Reach Back [on DR Thursday]

prometheus resurrection morsel copy

Artists are constantly reaching backward and forward through time. They daily pay visits to the work of the masters. They periodically revisit their own past creations. Their work sends ripples of inspiration and opportunity far into the future.

When Beethoven was young he wrote a ballet called The Creatures of Prometheus. It calls for a legion of dancers and is way too big for most contemporary ballet companies to attempt. Contemporary symphonies, on the other hand, desire to play the music because Beethoven, for the rest of his life, reached back into his ballet, mining for musical phrases, developing some of the phrases into his most famous work.

How to play the music from a ballet written in 1801 as a symphonic piece in 2009?

Yaacov Bergman, the visionary and laughter-filled director of the Portland Chamber Orchestra had an idea. Why not tell the story of the ballet. A storytelling would provide the connective tissue, weaving the music together into a cohesive symphonic performance. Because Beethoven wrote a ballet, 207 years later, I had the great good fortune to write and perform the story of The Creatures of Prometheus with the PCO.

And, since we were crossing time boundaries, why not cross a few artistic genres, too.  Yaki hired artist Liz Gil-Neilson to paint and produce a visual storytelling that was projected during the performance. Music, storytelling, contemporary visual art. Ripples, ripples, everywhere.

But, that was not enough. Since I am also a visual artist, Yaki asked that I translate my story into a visual statement. So, I painted three large canvases (Creation, Garden, Resurrection), one for each movement of the symphony, that hung with Liz’s original images during run of the symphony at the George Broderick Gallery in Portland.

Reaching forward. Reaching back. Today, more than a decade after our collaboration, I mine my experiences and paintings for inspiration. As new collaborations arise, as I stand at the base of a new series of seemingly impossible tasks, I’m fortunate to have my Creatures of Prometheus to remind me of the possibilities. They nudge me forward.  Like Beethoven, I reach back into my past work to find a path forward.

It makes me smile to know that in 1801 Beethoven, with a quill pen and ink, scribbled notes at his desk and those scribbles turned into dances and symphonies that inspired stories and paintings and a wacky multi-media collaboration (a phrase that did not exist during his lifetime). And more: a morsel image digitally altered for a blog post written on a computer keyboard. Pen and ink are hard to come by. Reaching backward. Reaching forward.

 

 

read Kerri’s blog post about Prometheus morsel

 

arches shadows k&d website box copy

 

prometheus resurrection ©️ 2008 david robinson

Sit On The Tooth [on Not So Flawed Wednesday]

you can sit on the tooth copy

It is a massive understatement to say that Kerri is NOT a happy camper when a trip to the dentist is necessary. A childhood filled with dental work sans novocaine has left her with some serious dentist ptsd. All you need do is say the word, “dentist” to her and her motor functions seize; that is, she locks up and cannot move.

Our dentist is kind. Someone is always available to hold the door open when I carry Kerri into the office. They take her in immediately so that I don’t have to peel her off a wall or otherwise pry her fingers from the furniture. The assistant knows to have the chair pre-reclined and the snap-on bib at the ready. The dentist is used to entering the room and finding me holding my wife firmly to the chair (truth: I sit on her legs so she cannot move). The dentist and I chit chat while my wife-chair bucks and curses. He pretends that all of his patients require spousal restraint.

And then, for reasons unknown to all, Kerri gives in to her predicament. It is not accurate to say that she relaxes but the struggle ceases. She sighs a mighty sigh and says, “Okay.” I look to the dentist for my cue and, mercifully, he says, “You can sit on the tooth.” There is a tooth-shaped stool in the corner and, exhausted from the patient delivery process, I slump onto my tooth stool.

Nothing of what I wrote is true but all of it is accurate. I lie outrageously while telling the absolute truth. Kerri fears dentists. Getting her there is, well, a process. Our dentist is world-class-kind. There is a stool shaped like a tooth. I am always grateful when I finally land on the tooth. The details, exaggerated or otherwise inflated, are true by degrees.

All that I know is, her dentist-ptsd is now my dentist-ptsd.  I’d much rather face the drill myself than face the fury of getting my wife there. The words I most fear in our house: “Oh, no, I think I cracked a tooth.”

