Invite Some Joy [On KS Friday]

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David and Molly are taking their amazing young son, Dawson, home to Seattle for the holidays. Margaret, Dawson’s equally amazing grandma, adores them and will heap huge joy on them.

Quinn’s daughter wrote after his death that she is who she is in the world because her dad delighted in her. It’s true. His intense delight forged a joyful intrepid spirit.

We walked with our son in the bitter cold from Ogilvie Station to Lincoln Park Zoo to see the lights. Kerri threaded her arm through Craig’s and I could literally feel the joy, mother and son, walking together.

Last night we went to 20’s house and tried a new soup recipe. We laughed and drank wine and talked about…everything and nothing at all. Late in the evening 20 said, “People don’t get it. This is what the holiday is about. Being together. It’s not about the stuff. It’s about time together. That’s what makes life rich. Joyful.” Sounds like a cliche’, doesn’t it?  It will until you, for whatever reason, spend a holiday alone.

Kerri was missing Kirsten. The holidays come with a hot yearning to be close and Kirsten is far away. And then, a text binged in. Mother and daughter are deeply connected. It is a joke in our house that if Kerri speaks Kirsten’s name, inevitably, within a few minutes, we hear from her. It’s uncanny. With Kirsten’s text, a simple ”hello” to her mom, Kerri’s despair flared into huge Joy. I wrote to Kirsten, “Best gift ever.”

It’s true. What could be better than the gift of presence? What could be better than Joy?

Joy! on the album Joy! A Christmas Album is available on iTunes & CDBaby

 

read Kerri’s blog post about JOY!

 

 

by the fire in breckenridge website box copy

Joy! A Christmas Album ©️ 2004 Kerri Sherwood

Go Tiny And Skip! [on DR Thursday]

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Kerri called them ‘morsels,’ little snippets of my paintings. She’d isolate a spot, crop it, perhaps add some words or simply let the cropped image become a new, stand-alone design. We offered her morsels through society6.com [prints, cards, coffee cups, pillows, etc.]. This morsel is from the corner of a large painting, An Instrument of Peace.

The morsels had a profound impact on how I see my paintings. In many cases, I liked the morsels better than the paintings they came from. The morsels said more with less. They took me by the hand and led me back to the forgotten lands of shape, form, and color in their purity.

The morsels helped me comprehend and then dance back and forth across the crevasse between design and painting. Painting [for me] is a deep dive, personal spelunking. It is a meditation. Design is visual play. It’s skipping in the sunshine, looking for shells on the beach. Carefree [Kerri is the designer in our family so it is especially easy for me. I’m like the supervisor on a road crew; she does all the work and I stand there, pat my belly, look important, and get all the accolades].

Originally, Kerri made this morsel as a wish for peace. It is among her many morsels that celebrate this season, the return of the light. Peace seems in short supply in our divided nation, our angry world. She asked that we use this morsel today so I pulled it from the archive. She knows that art carries great power and can inspire people to see anew, to dance back and forth across their personal crevasses, and lead the way back to forgotten lands of community and shared vision. Shape, form, color. Beauty generated and shared inside as well as out. Reaching rather than rejecting as a first action.

All of this possibility, hope, an enormous wish, carried in one little tiny morsel.

 

 

 

read Kerri’s blog post about PEACE ON EARTH

 

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for a print or wall art of this image, go here

 

 

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an instrument of piece ©️ 2015 david robinson

morsel: peace on earth ©️ 2018 david robinson & kerri sherwood

Sit On The Wire [on Not So Flawed Wednesday]

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Google the question, “Why do birds sit on a wire?” and you’ll get a curious tidbit of information. This is what I read: birds are able to sit on electrical wires because the current ignores the bird’s presence.

It’s human to ask the question “why?” In fact, asking the question “why?” is probably a central characteristic of the critter called human being.

Another characteristic of a human being is personification: attributing human characteristics to things non-human. For instance: the current ignores the bird’s presence. I laughed heartily when I read the phrase. The electrical current dissed the birds on the wire. Wait. Is that why the birds sit there?

Now we have two possible questions.”Why?” you might ask, “did the current dis the birds?” OR, you could ask,”Why do the birds taunt the electrical current?”

Either way it sounds like the beginning of a really good joke. Or, a good question to ask in a philosophy class: why and when did the conflict between birds and electrical current start?

