is to 1) entertain and 2) to educate. IN THAT ORDER! You cannot educate first! Playing matters! Fun matters! You must engage the heart first. It opens the path to the other thing.” [take note all ye test makers and proponents of head-driven education].

Parallax: differing points of view. Love your neighbor: a universal aspiration amidst the raging parallax. Know yourself: the fundamental human problem and the singular pursuit necessary to approach the universal aspiration. Heart first: the only route to all of the above.

“An artist has to play. Experiment. Step across the knowns into the unknowns. Question all of those assumptions. Doubt what they see,” he said.

It’s a beautiful paradox, isn’t it? The route to knowing yourself, the route to loving your neighbor, is to doubt what you think. In fact, it is to realize that the river of nonsense incessantly running through your mind is nothing more than a deflection from actually coming to know your self. It is not to be believed. It is the ultimate fake news. It is a great day when you recognize that your inner monologue is entertainment and not education! It’s a great day when you recognize that you need another person’s perspective in order to know your self. You need it precisely because it differs from what you see. Clear vision requires two points of view. It’s called perspective.  Having two points of view opens the door to questioning. It makes probable the birth of a possibility.

“It’s all about relationship.” Horatio concluded, “Now, the only real question surrounding the artist is, in the midst of all of this navel gazing, in the thick of all of this dedicated pursuit of the self, boundary-crossing-questioning, will your neighbors want anything to do with you? Will they want to have you around at all?!”

Oh, yes. Parallax.

Stay Fully Alive

a more recent smaller painting: In Quiet Prayer

Horatio issued me this challenge: do something new, something you’ve never done before. Paint something different, something that boggles you.

I love this challenge. In other words, step out of your comfort zone. Dare to not know where you are going. Make a mess with great gusto and intention. Court chaos and wrestle it into something that resembles order for you and no one else.

Horatio might have said, “Dare to see again, purely, with no filters, knowledge, or preconceptions.” He might have added, “What might you see, who might you be, if you stepped beyond the safety of your ideals, your beliefs, and great mass of weighty and important knowledge?”

The child in me, the one not yet accustomed to sitting in a desk or raising my hand or waiting my turn would loudly sing the answer: You’d be fully alive! I’d be fully alive.

from a few years ago, a larger piece: Meditation

I’ve always appreciated how similar are an artist’s path and that of a spiritual seeker. The aim of the exercise is the same. A meditation practice to still a busy mind is identical to an actor’s training to be fully present on the stage or a painter’s pursuit to see purely (to see without the disruption of interpretation). On both paths, truth is a fluid thing. Truth is what is happening right now. What happened yesterday or may happen tomorrow are distractions at best. They are stories that get in the way. They are of no consequence to this moment of living, this moment of aliveness. It is, an actor learns, a fool’s errand to attempt to repeat yesterday’s performance.

Horatio’s challenge is relevant for every human being wrestling with the big questions or trying to stave off or make sense of the chaos. Dare to dance with what’s right in front of you. Dare to drop the questions.

Picasso famously said that every child is an artist. The problem is to remain an artist once he or she grows up. He might well have said that every child is fully alive. The problem is to remain fully alive once he or she grows up.

playing around with simplicity. This one is hot off the easel and not yet named.

this is how she looks in a frame. Magic!

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