Finish The Race [on DR Thursday]

We are nearing the anniversary of SHAYNE. As heart projects go, high atop the list of projects that mattered, sits SHAYNE.

One night, Kerri’s mom, Beaky, called in tears. Nearing the end of her life, she wondered what she’d achieved. A brilliant woman born in the early part of the 20th century, many roads open to a man were utterly inaccessible to her. She wondered, as Kerri said, “What comes after the comma behind her name.”

Decades earlier, Beaky had written manuscripts for three children’s books based on the family’s dog, Shayne. She’d submitted them without success to a publisher. Kerri searched the earth and found the manuscripts. In a matter of days, we illustrated and published the first in the series. We constructed a website, set up and publicized an author’s reading. Over 70 people came, complete with the press and photographers, to hear Beatrice Arnson read and sign her new children’s book. Her first sale was in The Netherlands so I teased her that she was an international author.

Beaky passed away 18 days after the event. The word, “author” followed the comma after her name. She saw the cover art for the second and third books in the series but never saw them published. In fact, we published the second book posthumously but have yet to publish the third. It’s been too hard.

And, each year, on the anniversary of the book signing, we revisit publishing the third book. We simply need to a take a week, lay it out (the illustrations are complete), and publish it. The anniversary we approach is not only about the publication of the first book. It is the closure, the lingering necessity, of publishing the final book and complete the race that we started more than 6 years ago.

Resolution. Conclusion. Completion. More than just words. A symbolic mountain that is very difficult to climb.

The books are more than just books. The illustrations are more than just drawings and paint. They are a dream come true. A gift from daughter-to-mother and mother-to-daughter; the best kind of love-loop. They are a word that follows the comma after a name.

read Kerri’s blog post about SHAYNE

Walk With Joey [on Not So Flawed Wednesday]

We owe Joey Coconato a debt of gratitude. He has unwittingly made our journey through the pandemic-year-of-isolation, not only bearable, but expansive. We’ve hiked with him through the canyons of Utah, the back country of Yellowstone, off trail in Glacier National Park. We’ve crossed glaciers with him, forded multiple rivers, traversed gorgeous rock benches, dodged thunderstorms, quivered at some serious exposure, shivered and sweated. We’ve cracked a beer with him in celebration of standing on a high pass. We’ve enjoyed some box wine and dubious meals while staring into a crackling fire.

His YouTube channel, My Own Frontier, is the chronicle of a man who is more John Muir than Steve Jobs. He’s pretty much left the mania of this society for the majesty of the outdoors. His early backpacking films betray a man on the cusp of jumping into the life he wants to live; his look more urban than rustic, a man preparing to find his voice. Within a year, he robustly unzips his tent and in a spirit free and playful announces in a voice undivided, “Well good morning! We’ve made it to day #2!” His enthusiasm for the new day makes us smile. The jump is complete, his hair is long, his equipment is in full disarray from overuse.

Joey walks the earth. He is living the kind of life that most people desire but fear. He’s tossed away his safety net. He stands face to face with the great unknown. He makes a plan but adjusts according to the forces of nature. He places himself squarely within those powerful forces with no shield or 401K. Rather, he invests in a deep respect for the lightning and proper relationship with the bears. Finding a beautiful meadow, enjoying the color of the aspen trees or the rock formations in a canyon, is his gold. He establishes his camp so that he might enjoy the views and spend time with the stars.

He’s quick to tell us that he is not a guide. He enjoys making his films and hopes that we enjoy them, too, but we are not to plan our back country trips according to his story or route. It is the very thing that we find compelling about him. He is clear. He is not invested in any way in what others do or think. He is creating his way. Your way is entirely up to you.

But he is wrong about one thing: he is, without trying, a guide. He is a master of simple appreciation. He’s stripped away the Walmart stampede and cuts through the luxury car illusion. With the wind gently blowing through his mic, standing on the shore of a mountain lake, and lets slip his quiet awe: “Sometimes I’m struck that this has been here every single day of my life. It was here before I was born. It will be here long after I’m gone.” He is a guide of perspective, a teacher of value, one of those rare beings that doesn’t get lost in the glitter and the noise.

read Kerri’s blog post about JOEY

See The Invisible [on Merely A Thought Monday]

“Oh my gosh!” She whispered. “These remind me of my mother!” She quickly pulled her camera from her purse and, to the amazement and amused curiosity of our fellow grocery shoppers, we had a straw-plate-holder photo shoot at the end cap of aisle 9.

