Dance With Parallax

My favorite word of the week is ‘parallax.’ Horatio pulled it out of the word bin during our latest conversation about art and artistry. We were discussing the difference between what an artist sees in their work and what others see – and how artistic “sight” changes over time. I scribbled the word along with the phrase, “the difference in what you see and what others see. Perspective over time.” After our call I looked up the word in my dictionary:

paral-lax (noun) 1. Apparent change of position. 2. Angle measuring star’s distance from Earth.

Many years ago in a fit of vulnerability I showed my mentor, a great theatre and visual artist, my paintings. I lined them all up for him to see. I followed him around the room as he quietly studied each piece. Finally, after taking in all of my work, he asked, “What’s the meaning of the spheres?” I was dumbfounded and had no idea what he was asking. “Spheres? What spheres?” So he led me back around the room, revisiting each painting, showing me the three spheres that appeared in EVERY single painting.

“What’s with the spheres?” he repeated, knowing that there wasn’t an answer but there was certainly a vast new question. My universe spun a bit that day so astounded was I at my inability to see the unifying principle in my own paintings.

I needed his eyes to see my work. Isn’t that the point?

When I think back on that day, on that younger version of my self, I revisit the fear, the raging vulnerability I felt in sharing my paintings. I feel again the deep doubt I held against myself. I recall the nausea of inviting someone I admired into my house of doubt. I somehow believed that, to be an artist, I had “to know” what I was doing – yet knew with certainty that I had no idea what I was doing. I knew with certainty that he would see through me to my lack of knowing.

And, he did. Thank goodness. “What’s with the spheres?” Such a simple question yet it spun my universe and pitched me through the portal of a new perspective.

I learned that day that artistry has nothing to do with knowing. Life has nothing to do with knowing. Knowing is an illusion, temporary at best. Knowing has everything to do with hiding.

Making a life, as Master Marsh just reminded me, is an engagement with the unknown. It is to have experiences. It is to make meaning of the experiences. If you are lucky, you learn to have the experiences first, and make the meaning second. It is to understand that, in this dance of knowing and not-knowing, sight and blindness, chaos and order, consciousness and unconsciousness, there are no fixed points. There is dance:

dance (noun) 1. An act of stepping or moving through a series of movements.

 

 

 

 

 

 

 

 

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Change Nothing

a detail from In Peace I Pray.

Thoughts from the mountain.

I grew up with these mountains so it should come as no surprise that I get quiet the moment I step into them. Like a too-tight coat the chaos I wear in my day-to-day life simply drops off; stepping into the mountain is to step out of the noise. Literally and figuratively.

Tom once told me that people change when they are ready. Rich once told me that people change when the pain of staying the same grows greater than the pain of making the change. Change when you are ready, change when you are in pain. Skip taught me that a business intending to change people was destined to fail. It is a fool’s errand. Business is about business not change. I loved this bit of advice from Skip because he is a natural-born change agent, a mentor of mentors (and, poetically, entrepreneurs). In a moment of frustration Kerri told me that people don’t change, they simply become more of who they really are. The masks drop off and we unwittingly reveal ourselves. Change as revelation.

As I hike through the snow toward the summit I wonder if change, at least the human notion of change, is as made-up as the rest of the stories we tell. It is in the forest, which is a festival of the cycles of life, that ideas of different ways of Being seem…superficial. Disconnected. Within seasons there are plenty of changes that roll around and around and around again. Perhaps this thing we call ‘change’ is nothing more than a recognition of the cycle, a readiness to release our dedicated resistance to life? A readiness to release our stories of limitation and division.

Kerri caught me staring at the mountain

Toward the end of his life, Joseph Campbell said that he suspected that all life (energy) was consciousness. There is 1) energy and 2) the forms that energy takes. Although seemingly disparate, seemingly separate, all forms fall back into energy. He said, “The universe throws forms up, then takes them down again.”He might have said that change is nothing more than the cyclical movement between energy and the forms it expresses.