All good stories, like all good jokes, begin with a hearty conflict. Yearning meets obstacle. Bird meets wire.

Why?

We critters are excellent at asking the question. Why, you might ask, is there rarely a definitive answer? Well, asking the question seems to be the point. Curiosity is what makes us human. Don’t ask me why.

 

read Kerri’s blog post about BIRDS ON A WIRE

 

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Carry The Story [on Two Artists Tuesday]

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Next to the pool table in the basement of my grandfather’s house was a bowl of nuts and an old metal nutcracker. It was the velveteen rabbit of nutcrackers: falling apart, loose joints, the pattern worn because it was so old and so often used. When we’d visit, we’d inevitably go to the basement to shoot some pool. Shooting pool with grandpa was a ritual of fun.

That nutcracker is one of my sacred objects. When my grandfather passed, I wanted something he touched. Something he used. The nutcracker lives in a special box in my studio.

I am austere. Left to my own devices I would have few possessions (I have famously moved twice in a truck loaded with paintings, my easel, a special box, some clothes, art books and a single rocking chair).

It’s funny what carries the deep value of story. Remembrance.

Kerri is thready. She is connected to the story of objects. Or, better, the objects connect her to stories and to the people in her life. Our home is like an alter of objects that carry meaningful stories.  Rocks. Feathers. Driftwood. We have a stack of sweatshirts in the basement that remain for their story value. Early in our relationship I suggested donating the sweatshirts to the Goodwill and I will never forget the look of horror that swept across Kerri’s face. To lose the sweatshirts was to lose the stories. It makes cleaning out the house a very complicated affair.

Connectivity. The energy threads are almost visible.

Last year she was cleaning out a closet upstairs and found these slippers. They were her parents. I remember the squeal of delight. The staging of the picture. I listened to the stories the slippers invoked. We laughed. And then, the slippers went in the bag to go away.

It might be our age or having a husband dedicated to the austere, but she is loving the objects and letting them go. The threads are becoming transcendent, they reach beyond the object and are securely rooted in the deep past.

It’s beautiful when the heart carries the deep connectivity of story. Truly. The energy threads become visible.

 

read Kerri’s blog post about SLIPPERS

 

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Find Another Door [on Merely A Thought Monday]

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Roger and I used to discuss life and career. He would say, “There is a time of becoming and then, one day, you realize that you have become it.” He was right. I wanted to be an artist. For years I chased it. For years I practiced it. And then, one day, I realized I was it. Not because I’d arrived at a place called Artist, but because art was my practice. Art was my pursuit. Art called me.

It’s a paradox. You become the thing that you pursue on the day that you realize it is not an achievement. Becoming is a choice of practice, a dedication of your limited time on earth to an exploration. Follow the Siren long enough and she will claim you.

Long after his retirement, Tom continued to toss his hat into the ring for regional directing assignments. During his career, he was a force in the theatre. He was a master-teacher-director who opened the door to many of my peers, theatre artists, the people I most admire. I heard about Tom long before I met him. And, although he continued his passionate pursuit after his retirement, the world of opportunity could not see beyond his grey hair. Even his former students, those people I most admire, stopped considering his resume or returning his calls.

It was in the midst of recognizing that he had more to give but the old routes were now closed that he pulled me aside and said, “I need help telling a story.” And then he asked, “Will you help me?”

Our project, The Lost Boy, opened ten years later,  several months after Tom’s death.  The opening night audience was a packed house of Tom’s family and relatives, people who brought photographs of the lost boy, Johnny, to the theatre. They clutched them as they watched the play. After the performance, they stayed in the theatre sharing their stories until the management asked them to leave.

A dream. Tom’s practice: uniting people through telling and sharing a common story. Art in its purest form.

His final lesson for me: storytellers (artists) age but the force of their dreams does not grow old. They will inevitably hit walls and freshly closed doors and rather than sit down and throw up their hands, they simply turn, ask a few questions, and look for another way.

 

read Kerri’s blog post about NEVER TOO OLD

 

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The Chili Boys in rehearsal for The Lost Boy. They wrote gorgeous music for the play. I will always be grateful to them.

 

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carrying on the tradition (and my heroes): mike and sabrina bartram

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50 minutes before stepping onto the stage. Kerri and I performed together for the first time.

