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“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.”

― Martha Graham



I was thinking about a recent comment on social media below one of my paintings where the commenter said that the piece made this person feel as though they were wasting their time with their own painting. They added that this wouldn’t stop them from continuing to paint.

I can’t tell you how relieved I was at that. While I gladly accepted the implied compliment of the first part of the comment I was mortified by the idea that someone would not continue painting because of my work.

And this was mainly because I had been at that same point early on, when as a novice painter I would look at artists whose work was fully realized, who through hard work had found their own style and voice. At that point, in comparison to the famed artists whose careers were full and complete, I felt inferior and dejected, thinking that maybe this wasn’t the path for me after all.

Maybe I should give it up and try another path or just give up altogether.

But I had a thought in my head very similar to the words at the top from the late dancer/choreographer Martha Graham. I truly believed that I had something inside me that needed expression and since there was only one of me in this world, whatever came out, good or bad, would be uniquely mine. At that point, I wasn’t thinking about selling my work or galleries or a lifelong career. It was just about getting the inner thing that was distinctly mine out into the world, if only to say, “Like it or not, here I am.

I believed then and now that we are all distinct creatures. We are all unique endpoints of evolution, ancestry, and experience. Even those people with almost identical evolution and ancestry often have widely varying experiential differences and influences. I see this with my own brother and sister.

Nobody has your exact pedigree. Nobody has your exact life experiences. Nobody has your exact way of seeing and feeling.

You are the unique and only you.

Your expression has meaning. It may not be pleasing to everyone or may not speak to all but it is yours alone.

This thought sustained me early on and it still does. I sometimes look at what I do and am deeply unsatisfied, thinking that I will never be at the point of which I think I am capable, never reach the endpoint I have formed in my mind. I see nothing but flaws and inadequacies at that moment.

But then I think, “This is me. For better or worse, nobody else could have done this.

The endpoint doesn’t matter. It’s simply taking the journey that counts.

You don’t have to be perfect. You don’t have to be the best. You have to just try to show what you truly are– the unique and only you. Let the world know it.

And have a good day doing so.

 

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To live on a day-to-day basis is insufficient for human beings; we need to transcend, transport, escape; we need meaning, understanding, and explanation; we need to see over-all patterns in our lives. We need hope, the sense of a future. And we need freedom (or, at least, the illusion of freedom) to get beyond ourselves, whether with telescopes and microscopes and our ever-burgeoning technology, or in states of mind that allow us to travel to other worlds, to rise above our immediate surroundings.

We may seek, too, a relaxing of inhibitions that makes it easier to bond with each other, or transports that make our consciousness of time and mortality easier to bear. We seek a holiday from our inner and outer restrictions, a more intense sense of the here and now, the beauty and value of the world we live in.

― Oliver Sacks. New Yorker article 2012



I was thinking this morning about how I would describe the painting at the top, Steady As She Goes. It is included in the Little Gems show at the West End Gallery which opens today. 

At first, I was thinking about sailing but I really don’t much about that subject. I can try to imagine the thrill of the open water, the feeling of untiy with the natural world, but I’m pretty sure it’s not the same as the real experience.

I began to wonder what was the underlying appeal of sailing, of open water. All that came to me was the word escape.

That made sense. You’re free from the ties that bind out there, subject, of course, to the whims of Mother Nature. We can never free ourselves from her her apron strings.

Yes, escape. And that representation of escape might be the appeal of these boat paintings even for us non-sailors. 

I searched for  a few words from others to describe that and came across the excerpt from a 2012 article in the New Yorker from the late Oliver Sacks, who wrote about how we need some form of escape from the day-to-day, an outlet where we are free from the restrictions set upon us by others. 

I was torn between the Sacks excerpt and these words from the great Graham Greene:

Writing is a form of therapy; sometimes I wonder how all those who do not write, compose, or paint can manage to escape the madness, melancholia, the panic and fear which is inherent in a human situation.

It seemed a little more pointed at creative types but made great sense to me. My work certainly does provide me with an escape route from the stresses and pains of the real world. 