Jim taught me that the art of acting was the art of being present. I know that when I stand in front of a canvas and begin to work, all notions of time disappear. Another day on the mountain, sitting in an adirondack chair midway up the slope, basking in the sun on warm day, we watched Kirsten snowboard. She flew by us several times. When she rides, it is clear, there is no other place, there is no past or future. There is now. She is vital, alive. In that place, riding the present moment (the only place that actually exists), the noise drops off. I know, and Jim knew, when fully in this moment there is no need to pester yourself with misplaced notions of being somewhere else, being anyone else.

 

a blast from the waaay past: August Ride. I lost track of this one and if you know where this painting is, let me know.

Hold Hands And Step

Today, I believe the single greatest obstacle we throw in our way, the single greatest disservice we plant in our children, the unfortunate self-imposed exile many seniors adopt, the great source of interruption to all creative dreams and dreamers, is this: the ridiculous notion that one must know “how” to do anything before starting to do it.

Knowing “how” comes second.

The opportunity to look back and see “how” comes (necessarily) at the end of the process, not at the beginning. To learn, one must begin by not knowing “how.” Not-knowing-how is the basic assumption of lively, active, creative beings.

The second assumption: no one does this walk alone. No one knows all things. To successfully not-know-how invites the opportunity to ask questions of others. Hold hands and step.

Peter Block wrote a terrific book with a title that says it all: The Answer to How is Yes.

Honor All Perspectives

my latest painting. Hope asks, “What do you see?”

Hope Hughes, Kerri’s longtime assistant and voice of reason in all-things-business, passed through my studio and flung herself in front of the painting I was working on. “Stop!” she cried. “Don’t touch it! It’s finished!”

“Finished? I just started,” I whined. She laughed at the perplexed look on my face.

“Put down your brushes,” she smiled, “and listen for a minute.”

Over time I’ve learned to listen to Hope. She makes sense of the world through her feelings which comes in handy to an over-cerebral artist like me. She has no inner-editor in the early stages of communication so I’ve learned her heroics are pure. She sees something that I do not. This is not the first time Hope has thrust herself between me and the painting I am about to destroy, so when she asks me to ‘look’ there is usually a good reason. I set down my brushes, cross my arms, and huff as if to say, “I’m listening but make it fast.”

Each time she begs me to stop work on a painting, a great debate rages in the household. This time was no exception. I sit in my chair and listen to what she sees. It is always diametrically opposed to what I see so I pretend to pout (I secretly love this process because it is EXACTLY what I adore about art in general and painting in particular). She tries to get me to tell her what I intended to paint, coaxing me to talk about what I see but I refuse. As Joseph Campbell once said, “If an artist respects you, s/he will not tell you what a painting means. ” Art is always about a relationship between the piece and the viewer and the artist needs to stay out of the way. If the artist has no respect for you (or themself), s/he will tell you what the painting means to them. I respect Hope so I stay out of the way.

In this painting, Hope sees deep humility in dual fatherhood.

My refusal drags other people into the fray. She snaps a photo of the painting and then shares it with others, asking what they see in the painting, what descriptors they would use. As is always the case, the replies sometimes align with her perception and sometimes not which further fuels the debate. 20 had the misfortune of coming over for dinner and he was subjected to the photograph test.

In this painting, 20 sees grief and loss. In this aspect he agreed with Hope: the painting is finished.

When I first started showing paintings I would follow patrons through the gallery (they did not know I was the artist) and listen to their perceptions. They rarely saw what I intended but what they saw was marvelous – almost miraculous to me. It was an advanced course in understanding the futility of trying to determine what another person perceives. Art, I learned in those days, is a living relationship. Perception is personal. No one is a blank slate. Paintings evoke. The meaning is made between the patron and the painting.

I enter into the studio to drop out of my many descriptors and over-cerebral tendencies. I go to the studio to engage in a pure relationship with…my muse(?) I am never more alive than when I am painting. I am never more quiet than when I am painting. The images that emerge from my quiet are sometimes incidental, always surprising, and are sometimes just a map of a moment in the greater relationship of my life. Only a moment. I feel that I have never finished a painting because the paintings themselves are not distinct, separate from each other. They are living things. They change over time. They are moments, marks in the sand in a greater ongoing relationship in the long-body of my life.