 

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Sing A New Song [on KS Friday]

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If there is anything certain about we human beings, it is that we are uncertain. We are a festival of questions and doubt. The good news is that our questioning, our doubts and uncertainty are also the epicenter of our adventure impulse. Creativity begins with equivocation.

No explorer, sailing into the unknown to find the edge, brought along a barrel full of answers. No artist ever stood in front of a blank canvas with a brush loaded with certainty. A good relationship with the mystery necessitates a healthy ambivalence. We follow the impulse to an unknown, often unreasonable expectation.

Kerri was preparing for a final rehearsal with the band for the Christmas program.  She played one of the selections  and exclaimed (just as she did during the previous rehearsal), “I don’t like this piece!” Most of us would simply make peace with it or go to the drawer and find a replacement. Not this time. I watched the muse tug her. She got that far away look in her eyes. Some inner horizon beckoned. She stepped back  and then returned to the piano and began to play. She scribbled notes. She sang a few lyrics and wrinkled her brow. Sang again. Muttered, “That’s no good.” Played some more. Scribbled.

She sailed her ship into the vast ocean of promise, a new song. By the time guitar Jim arrived at the rehearsal, she was smiling. “What do you think of this?” she asked.

 

read Kerri’s blog post about HOLIDAY SONGS

 

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It’s a gorgeous song and someday I might convince her to record it. In the meantime, you’ll just have to take my word for it.

Play [on DR Thursday]

Sometimes, when the well runs dry, it is a good exercise to play with a single image.

Recently, I wrote that I didn’t feel complete with this painting, Softly She Prays. What could be a better source for the exercise than a painting that feels not-quite-complete? Kerri thinks I’m nuts and made me swear not to rework this piece. What could be a better reason to make new work from an old painting than the threat of violence from your wife?

 

 

 

 

 

 

Here’s another study [18 x 14IN]Untitled Prayer

 

Underpainting

And, an underpainting for another version. The initial image may or may not remain the same. The fun is in what happens beneath. Or, better said as a life motto: it’s the process not the product. Eye-rolling phrases like that are why I am often banished to the studio. I do not take banishment personally. I know that I am hard to live with. Besides, banishment means more studies. Maybe in my next exile I’ll finish what I started in this study and it will be next week’s Melange addition.

[okay. I just showed this post the Kerri. She thinks the underpainting piece is cool and wants me to stop. She calls it Prayer Under Fire. She says it’s like you are melting away. Now what do I do?!]

 

 

For some meaningful/useful comments on the Blue Prayer, read Kerri’s blog post.

 

 

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blue prayer, study, and underpainting (OMG!) ©️ 2019 david robinson

softly she prays ©️ 2018 david robinson

Know The Matter [on Flawed Wednesday]

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I’ve had this conversation twice in my life. The first time I was working in The Netherlands. The second time I was working in Canada. The conversation, both times, started with exactly the same question:  What’s the matter with you Americans?

It is an irrefutable fact: we (Americans) pay more than 7 times what any other nation on earth pays for healthcare and we provide poorer coverage for less people. Our life expectancy is shorter. We are an obese nation. Our infant and maternal mortality rate is higher than any other developed nation.

What’s the matter with (us) Americans?

Here’s another irrefutable fact: the top 1% of households owns more wealth than the bottom 90% combined. The gap is, in fact, growing.

We are being force-fed the fear of socialism* but, if you dare, take off the blinders, plug your ears to the noise of heated misdirection, and look at the data. It’s clear that our fear should be of the oligarchy.

What’s the matter with (us) Americans? We are too easily led, susceptible to diversion by division, and extraordinarily fact-averse. We are too lazy to question, research or otherwise investigate the easy tribal narratives of red or blue. We are (to borrow a great book title) a confederacy of dunces.

The stresses of “healthcare” are making most of us sick while making a very, very few of us as rich as Croesus. That is another irrefutable fact and is the crux of what is the matter with (us) Americans.

 

read Kerri’s blog post about HEALTHCARE.GOV

 

*try this experiment (I have and it is eye opening): To everyone who screams in fear the word “socialism,” ask them to define the word “socialism.” You will find, as I do, the screamers can’t define it. They don’t really know what they are screaming about. They (we) also are inordinately incapable of defining “oligarchy.” That is (sadly) why I’ve provided links. It is also an alternate answer to the question, “What is the matter with you Americans?” I decided in the final moment to exclude a link to the words “representative democracy.” Given the irrefutable but too often denied facts, it begs a whole other set of questions.