I wasn’t sure which quote to use but, in the end, I guess I opted for using both.  After all, this is my blog and I can do what I want. I make the rules.

Maybe this is, in itself, a form of escape?

Maybe I should take up sailing. Since it’s about 8° this morning, that seems unlikely anytime soon. So, let’s listen to a favorite song from Lyle Lovett. It’s If I Had a Boat from his epic 1988 album Pontiac. I listened to this album over and over back then and it was a means of escape at times. It still holds up beautifully to this day.

Hope you find your own escape route and have a good day.



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“The feelings that hurt most, the emotions that sting most, are those that are absurd – The longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.”

― Fernando Pessoa



This is another piece from the Little Gems show that opens Friday at the West End Gallery. Its title is What Might Have Been which comes from the feeling of regret or nostalgia or, at least, retrospection that I feel in it. Those are feelings that I think most of have dealt with in some form. Hopefully, they don’t overwhelm our lives in the present.

For all my psychological foibles, glitches and tics, I don’t live with a lot of regrets. I understand that the consequential decisions– good and bad– that I have made in my life were my decisions and were made with the belief that I had the best information available in making those decisions. Of course, I was wrong in some cases, but that doesn’t change the fact that I accept the blame and responsibility for the results that came from my decisions. 

I am here now and that’s all that matters. 

Spending too much time on what ifs and what might have beens seems like a giant waste of time and energy. And the amount of time and energy I wasted early in my life might be the main regret I have when looking back. So why waste more looking back and fretting over it?

But I have to admit that I do look back. It’s not out of remorse or nostalgia. It’s more out of curiosity, to discover the patterns and flows that brought me to this point. To observe and learn the lessons that are undoubtedly there so that I don’t repeat the mistakes and can possibly build on the successes.

And to try to figure out where I came from and who and what I am.

That is, of course, my perspective on the past and on this painting. It’s based on my own life and experiences.

Your own experiences might draw you closer to the past, might fill you with more regrets and remorse for what has taken place in that past. We all deal with the world and our place in it in our own way and if revisiting your past fills your days, it is not my place to tell you to not do that. That is your decision. 

But I would advise you to try to live at least equally in the present time, trying to leave the traumas behind and to glean some lesson from that past to bring forward with you to make your future days more livable. 

Funny how a small painting can open so many gateways to thought. There’s so much more I could write about what I take from this simple little painting based on the cues it engages within me. And, if it is a successful piece that comes to life, it engages the feeling and minds of others.

Maybe that’s the purpose of art, to create a shorthand of emotion that speaks to a wide variety of people and their own distinct experiences without relying on the specificity of language.

I don’t know. I have work to do so I am not going to dwell on it now. 

Have a good day.



The quote at the top is from the great Portuguese poet Fernando Pessoa, whose work I have only become aware of and a fan of in the past few years. I have written about him a couple of times here, most notably in reference to my Multitudes series a couple of years back.

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So don’t be frightened, dear friend, if a sadness confronts you larger than any you have ever known, casting its shadow over all you do. You must think that something is happening within you, and remember that life has not forgotten you; it holds you in its hand and will not let you fall. Why would you want to exclude from your life any uneasiness, any pain, any depression, since you don’t know what work they are accomplishing within you?

― Rainer Maria Rilke, Letters to a Young Poet



Funny how often the words of the poet Rilke mesh with the message I am seeing or hoping to see in a painting of mine. It’s certainly the case in this new smaller piece, Standing in Shadow, that is part of the Little Gems show at the West End Gallery that opens this Friday.

For me, the message I wanted to distill here was that we all live in the shadows of places, people, and events. Even the past and the future cast a shadow on our lives in the forms of regret and fear, among many others. 

In a way, we are shaped by shadows, depending on how we react to them. In the best case, we seek to step beyond them, to find a place in the light where the only shadows present are those we cast in our wake.

That is where the words of Rilke come into play. It is while we are in the shadows, that we must use those feelings that thrive within us there, the anxiety and pain and other deep emotions, to find a way forward.

To use the shadows as building blocks toward the light. 