What do I see in this painting? It is not important to know. Is it finished? For me, never. And, and for Hope, yes.

Every artist needs a Hope Hughes. Someone they trust, someone they respect to step in front of their work and without editor, tell them what they see. Hope reminds me that the true value/purpose of art is to create a commons capable of affording multiple perspectives and the rich opportunity to discuss the differences in what we perceive.

Look The Other Way

notalone-jpeg

I am working on a project that requires me to read through a passel of old emails. I find myself cringing every time I read my former email address. It was the name of my business. It made sense to me at the time I used it. Now it seems like a little chunk of hubris. david@trulypowerful.com. Yikes.

I came to the name honestly enough. One day while facilitating a workshop with a group in Chicago, we bumbled into a conversation about power. I was surprised to learn that I had a lot to say about power, both personal and communal power. My contention was that people most often confuse control with power. They feel powerful when they feel in control and, in fact, true power is the opposite of controlling. The investment of someone who is truly powerful is to empower, not to control. Think about the best teachers, managers, leaders, or friends that you know. Their commitment to you is to help you grow and learn, to become the most powerful person you can be. Unless you are trying to control them, your commitment is the same: to empower them. The same ideal is at the epicenter of any good relationship, work or otherwise.

Discerning between control and power – not always an easy task – was the guide star of my budding business. The study of power over others (controlling) versus true power (power created with others) – that’s how I arrived at the moniker Truly Powerful. I believed that, with awareness, change usually soon followed.

There is a growing list of words that once had potency for me but these words have been so overused, over-applied, or misused that they are now fairly meaningless: paradigm, paradigm shift, story, transformation, purposeful, presence…power, personal power. A few years ago my move from Seattle to Kenosha prompted a life inventory, a deep gander at my motives and motivations. Being a lover of words and believer in the power of words, I paid careful attention to the words I used to define my self and my work. They seemed a façade, a skin that needed shedding. I have called myself life-coach, facilitator, teacher, director-of-plays, performer, artist, and, no matter the word I applied, I felt I had no business assuming I knew or understood any other person’s route to power, personal or otherwise.

In workshops I often used to say, “You are not broken, nothing needs to be fixed,” and I wondered who I would be – and what I would call myself – if I actually believed that about myself and others. Nothing is broken. Nothing needs fixing. A remarkable thing happens when we assume wholeness instead of brokenness. Like a time-lapse camera focused on a busy urban street, the coordination and synchronization of individual movement becomes apparent. We are much more connected than we realize. Look for wholeness and you will see wholeness. Look for connectedness instead of individualization and all the power, fulfillment, purpose and transformation you desire will become available to you.

I also used to say (and still do), “No one creates alone.” No one walks this path alone. No one is powerful by themselves. Power and fulfillment are group sports. Whether we experience it or not, whether we see it or not, truly powerful is a given.

The second in my Held In Grace series: Surrender Now

The second in my Held In Grace series: Surrender Now. The original is available at zatista.com

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Find The Way Home

holdtheworldinpeace-lowerfontcopy-jpeg“Our search for truth must be wide open, even when it takes us in directions we preferred not to go. This is the difference between propaganda and truth. Propaganda has a certain end in mind, and so it marshals and manipulates the ‘facts’ to support its conclusion. Truth weighs evidence, seeks proof, is appropriately skeptical of authoritarian claims, welcomes questions, and doesn’t fear dissent.” Philip Gulley, The Quaker Way of Living*

Kerri and I often read books aloud to each other. On cold winter days we sit beneath a blanket, Dog-Dog at our feet, BabyCat snoring by our side, sip coffee, and read. We like to discuss and compare perceptions, ask questions, and re-read passages for clarity or the simple poetry of the language. Sometimes we savor a book, moving through it slowly. Sometimes we devour a book and go back to reread especially potent sections.