 

read Kerri’s blog post about SIT ON THE TOOTH

 

 

not our best morning minturn website box copy

weeping man ©️ 2015 david robinson

De-Compress [on Two Artists Tuesday]

nature's stripes copy

I had no intention of writing about white rot fungi. I never imagined myself in the course of my lifetime writing or even being interested in white rot fungi. In fact, in scholarly terms, I have no business writing about it. But, here I am. White. Rot. Fungi.

I live in the age of the internet and Google. I remember the moment in the mid 1990’s that I realized the world had changed! I was doing research for a play about Joan of Arc and, instead of using the card catalogue and spending days in the library scouring the stacks, I was trying this new thing called ‘the internet.’ In a matter of moments, I found the complete transcript of Joan’s trial. The actual notes from the actual scribe that sat in the room in the 15th century during that very political/religious trial! The scribe’s notes were typed for my consumption, digitized, and available for my 20th century eyes. Information-gathering was suddenly so easy! Then, I discovered the notes for the 2nd trial! Ten years after burning Joan at the stake they reconsidered their decision and admitted a mistake. It was also, no doubt, a very political/religious trial; the making of a saint! Days of dedicated research compressed into a few hours of poking around. It was a kind of miracle. I reached through time and a scribe handed me his meticulous notes. “Do not judge us,” he whispered.

And, so, white rot fungi. Kerri shot this gorgeous photograph (she calls it ‘nature’s stripes’) and we chose it as a prompt for our studio melange. This morning, wondering what to write about nature’s stripes, I asked myself, “What’s all over that nurse log?” In less time than it took to find Joan’s second trial I had my answer. It digests dead wood.

The name, white rot fungi, a collection of words, does not do poetic justice to this species. It is the vital middle stage in a snapshot of the life cycle. On the left, the vibrant green shoots of new life, spring. The middle: a nurse log, a fallen tree, providing food for the fungi. And on the right, the brittle brown leaves returning to the soil, nutrient for the next new growth. A hundred year cycle captured in a single image.

This photograph is also a compression, making it possible for me to easily see an unimaginable life cycle. Yet another miracle. Yet another way to reach through time and see.

I forgot how difficult it once was. Finding facts. Blowing dust from pages made it somehow more important to check the data. Reaching through time to a reader in the 25th century, I whisper, “Don’t judge us. It happened so fast, this enamoring of the easy, this nonchalance of meaning, this indifference to information”.

 

read Kerri’s blog post about NATURE’S STRIPES

read Kerri’s blog post about White Rot Fungi

 

megaphones website box copy

 

pray now/john’s secret ©️ 2010 david robinson

Open Your Hand [on Merely A Thought Monday]

magical:painful cropped copy

Asked another way, this question might read, “Why do we hang on so long to the painful stuff and so easily let go of the magical parts?” Or, “Why do we so easily focus on the obstacles and so rarely look for the possibilities?”

Sit in any cafe and eavesdrop and you will mostly hear tales of woe. Any good news editor will tell you that the stories of goodness are a much harder sell than the stories of tragedy. It seems we are attracted like moths to a flame to the struggles, the uphill battles, the pain-full disasters. It is the most human of activities, whipping up and diving into stories of calamity.

In a bygone era, when wearing my consulting cap, I loved doing an exercise with groups that revealed their addiction to blame stories. Blame-stories are like sugar. They are fun to tell. It is yummy to consume handfuls of it’s-not-my-fault or it-happened-to me and once the blame-story gets rolling, it blossoms into an endless dessert buffet. Everyone rolls down the line and loads their plate.

Hanging onto pain. Grasping onto regret. Whipping up conflict. Tug of war. It is so easy. Close the hand and make a fist. Shake it at the sky.

The magical parts? They happen. There’s no need to keep an accounting. Words are woefully inadequate in heart-matters so the story is harder to tell. An open hand is available for the next moment. An open hand is not holding on.

 

read Kerri’s blog post about MAGICAL/PAINFUL

 

 

aspen silver bull website box copy

 

face the rain (certainly I will finish it this year…) ©️ 2019 david robinson

Be A Part Of The Wind [on KS Friday]

part of the wind songbox copy

I am a sturdy proponent of The Paris Theory. I made it up so it only follows that I am a stalwart adherent. The Paris Theory goes like this: if you try to get to Paris you will end up in Kansas City every time; the fastest way to Paris is to shoot for Kansas City.