I’ve discussed this here before, this idea that it is most often that our hardships form our character and that our creations ultimately– and hopefully– reflect that character. I’ve always thought that the appeal of my work was in the shadows that came through in my work. I am not talking about physical shadows though they sometimes are manifested as such in the work. It’s more in the underlying darkness, the acknowledgement that there is dark behind the light. That even the optimism and hope carried in the work is tempered with a wary eye cast toward the shadows.

Our hardships do, as Rilke points out, accomplish work within us. That’s not easy to see when you’re deep in the shadows. But once one recognizes that the shadows are the place where the deepest emotions are spawned, that one can use these feelings as a way to the light, that it is the place where creation is born, it becomes a less scary place. 

At least that’s how I am reading this, in both Rilke’s words and in this painting.

I could be wrong. Wouldn’t be the first time and it certainly won’t be the last.

Maybe you will see it differently with the benefit of your own shadows. That’s how it should be.

Have a good day.

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“I have an idea that some men are born out of their due place. Accident has cast them amid certain surroundings, but they have always a nostalgia for a home they know not. They are strangers in their birthplace, and the leafy lanes they have known from childhood or the populous streets in which they have played, remain but a place of passage. They may spend their whole lives aliens among their kindred and remain aloof among the only scenes they have ever known. Perhaps it is this sense of strangeness that sends men far and wide in the search for something permanent, to which they may attach themselves. Perhaps some deep-rooted atavism urges the wanderer back to lands which his ancestors left in the dim beginnings of history.”

W. Somerset Maugham, The Moon and Sixpence



Short one today for this Sunday morning. The painting above is a little guy, a new 2″ by 4″ piece called What Was, headed to the West End Gallery for the Little Gems show. It’s one of those pieces that speak to me of the search for home, a theme that has been pretty prevalent in my work over the years.

I very much identify with the excerpt above from Somerset Maugham’s The Moon and Sixpence whose story incorporates the search for home by Paul Gauguin, which eventually took him to Tahiti. I have always felt a bit out of place, even in this place where I have lived all my life.

Yet, I don’t know what place or situation might ever make me feel truly at home. Maybe that’s the purpose of my work, at least for me personally. To formulate an idea of what home might be.

I don’t really know. But I know that it has a strong pull.

Let’s leave it at that. For this Sunday, on the theme of home, I am returning to an old Staple Singers song from the late 1950’s. I played Uncloudy Day on this blog recently and this song, I’m Coming Home, is very much in that same vein. It’s from the same timeframe and has that same sort of sharp underlying guitar line from Pops and powerful vocals from a very young Mavis Staples. Great song to kick off a cold Sunday morning.

Have a good day.



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“All there is, is fragments, because a man, even the loneliest of the species, is divided among several persons, animals, worlds. To know a man more than slightly it would be necessary to gather him together from all those quarters, each last scrap of him, and this done after he is safely dead.”

Coleman Dowell, Island People



[Been running some older posts this week — and maybe next week, as well– as I attempt to recalibrate. Or better yet, as the post below says, gather the fragments and try to reassemble them in some workable form. This post features a favorite painting here in the studio as well as a favorite song.]



It’s been hard finding footing lately in the studio. It’s been hard to just get started on most days. There are plenty of factors that play in to this, some external and some internal, some that I can control and some I cannot. But the end result is the same: left feeling fragmented, broken into shards that don’t want to reassemble easily in the form of my work.

I am not worried however. This is not the first time I’ve felt so fragmented nor will it be the last. I know that I come apart at times and have to bide my time, just continuing to try to put myself back together so that I may uncover what I know is waiting there for me.

It’s there. It may seem an awfully long way away but I can see it and I know that while it may take time and much effort, I shall be together with it again.

The painting above is a piece that has been with me for a while now. One of the orphans that come home to reside for a bit.  I wrote about it last year when I thought I might change its name to Dimming of the Day but it still remains under its original title, Fragments, in my mind. And I suspect it will stay that way.