Propaganda resists close inspection and must continually be defended. Truth welcomes doubt and skepticism; indeed it is best served by questions, suggestions, and corrections.”

I am guilty of burying my head in the sand. My move to Wisconsin came with an intentional unplugging from the news. I was tired of pundits shouting each other down. I was weary and wary of conversations with family and friends that seemed to be territory-guarding regurgitations of our news-channel-of-choice. I was using the language given to me by my news sources and rolled my eyes at the predictable language leveled by the “other” side. One day as I raged at family members to pay attention to how they were being manipulated by their news source, I thought that it was probably a good idea for me to do the same. At the time, unplugging, stepping out of the toxic stream, seemed the only option to clear my mind.

The search for truth begins within the seeker, for if we are not honest with and about ourselves, we will find it impossible to be honest with and about others.”

On a recent trip to Indiana, Bill and Linda suggested a book for us, The Quaker Way Of Living by Philip Gulley. They read it with their church group and found it compelling, especially given our corrosive political climate and collapse of civil discourse. We bought it when we returned home and a few days ago started reading it together. We couldn’t put it down. It asks some powerful questions. It doesn’t pretend to have answers [that, I’ve learned, would be the antithesis of the Quaker Way] but it does speak directly to the quandaries of personal and communal integrity in a climate of self-righteousness, blame, and distrust. It is hopeful and funny and places the onus of creating a better world squarely on the shoulders of each and every one of us. It reminded me that burying my head in the sand is not very useful while also affirming that their are options beyond planting a flag in the sand.

“To say a person has integrity means several things. Most commonly, we mean the person is honest, that his or her word can be trusted…. But there is another level of meaning that has to do with the integration of our values and lifestyle. In that sense, to say we have integrity is to say the separate parts of our lives combine to form a unified whole. What we believe is consistent with how we live. Our beliefs influence the work we choose, the way we use our time and spend our money, the relationships we form and the goals to which we aspire. This integration is critical for inward peace.”

While reading, I’ve been thinking a lot about a conversation I had a few years ago with Jim Marsh, one of the people I most admire in this world precisely because he walks his talk. He told me of an issue in his community that had deeply concerned him and that he’d been grousing about for long time. One day he’d had enough and to move forward he recognized that he had three options: First, to stop complaining (he said, “to just shut up.”). Second, to move away. Leave. Get away from the source of his irritation. That didn’t seem like a healthy option. The third was to strap on his boots and do something about it. To act instead of complain. But, (and here’s the reason why I adore him) not to act against, but to work to create what he wanted. His responsibility was not to fight or resist. It was to create.

“We preserve our integrity and wholeness when we are aware of what threatens it and then choose to act deliberately and prudently when tempted. When we fail to do this, we disintegrate, creating a chasm between who we are and who we wish to be.”

I practice tai chi and had the good fortune to have, for a few years, a master teacher, Saul, whose teaching transcended the specifics of tai chi. He was teaching me how better to live. One day, while I was in a fit of resistance, he quietly showed me the power of looking beyond my “opponent” and placing my focus, instead, in the field of possibility. I understood (intellectually) that the opponent was always of my own making and my dedication to having an opponent (inside or out) would always pull me off balance. In other words, as long as I invested in resistance I would always pull myself off balance.

“Integrity isn’t conditional…There is a seamless nature to integrity that transcends situations and relationships. Integrity does not present one face in public and another in private. It delights in transparency, having nothing to hide.”

Now, with my head freshly out of the sand, I understand Saul’s teaching beyond my thinking (I’ve had a lot of time to meditate on things with my head in the sand) and, taking my cue from Jim, I recognize that I have three options but only option-number-three holds the promise of integrity. The best news: no one creates alone…

*all quotes in this post are from the chapter on Integrity from The Quaker Way of Living by Philip Gulley

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THE WAY HOME on itunes – Kerri Sherwood-Track 13 on THIS PART OF THE JOURNEY

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