A quick read of The Paris Theory implies that Kansas City is a lesser destination but that’s to miss the point entirely. The point? Adventure, rich vibrant experience, is available everywhere. And, most often, the richest experiences come along because “the plan” collapsed, the plane was diverted, the seat reassigned. In The Paris Theory, Paris is not a place. It is an orientation to experience. The quickest way to Paris is to recognize that there is no greater or lesser place – especially when you are standing in it. Open. Look around. Art and life and love and danger and interesting people, food…vital experiences are everywhere.

Artists steal ideas and I must now confess that The Paris Theory is ancient. I slapped some shiny new lipstick on it to make it my own.

We are here for such a short time. The winds blow us here and there. Sometimes it feels like we are in control, bobbing along, but then strong winds come and push us in new directions. How much time do we spend wishing we were some other place and miss where we are? How much time do we delude ourselves into thinking there will be a firm and lasting resolution? An arrival? The winds never stop blowing. As Kerri said [and so beautifully composed], “We are part of the wind.”

 

PART OF THE WIND on the album BLUEPRINT FOR MY SOUL is available on iTunes & CDBaby

 

read Kerri’s blog post about PART OF THE WIND

 

ChasingBubbles (full) copy

The Paris Theory = Chasing Bubbles

 

gate f8 website box copy

part of the wind/blueprint for my soul ©️ 1996 kerri sherwood

chasing bubbles ©️ 2019 david robinson

Bend It [on DR Thursday]

county sketch copy

The terminology in art reads like so much poetry. Zero point perspective. Chiaroscuro. Foreshortening. Rococo. Image plane. Vanishing point. Oblique projection. Intaglio. It goes on and on, these tasty and magical words.

They should be poetry. They describe fields of possibility. They attempt to codify the making of illusion or the impulse of an explorer. Bending space. Deconstructing and reconstituting. Perceptual distinctions. The visual language of cultural norms.

There has been for centuries a mathematics of art. Optics and relativity, movements in science that have their conjoined artistic twins. Rebellions. The maintenance of form. Rules and rule breakers.

I sat in on a class taught by a master artist. He was a lover of landscape (another yummy word) and taught his students an earth-shattering lesson: reality, like time, cannot be caught. It’s a fools errand to try. Painting is a conversation. It is an infinite game. Bend space. Move the tree. Color is fluid, moving, never fixed.  Be like color. Play. Discover. Transform.

I do not consider myself a landscape painter. And then I remember the master teacher and I remove the word ‘landscape’ from my vernacular. And then, suddenly, there is a universe of movement, color, light, and shapes to bend.

 

read Kerri’s blog post about a LANDSCAPE SKETCH

 

Newborn copy

newborn. deconstruction. reconstitution.

 

coffee cups in scion website box copy

 

newborn /landscape sketch ©️ 2019 david robinson

 

 

Admire Them [on Not So Flawed Wednesday]

barnacle tree 1 copy

 

Andy Goldsworthy might have created this tree. The limbs pressing through burls, a tree grown sturdy and beautiful, made unique by its wounds.  It is a monument to resilience.

Tom, an educator the entirety of his life, told me that he was again and again astounded by the resilience he saw in children. They inspired him. Their hurt swirling into a burl,  giving them fuel to rise. Their struggles and fortitude driving their teacher to be better.

In the art gallery, the woodworker told us about his work. He lifted the bowls to show the unique grains, the live edges and imperfections. In every piece, the beauty was once a blemish.

There are many, many trees in our beloved Bristol Wood. Inevitably it is the burl trees, the oddities, that call us to stop for a visit and admire them.

 

read Kerri’s blog post about the BURL TREE

 

MayYou copy

may you: a painting/prayer spoken to life’s burls

 

 

alice's restaurant, california websitebox copy

may you ©️ 2014 david robinson

Let It Peel [on Two Artists Tuesday]

peel back the layers copy

Jonathan told us that a tree must split its bark in order to grow.

It’s a theme. A snake must shed its skin. A bird molts its old feathers making room for new growth. A caterpillar sheds its identity entirely. Out with the old and in with the new. The forest burns and rejuvenation begins.

It is so easy to say, this bit of sage advice. Let go of that old skin! Make room for the new! Change is not supposed to be easy!

Robert tells me that many of his peers, actors becoming older actors, are no longer getting cast. There are fewer parts for aging actors. “They are angry,” he said, “They are having a hard time reinventing themselves.”