This painting is based very much on this feeling that I am experiencing at this moment and when this feeling emerges, I often think of this painting.  There is darkness and distance here. The space between the Red Chair and the house has a certain weight that makes me feel as though there is something more than physical distance at play here. The sky, a confetti-like blend of thousands of little fragments of brushstrokes that gave the painting its title originally, represents, for me at least in this piece, the world falling out of harmony.

Dark, distant and coming apart.

Yet despite that I find this painting very comforting. I think that goes back to what I said above, that I know this place well from past experience. I know how to navigate it and know that the distance is not so great nor the darkness too deep. And I know that the parts are still in place to come together again in the future if I simply exercise patience and don’t give in.

It’s funny how that works. I walk by this painting several times a day in the studio and it’s often without a thought as my mind is preoccupied with something else. But every so often I stop before it and suddenly all of these feelings flood back on me when I look closer. I’m glad it works that way, actually.

Here’s the song, Dimming of the Day, which made me think about renaming this painting. It’s from one of my favorites, Richard Thompson. This is a great acoustic version. Have a good day…



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GC Myers- Canyon of Doubts



Creativity requires introspection, self-examination, and a willingness to take risks. Because of this, artists are perhaps more susceptible to self-doubt and despair than those who do not court the creative muses.

Eric Maisel



This painting below sits on a shelf directly in front of my desk. I was looking at it early this morning and wondered if I had put anything about it here on the blog. I came across the entry below from about four years ago which really spoke to the doubts I endure every year at this time as I begin to gear up for my annual shows.

This year is no different. Maybe even more pronounced, given the stress from the events of this past year. But I take some comfort in knowing that I have navigated through these canyons before and that takes off the edge. The doubts are still there but can’t box me in.

There is always a way through. 

Here’s what I put down about this four years back:

This new painting, 8″ by 10″ on panel, is called Canyon of Doubts. For me, it represents the navigation that takes place in the creative process as the artist tries to get past the formidable obstacles of self doubt. Doubt often throws up barriers that has the artist asking if they are good enough, if they have the talent, training, and drive to create true art that speaks for them to the world. Doubt makes them fear that they are out of place, that they don’t belong, that every other artist has more right to create than them.

Doubt keeps the artist seemingly boxed in with no apparent way forward.



Doubt is a pain too lonely to know that faith is his twin brother.

Kahlil Gibran



I’ve been trapped in that canyon many times. I’ve thought many times that there was no way out, that the fears posed by my doubts were the realities of who and what I was.

I have always felt alone with my doubts. Words of encouragement from others often felt hollow when I was lost in those canyons. They didn’t know how steep the walls of doubts seemed to me or how inadequate, how ill-prepared I felt in that moment.

The only option that seemed available to me was to trust that I could somehow fight my way out of those daunting canyons. It would mean mustering every bit of talent, every ounce of energy, and a sustained belief that I deserved to have my voice rise from out of  those canyons. It was matter of  either having the faith in my own value as human to find my way free or withering away in a canyon of doubts.



Your doubt can become a good quality if you train it. It must become knowing, it must become criticism.

Rainer Maria Rilke



I still find myself in those canyons. I still find myself periodically looking up at the walls that surround me and wonder if I am talented enough, strong enough, or even entitled to escape them.

But I now know that there is a path through them, one that is well worn with my own footprints from my past journeys in that shadowed place. I know that, even though it is lonely and seemingly unbearable in that moment, I don’t have to be trapped in that place of doubt.

I’ve traveled this path and there is indeed a way out.

It takes time and effort and devotion. It takes the belief in yourself, forged from past experience, that you will make the right decisions and not be trapped in those walls. It’s in having the faith that when take a wrong turn, when you make a mistake, that you will recognize it and get quickly back to the path that sets you free.

At the moment, I may well be in that canyon still but I have the moon guiding me and its light shows me where the canyon ends.

And then I will be free once more.



Have a good day.

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“One never reaches home,’ she said. ‘But where paths that have an affinity for each other intersect, the whole world looks like home, for a time.”