It is, of course, among my favorite aspects of going through life with an artist wife. Everything is a story-thread. Everything is a possible composition, an opportunity for beauty. Everything is immediate. It is utterly unpredictable when the muse will strike. And, the immediacy of capturing the moment usually draws a crowd and she is blissfully unaware of the ruckus her immediate-story-composition creates. She is a rolling storm of performance art. I am the lucky one who gets to watch both the artist and the audience.

Augusto Boal, one of the developers of the Invisible Theatre, would be most proud of the unintentional performances Kerri creates. In an everyday setting, everyday life, a performance snaps an audience into awareness, shocks them out of their dulled sensibility, an audience that has no idea that it is functioning as an audience. Many stop to watch the crazed lady snap photos of straw-plate-holders as she tells sweet stories of her mother. Many scurry for the safety of anonymity. Either way, either response, a pure theatrical event takes place.

The performer scrutinizes her many photos, completely unaware of her performance. As she places her camera back in her purse, the audience immediately disperses, hopeful not to catch the attention of the performer and somehow be called into the play. They fold themselves back into the normalcy of their day.

But, something has changed. They have a story to tell, an unusual event happened in their day. The performer has touched back to her deep story and through her photographs, plucked her heart-threads.

And I have been the happy witness to art and artistry. All are fed by these lovely, oh so common, straw plate holders displayed at the end cap of aisle 9.

read Kerri’s blog post about STRAW PLATE HOLDERS

Walk In Sync [on Merely A Thought Monday]

My Seattle studio was on the 4th floor. It was a corner space so I had windows on two sides. On one side, across the railroad tracks, were the stadiums. Out of the other set of windows I could see the streets that bordered the International district. People scurrying to and fro.

Many afternoons, working on a painting, I’d hear the roar of the crowds, touchdowns or home runs. The light rail pulling into the station. The Amtrak train pulling out of the station heading north. Sirens, car horns honking. I loved my studio because, although I was surrounded by the hustle and bustle of city life, I felt somehow removed from it, a witness.

Sometimes, when I was too much in my head or I could no longer ‘see’ my painting, I’d walk the streets. I’d wander to clear my mind or refresh my vision. I’d walk slowly, people rushing, rushing by. People trying to get somewhere. Trying-to-get-out-of-a-too-active-mind requires a much different pace than trying-to-get-somewhere. They are opposite actions. In my slow walk I’d feel the wind of impatience as people dodged around me. I was an irritant. I was a slow moving rock in a rushing river of humanity.

The wind of impatience.

I’ve always understood the artist’s role to be a witness, to live on the edges looking in. Master Marsh recently sent Wendell Castle’s “My 10 Adopted Rules of Thumb.” Rule # 2 is “It’s difficult to see the whole picture when you are inside the frame.” An artist’s job is to sit on the frame, to see and share what those inside the frame cannot see. Pattern. Movement. Illusion.

One of the first things I noted the day I met Kerri is that we had exactly the same stride. We were walking and our steps were weirdly identical. We strolled in sync. It made us laugh.

There is a special place in Aspen, Colorado. The John Denver Sanctuary. We make a pilgrimage to the Sanctuary when we travel to visit Kirsten. It is a place designed to make people slow down. Babbling brooks. Aspen leaves. Monolithic stones carved with the lyrics of John Denver’s songs, stones that carry the words of writers and artists and thinkers who appeal to the heart. It asks the visitor to sit for a spell. To listen. To breathe and see. To be, as nature teaches, no where other than here. It offers the gift of the artist: to fill-up with quiet before jumping back into the life-of-hurry-up-and-get-it-done. To remember what is natural and walk with exactly the same stride as nature.

read Kerri’s blog post about PATIENCE

Open [on KS Friday]

“…nothing really worthwhile can be owned. There is life. There is love. There is grace. But we can neither create nor possess a state of any of these. These visitors breathe through us, with us and in us the more we keep ourselves open.” ~ Declan Donnellan

Barney, the piano, was set to go to the junkyard. His soundboard was broken after years of being stored in a basement in a boiler room. We convinced the junkyard man to bring Barney to our house. We set up a stone foundation so he wouldn’t sink into the garden. In a move worthy of the Three Stooges, we rolled him across the grass until he came to rest in his new home, our backyard.