 

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Know The Value [on Two Artists Tuesday]

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“What’s it worth?” This seems to be the least answerable question of our times. Its cousin question, “Is it real?” is under assault and so qualities like ‘value’ or ‘worth’ are less and less discernible.

For instance, I laughed heartily recently when I listened to a podcast Horatio sent my way. It was about the billions of dollars spent on our educational system of testing that has produced minimal results. It doesn’t work. Data, brain science, and common sense have known this for years. I can hear Tom now (and see his famous sigh-with-eye-roll), “It has to be real. It’s about relationship. It needs direct application.” Do the tests make for better education? No. Of course not. The opposite. And, we knew that before implementing the system of testing. So, what is real? What was it worth? The system consumes itself.

A few years ago, Kerri and I went to the Chicago Art Expo. We came upon a gallery installation, a single piece. It was priced at $40,000.00. A line of twine stretched across the booth. Clipped to the twine was a single household sponge. It had been dipped in paint. Kerri, using her outside voice, said to all who could hear, “ARE YOU KIDDING ME?” It was purchased. What was it worth? Was it real? It was the precursor to artist Maurizio Cattelan’s recent piece. He duct taped a banana to a wall. He’s now sold three versions for $120,000 apiece.  What is it worth? What is real? Art commenting on art. The system consumes itself.

Politics in America. It’s all about crowd size regardless of what the photograph reveals. [sorry, I couldn’t help myself]. There are so many that we actually keep a running tally of the presidential lies. We are slack-jawed at those who nod their heads and bellow their agreement with the demonstrably untrue. What is real? What’s it worth? The country hungrily consumes itself.

We haunt antiques stores. We rarely buy anything but enjoy the exploration. At School Days Mall, one of our favorite adventure antique grounds, Kerri turned and gasped. A paint-by-number landscape wearing a Minnie Pearl tag. “I recognize this painting!” she said, wide eyed. Her mom, Beaky, liked to paint and had a paint-by-number phase. The painting evoked a good story. It evoked a momentary possibility that this might be THE ONE Beaky painted. Kerri sent a text to her sister. They shared a memory. They reached through time and had a moment with their mother. Priceless.

Watching Kerri, so excited, text with her sister, it occurred to me that one reason we go to antiques stores is to touch stuff that comes from a time when value and worth were better understood. We go to the throwaways to find some substance. What is real is not in question.

Banana taped to the wall or paint-by-number landscape? What’s real? What’s it worth?

 

read Kerri’s blog post about PAINT-BY-NUMBER

 

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Let Go The Conditions [on Merely A Thought Monday]

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Change the world. It’s a hefty aspiration. It’s a daunting mountain to move when all that needs happen is to forgive. And what does that mean? To forgive. It sounds so simple! Forgive and BAM! The world is changed. Phew.

In a world that needs so much changing, you’d think we’d be more forgiving.

Take the wrapper off the word “forgiveness” and a skinny naked vulnerability is exposed. What might be lost or surrendered or compromised or released in this simple forgiveness? What must be let go? It’s scary stuff to take off the wrapper. It’s scary stuff to forgive.

What must be ‘let go’ is another reduction, a simple word or two. The wound. The grudge. Let it go and forgive? Language makes all things possible! Just let go. BAM! The world is changed.

Isn’t it true that, once wounded, once offended, we hang on tight. We claim it. Indulge in the hurt? Once wronged, isn’t it is the other person’s responsibility to make it right? I’ll forgive if and when they apologize?

Conditional forgiveness. Feuds are built on it. Marriages are destroyed by it. Wars are hungry for it.

It’s a log jam. Stuck-ness. Energy eddy. Does the knot create the toxin or does the toxin create the knot?

Sometimes, as Rich taught me, when the pain of holding the grudge becomes greater than the fear of letting it go, forgiveness becomes possible. People open their hands and reach rather than withdraw. The log jam breaks and movement begins again. Readiness is all [another simple word].

The world is not a fixed state. It is fluid. It require movement for health. Forgiveness is nothing more than movement. A release of conditions. Simple? BAM!

 

read Kerri’s blog post about FORGIVENESS

 

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