Holding tight to the old skin. It’s necessary for a while. It’s important to embrace the security of the known before stepping out the door. But clutching the old skin too long brews a sour path.

Dwight tells me that to try and recreate and/or wear the old skin is a fool’s path. He reminded me of the many times, walking down the streets of Los Angeles, I’d pass an old body squeezed and painted into the trappings of youth. There was nothing to do but look away. “Let go,” I’d whisper.

One of the few rules of systems change is that if you know where you are going you will merely recreate what already exists. Growth, like learning, is always in the direction of the unknown. Always.

Lately, Kerri and I ask each other many times each day, “What do you think will happen?” We discuss the options, spin the variations, play out the scenarios, and, in the end, we arrive at the same conclusion. We don’t know.

Bark is peeling everywhere. We must be growing.

 

read Kerri’s blog post about PEELING BARK

 

SurrenderNow framed copy

surrender now. a good name for a painting and even better advice when your bark is flying off.

 

closeup at jonathans website box copy

surrender now ©️ 2015 david robinson

 

First, Enjoy [on Merely A Thought Monday]

first dandelion copy

This is the season of firsts. The first glimpse of new shoots of green poking their heads out of crusty soil. The first robin. The first morning we are awakened by the woodpecker bending its beak on our neighbors old metal aerial antenna. Walking the muddy trails in Bristol Wood, Kerri gasped, jumped, pulling her camera from her pocket. I thought it might be a fox or possum. “What is it?” I whispered.

“It’s the first dandelion!” she exclaimed.

Our neighbors to the east wage a seasonal war on dandelions. Most of the folks in our neighborhood shudder at the sight of the yellow invader. One of our favorite summer rituals is walking around the corner to see if the retired man is standing sentry in his yard, armed with the latest in dandelion weeding tools. Old coffee cans strategically placed on his walkway hold the remains of the brazen few that dared show their yellow faces.

In our house, dandelions are not invaders. They’ve inspired songs. They are little yellow memory bringers. Flowers and food. Ray Bradbury. They are heralds of bare feet, hammock chats, cold wine and water balloon fights.

Each year, we enact a dandelion ritual. I am a fairly new suburbanite so I’m often uncertain of what to do and lapse into momentary paranoia. Standing in the abundance of dandelions that pop up in our yard, I fear that I should be more like my neighbors and declare a war. “Do you think we need to pull these?” I ask Kerri.

“Why?” she responds without looking at me.

“Everyone else is,” I say meekly.

“Now, there’s a good reason to do something!” she mocks me. “You? Conforming. Now, that would be a first!”

 

read Kerri’s blog post about FIRST DANDELION

 

 

yetitumbler website box copy

 

 

Spin With The Earth [on KS Friday]

adrift songbox copy

If I was stranded on a desert island and could only have two books, they would be Think On These Things by Krishnamurti and The Actor And The Target by Declan Donnellan. If I was teaching a class on leadership, a beginning or advanced class in acting, a seminar on entrepreneurship, a master class in spiritual living,… I’d only need these two books. I go to them often. They remind me to remain open and appropriately adrift.

“The fact is that truth is life, and life has no permanency. Life has to be discovered from moment to moment, from day to day; it has to be discovered…” ~ Krishnamurti

“We cannot control reality, but we can control our fantasies. Except our fantasies don’t exist; so we are not controlling anything at all. But the illusion of control is deeply reassuring. And the price we pay for this reassurance is unimaginable.” ~ Declan Donnellan

Peaking through a triangular keyhole from 1996, the woman who would someday be my wife smiles at me. Neither of us knew then where life would take us. Neither of us know today where life will take us. Some days we know for certain that this spinning globe is beyond our capacity to control. Some days we delude ourselves.

One evening, shortly after we met, I went with her to a Taize service. She was playing the service and I had no idea what a Taize was. I sat in a tiny pew just off the chancel, just behind where she was playing. Something mystical happened that night. It was and is beyond my capacity to explain. After the service we sat in the tiny pew for hours. Completely stripped of our control fantasy, we sat spinning with the earth, listening, completely content to discover the moment. Appropriately adrift. Completely alive.

ADRIFT on the album BLUEPRINT FOR MY SOUL is available on iTunes & CDBaby

 

read Kerri’s blog post about ADRIFT

 

arches shadows k&d website box copy

 

adrift/blueprint for my soul ©️ 1996 kerri sherwood