Over the years we’ve watched Barney age into gorgeousness. His veneer blistered and rolled. Pieces fell off. The superficial white covering on his keys mostly flaked away. His truth exposed by the sun and the rain and the snow, is more lovely than the facade he once maintained. His wood bleaches and cracks, the grain swirls like a rip tide. His nails and screws rust, the color pops in elegant contrast to his otherwise grey and green-moss tones.

Over time, the flowers and grasses have grown around and through his pedals. Each summer the green tendrils reach for his keys. He has become home and haven to chipmunks and squirrels. The birds sit on his lid and rest or sing. Dogga investigates the community living in and around Barney at least once every day. He is, in his slow march toward dust, a welcome sanctuary to all living things.

Unlike many of the human examples in my life, Barney has opened with age. He is akin to our dear H, who died not so long ago, a man who opened and opened and opened the older he became. Like Barney, a gorgeous spirit grown more gorgeous with age. Curious about life and engaged with its mystery to the very end. H was a study of opening to his experiences rather than resisting the changes.

This year I have wrestled with staying open. My veneer wrinkles, my truth is revealed by the circles I have made around the sun. I have, many days, felt like my soundboard was cracked, the purpose that I was built for ruined by life next to the boiler. And then I listen to the absurdity of my words. The purpose. Singular. Ridiculous. I am reminded of what H knew and Barney trumpets to me each and every day: in an open heart, purpose is never fixed. It is a fluid thing. It is a moving target, not a possession or plaque to be hung on my wall of respect. It is a home to chipmunks, a resting spot for birds. It is how I address myself to the world of mysteries, how I avail myself to the experiences that wash through me and over me each and every day. It is how I make breakfast for Kerri. It is how I sit with DogDog when he searches the house for his missing BabyCat. It is in my choice to say Yes or No to the wonders of this world.

read Kerri’s blog post about BARNEY

kerri’s albums are available on iTunes

Try [on DR Thursday]

The operative word in this Chicken Nugget is “try.”

To try is a verb, an action. It’s also a noun but the synonyms used in either variation are mostly the same: attempt, endeavor, make an effort.

Try. It’s such a small word but its impact is unfathomable. It is the defining line between intolerance and empathy. Empathy begins with trying to see what others see. Intolerance begins with refusing to try to see what others see.

Try. It is the epicenter of advise that every parent offers to their children. Take a crack at it. Why not put it out there. Give it your best shot. You can’t win if you don’t run the race. You’ll never know unless you try.

A verb. An action. Try. A noun. A way of being.

Try is the foundation stone of curiosity. Wanting to know, wanting to experience what is “just over there.” To see not only what others see, but why they see it.

I sometimes try to see the unbridled enthusiasm that Dogga sees in each and every moment. I try to see the world of unlimited possibilities that Dawson sees every time he touches a crayon or paint brush. I do not delude myself. My eyes are not so pure. But I try.

Imagine what we might do in this world if we only gave it a try.

read Kerri’s blog post about TRY

Look To 3 [on Not So Flawed Wednesday]

My long-ago-business-partner used to tell groups that every human being wears an umbrella hat called “normal.” That is, we try to maintain and make sense of the world according to our personal (and cultural) criteria. We carry the criteria around with us – it does not exist beyond us. We are comfortable when wearing our umbrella hats. We get really uncomfortable when something comes along that knocks our hats off of our heads.

When we lose our hats, we’ll do anything to regain our comfortable “normal.” The fear of losing our hats is what makes change – personal and cultural – so difficult. Despite what they say, no one wants to lose their hat. Organizations have a nifty phrase, change-management, to shield against the reality that change – real change- requires discomfort. How to prevent discomfort? Manage it! No worries! Everything is under control!

