Popcorn Trail [David’s blog on KS Friday]

Late at night, standing on the platform awaiting the train to take us home, the moon and clouds gave us a spectacular show. I knew that the moon was a waxing gibbous and realized that, although I’d known and used the word since I was young, I had no idea what the word “gibbous” actually meant. It sounds like something related to gibbons, small apes that swing through trees. Is the moon gibbous because it swings through the sky? No! The moon is gibbous because it is greater than a semi-circle yet less than a circle. Gibbous describes the shape! Bulbous. Convex. Protruding.

Yesterday I unrolled many small canvases and pinned them to the wall in my studio. They are like a small flame I’ve kept for alive for over 35 years. They refer back to a large odd shaped canvas I stapled to the deck of my apartment on a sunny day, overlooking Hollywood. I had a very limited paint supply, a few cans of paint used for animation (computer animation was not yet possible so artists painted images on cells with acrylic paints), grey, blue, and white. I had a small jar of cadmium red. I taped a few housepainting brushes to long sticks and made myself a promise to “have fun and not think too much.” And I did. I had fun. I didn’t think too much. I played. In those few short hours, I painted the single piece that would influence my work for the rest of my life. I knew it was special. It was pure. It sold before I could adequately document it (remember the age before the ease of digital cameras?). It sold before I had the opportunity to install it in a gallery and show it.

I call the many small canvases my “narrative paintings”. They are a popcorn trail that I dropped as I wandered into the forest of my artistry. Some of the pieces are studied and lifeless. Some are playful and shallow. Some are raw and heart-full. I tacked them all to the wall to guide me back to the original impulse, that moment of artistic purity.

I am gibbous though, at this age, I am no longer waxing. I am greater than a semi-circle but have not yet completed my full life circle. In my time on earth I have been what Kerri calls a “strider”, someone trying-too-hard to climb the ladder of success. I have pursued my artistry like it was a wild animal, setting traps to capture what I could not easily understand. I have finally learned, or have lived long enough to realize, that I am and have always been what I chase. No traps necessary.

I follow the popcorn trail back to what I experienced that day in Los Angeles: the simple joy of being alive. A conscious moment enthusiastically expressed through a little grey, blue and white paint, punctuated with some surprise cadmium red.

IN THE NIGHT on the album THIS PART OF THE JOURNEY © 1998 Kerri Sherwood

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

read Kerri’s blogpost about THE MOON AND CLOUDS

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That Is Everything [David’s blog on KS Friday]

On these unseasonably hot summer days, Dogga can be found lounging by the air conditioner. Surrounded by his favorite toys, snowman, candy cane, baby, bone and red, he basks in the artificial arctic breeze. He is, by nature, a snow dog. Winter is his preferred season, snow is his favorite couch.

Today, the 4th of July, is his twelfth birthday. We can hardly believe it since it seems like only yesterday that, while watching the Dog Dock Jump at the local 4th festivities, we talked of someday having a dog. In our telling of the story – we are artists, after all – Dogga was born at the exact moment that we were dreaming of him. I had not yet moved to the Midwest: three months later, driving the Budget truck across the country, loaded with all my worldly possessions (paintings, an easel and a chair), we saw a sign for “Aussie Pups” and, promising that we’d only pet the puppies, we stopped.

Dogga and I moved into our new home at the same time.

We’ve grown grey beards together. Neither one of us runs as fast or tolerates the heat like we used to. He enjoys standing in the middle of the backyard barking in the four directions just to see if anyone barks in reply. I sometimes feel like this blog is my version of doing the same thing.

He has grown to fear loud noises, thunder and fireworks, so we stay close-by on his birthday, on the 4th of July. And, truth be told, hanging with Dogga is more fun than watching the Dog Dock Jump or the Pie Eating Contest or cooing at the fireworks with the crowd. His enthusiasm is infectious. His bright eyes and open face, his unbridled joy, remind me of the good things in the world. His agenda is not hidden: it is loving us.

He is our reason to celebrate – simple, pure and honest – at a time that a dark shadow clouds our nation’s celebration, a time when almost nothing is simple, pure or honest.

Our agenda is loving him – on his birthday and everyday. That is all. That is everything.

DIVINE INTERVENTION on the album RELEASED FROM THE HEART © 1995 Kerri Sherwood

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

read Kerri’s blogpost about DOGGA

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Restless [David’s blog on Not So Flawed Wednesday]

“To be fully alive, fully human, and completely awake is to be continually thrown out of the nest.” ~ Pema Chödrön

These dark days rolling into the winter solstice make me restless.

Last week, while cleaning her studio, Kerri found a demo tape. It was recorded for her producer and included song possibilities for her album As Sure As The Sun. It was just her and her piano, single takes. Simple. I was moved to tears. I didn’t know her during those years. When all of the production values are stripped away, there is nothing between you and the purity of the artist and this demo is a recording of pure artistry. Sharing it with me made her restless.

I have a new painting in progress. I’m painting over another piece, covering a painting I never liked that now reminds me of a not-so-good-time. I began the new painting using rags because I have a tendency to go to detail too fast. With a rag as a brush, detail is not possible. With a rag as a brush, fun is possible. I sighed with relief as the last bits of the old painting disappeared.

We haven’t walked much in these past weeks. It’s been cold and we’re not yet back to full speed after our visit with Covid. It’s making us restless. Our restlessness is helping our impulse to clean out our house. The energy has to go someplace and it’s finding release in moving furniture and tossing old relics. It’s finding release in tossing out long-held stories and too-rigidly-held-beliefs.

We’re mostly in the demolition stage of recreating our nest – and ourselves. There’s no rush. Winter promises to be long. The incoming kakistocracy is not going away anytime soon so our sanctuary-improvement-project, our strategy for self-preservation, need not be rushed and can move at a restless turtle’s pace.

Who wrote that discovery is more useful than invention? I can’t remember. No matter. We are restless and so, therefore, we are wide-open to discover. The gift of restlessness.

“…and the vessel was not full, his intellect was not satisfied, his soul was not at peace, his heart was not still.” ~ Hermann Hesse, Siddhartha

read Kerri’s blogpost about SNOW

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Do A Rough Draft [on DR Thursday]

Morsel copy

the field in early october: a morsel

I love seeing artists’ rough drafts. One of my all time favorite art exhibits was the hundreds of drawings and sketches John Singer Sargent executed en route to his painting, El Jaleo.

I’m more interested in the process than the final piece. I’m more captivated by the search than the find. That includes my own work as well. For me, the final painting is less a finished piece and more of a pause in the conversation.

It bothers me when a curator tells people what a painting is about or what the artist intended. I’ve squirmed many times during openings of shows when the gallery curator, introducing my work, tells people what my paintings mean. It locks people out. It prevents them from having THEIR relationship with my painting. I squirm equally when the work is not mine. I want a more pure experience.

To me, art is a doorway to the sacred, to the deeper things that words often cannot reach. It is a passage back to the beginning, to the fingerpainter, the child freely playing – prior to the time when a judge is planted between the painter and the piece, the painting and the viewer. That is where the riches are. And in that place it is all a rough draft.

 

read Kerri’s blog post about THE FIELD IN EARLY OCTOBER

 

pumpkinfarm website box copy

 

 

a field in early october/morsel ©️ 2018 david robinson & kerri sherwood