The other strategy – also not very effective in the long run – is to pretend that the hat is still on your head. No worries! It’s all made-up! Everything is normal!

The pandemic blew our collective hats off of our heads. We’ve had a front row seat to the realities and responses of a disrupted normal. The recent photos from Miami Beach, the aggressive non-mask-wearers, the absurd and deadly politicization of a pandemic…all in the name of hat retention and recovery.

In our circle of life, we’ve had the ubiquitous conversation about the return of normal. “When can we get together again?” Prior to the pandemic, our week was patterned on, our lives were grounded in, our Sunday and Thursday night dinners with 20. In a fluid artistic life, dinner with 20 was the shape-giver to our otherwise formless weeks. One day last March, we tossed our hats to the wind. It wasn’t safe to gather.

Over the year we left groceries at his door. He dropped goodies at our door. We waved from the car. We had regular phone calls. A few times, when the weather was nice, we sat in the back yard at great distance and discussed how weird life had become.

We looked for our new-normal-hats but they were nowhere to be found. It’s what happens when change cannot be denied: the management of discomfort is the best that you can do. Keep stepping. Chop wood/carry water. One day at a time. A new normal will surface sometime. A new pattern will be established. Pattern making is what we homo sapiens do.

In the past few months we three were vaccinated. We waited for a few weeks. We diligently read our CDC guidelines. And then, as if a year had not passed in the interim, we gathered to share a meal and drink a bottle of wine. Nothing had changed and everything had changed.

2 at the table is once again 3. We are slowly reestablishing what we once knew as normal. Our laughter is easy as it has always been. But the nation we inhabit, the community we see and experience, is transformed. There are stores we will never again support. There are relationships that will always be superficial. There is a bald ugliness exposed as never before in the nation. Ruthlessness. So many dead amidst such fatuous games of denial. The hot wind that blew our normal-hats away exposed the geography – the actual geography – beneath our nation that espouses equality but has deep division and favoritism woven into its DNA. Control by division. It is a mechanism: black gain is seen as white loss. White gain is built upon black loss. It is a seesaw, an angel/devil game. It’s a system doing – brutally – what it was designed to do.

Disruption is an opportunity for change. With so many lost hats, with so much ugliness exposed, a good look in the national mirror is possible. As we struggle to find our new normal hats, it occurs to me that angel/devil games, deep divisions, are never “solved” in twos. Movement is created by two points. Insight is a three-legged stool. Complexity is addressed through triangles, through a focus on relationship. Opposition-in-twos will keep us forever on the systemic seesaw.

Laughter is restored, possibility uncovered, through the lens of three.

read Kerri’s blog post about 3

Take The Time [on Two Artists Tuesday]

“Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.” ~ Georgia O’Keeffe

To see takes time.

Desi has been teaching us to see. She sits on the table in a clay pot. We join her at the table every evening to sip a glass of wine, watch the light wane, the robins and cardinals dart across the yard, debrief the day. We’ve been watching Desi all winter, spending time with her. Watching.

Truth be told, I did not expect Desi to live long in her pot. She’s seemingly so fragile, her “trunk” no wider than a sewing needle. And yet, throughout the winter, her robust green needles never yellowed. She thrived, verdant in her unlikely home.

Kerri talks to Desi more than I do. I’m the silent male but I regularly send her my good thoughts. She regularly reciprocates. Kerri and Desi can carry on for quite awhile about nothing in particular. Soil. Water. Warm days. Pine-tree-talk. Hope.

Hope. A few weeks ago, Desi stood taller. New tender sprouts pressed from nowhere , tiny arms reaching for the sun. We celebrated Desi’s new heights. We encourage her to keep going – and she does! Now, each evening, first thing when we sit at the table, we spend time ‘seeing’ Desi.

In a hard pandemic time she lightens our spirits. She cares nothing for the news cycle or the ridiculous foibles of bipeds and we find that refreshing. Most of all, if, for a moment, we forget that we are surrounded by hope – it’s everywhere – we take a moment or two and have a sit-down-visit with Desi. We take the time to see what is always right in front of our eyes.

read Kerri’s blog post about DESI

Evolve And Laugh Heartily [on Merely A Thought Monday]

I find the notion of evolution to be hopeful. Evolution of species. Evolution of consciousness. I assume in my wild idealism that the evolution is toward betterment. Reading Ken Wilber’s thoughts on our chaotic and troubled post-truth times, we are, he suggests, in the throes of an evolutionary step. Evolution is not a smooth stepping dance. It’s more a stumbling forward drunkard.

Last week I posted about the lake in my studio and how the clean up facilitated a life-work review. I was surprised by how many notes I received from life-long friends asking me not to burn my paintings this time. I’d forgotten that, after my move to Seattle, I took most of my paintings and drawings to a fire pit on a beach and burned them. I had so much work that it took three days to complete the purge. That life-work-review ended in fire. This latest life-work-review began with water. I actually loved, post flood, going through my paintings. The paintings that went to the fire felt like a burden, a weight. From heavy burden to love; not a bad progression in my personal stutter-stepping evolution.

We drove to Colorado last October to see my parents. In his dementia, my dad cast me in the role of his college roommate and took me on a tour of the basement. We stopped in front of a large photograph taken at his parents 50th wedding anniversary celebration, a photo of the whole clan. He pointed to my twenty year old face in the photograph and said, “Now, I don’t believe you ever met this one.” It was true. As I listened to his description, I had the overwhelming feeling that he was right. Later, I returned to the photograph and visited that version of myself. I thought, “I think dad’s right. I don’t believe I ever met this one.”

The months that followed set the stage for my flood-inspired-work-review. I’ve discovered that I am more apt to be kind, more given to the positives, than I was a decade ago. Evolution has softened me. Or, opened me.

I’m not alone in reaching back, in sifting through the evolutionary drunken stumble to the present. This pandemic era serves as a marker-in-time as well as a great disrupter of pattern and path. It has inspired many a life review among those in my circle. Together, we ask the questions that have no answers, Quinn’s big three: Who am I? Where am I going? What is mine to do?

There are no answers but from time-to-time it’s necessary to ask.

There’s a fourth question that kept Quinn in stitches every time I asked it. What’s it all about? He’d howl and snicker and snort whenever the question came up. I am now the age he was when that younger version of me sat in his study and wrinkled my brow, disconcerted at his hearty laugh. Now, I know without doubt what’s so funny. I find myself laughing to tears when I hear the un-answerable-fourth-question. It’s about what you make of it as your illusion drops away in the course of your own personal evolution.

What else?

read Kerri’s blog post about EVER EVOLVING

Live By Increments [on KS Friday]

In this case, healing is incremental. One degree at a time. Her doctor told to be patient. “Expect no more than 5 degrees a month,” he said.

After her fall, the second fall, the one on a newly-mopped-but-unmarked-wet-floor, she had a mere 6 degrees of movement in her right wrist. She showed me her range of motion and the movement was so minuscule that I had to ask, “Did you move yet?” Her stare told me that I probably could have asked a better question.

Years ago, preparing to direct a play, I did research on medieval torture devices. You’d be surprised at human ingenuity when it comes to inflicting pain. The device that Kerri uses between occupational therapy sessions to aid in the recovery of her increments looks a lot like the machines I researched so long ago. It has cranks and dials. Straps. It finds the edge of possible movement and then, with one teeny-tiny turn of the dial, stretches a fraction beyond the previous possible. Increments of possibility achieved through increments of pain. Human ingenuity cuts both ways, to the creation of promise as well as pain.

In this part of our journey, we have learned to live by increments. Our journey of a thousand miles truly begins, each and every day, with a single step. The torture device, as we lovingly call it, serves as a mechanical reminder that the greatest triumphs are often the smallest. 5 degrees a month. It’s a reminder that it is best not to rush. One tiny turn of the dial at a time. Each new increment is cause for celebration. My composer wife, in these hard-recovered-increments, steps toward her piano, toward her promise, each day, one step closer.

kerri’s albums, including THIS PART OF THE JOURNEY, are available on iTunes

read Kerri’s blog post about INCREMENTS

this part of the journey ©️ 1997, 2000 kerri sherwood