-Hermann Hesse, Demian: The Story of Emil Sinclair’s Youth



The painting at the top, Home in Sight, is a new small piece that is headed to the West End Gallery for their annual Little Gems show which opens in February. The words above are from a Hermann Hesse book that holds a special place in my heart, a book that served a very important purpose for me when I was struggling at my lowest point. 

It helped me find my way home. 

Often, when I employ the concept of home in my work, that book comes to mind. And I am always so grateful then for what it did for me then. And now because without it there may well not have been a now.

And that’s sort of what I see in this little gem.

Let’s leave it at that today.

Have a good day wherever your home may be.

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Bloom


 

“The best thing for being sad,” replied Merlin, beginning to puff and blow, “is to learn something. That’s the only thing that never fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds. There is only one thing for it then — to learn. Learn why the world wags and what wags it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the only thing for you. Look what a lot of things there are to learn.”

T.H. White, The Once and Future King



I came across the video below first thing this morning, just before 6 AM. It’s titled Bloom and is written and directed by Emily Johnstone and Brian Kistler and animated by the students from San Jose State Animation Illustration. It’s a simple but lovely vignette that illustrates the effect that one person making one small effort to reach out to another can have on the life of the recipient of that effort.

The current time of the year coupled with the isolation of the pandemic and the uncertainty throughout this nation fostered by the unsteady handling from the current people in power make it a ripe time for those suffer from the darkness of depression. I thought about how terrible a time it is for those folks who haven’t developed methods and mechanisms for dealing with it. This, in turn, made me think about my own struggles through the years and how fortunate I have been to have survived long enough to develop my own personal system for dealing with it.

I don’t even know if I have openly mentioned them here. Such is the stigma of depression. We openly discuss the most intimate details of our lives but depression remains a difficult subject to broach because we still see it as a sign of weakness or a character flaw rather than an affliction. 

If you’re a regular reader you probably have deduced by now that I have had bouts of depression without me ever coming out and stating it plainly. I really wasn’t planning on talking about it this morning and don’t really want to go too far without a little more consideration on my part. But I will say that the simple message in this short animation is essential to dealing with depression. The thought that one person is concerned about your well being is often enough to get through a dark period. And the care and dedication required to foster a living thing such as a plant or a pet often gives us the validation that one is needed.

I know for myself, this blog is one of my primary mechanisms for dealing with my own darkness. It provides structure and a sense of dedicated obligation. Having that task in front of me every morning helps greatly and makes me seek things to discuss which goes to the blurb at the top from The Once and Future King, a favorite book from my youth from T.H. White, which speaks to the effect of learning something new on one’s sadness. It’s a beautiful paragraph.

Learning alters the path that the mind is traveling and for the depressed person sometimes that is enough to elevate their state, even if its only a small bit. And sometimes that small lift takes them to a point where they can see new horizons that remained hidden to them before.

The other obvious benefit of this blog for me is the human contact and feedback it provides. Just knowing there are people out there, even if only a small handful, that might read this and respond once in a great while is enough to fulfill the void.

Enough to reach across the darkness.

I really don’t want to go any further into the subject this morning. As I said, I had no intention in doing so this morning. But seeing this short film and knowing how many folks are struggling right now, feeling the hopelessness and isolation that comes with depression, I thought it was important to at least speak briefly to it.

I am often hesitant in speaking too much about it because there are no one-size-fits-all fixes here. One of the aspects of depression that make it so insidious is that each person’s experience is personally formed that it is sometimes difficult to find the mechanisms and methods that will get that person through their dark patches.

I can only speak to m own experience. For me, it is in having set routines, such as this blog or caring for my beloved studio cat, Hobie. In having methods of making contact that allow me to feel that my voice and concerns are being heard. In setting goals that force me to work and not fall into the idleness that often brings the darkness.

I could go on and maybe I will at some point. But for today, try to look outside yourself and recognize the indications of depression in others. Something as small as a quick note or text or call might be the difference that changes another person’s whole outlook for the day.

And that one day might make a crucial difference in their life.

So, have a good day. Learn something new. But mainly, reach out and try to bring a little bloom into someone else’s day. 

(The video is below. There’s a little gap so make sure to scroll just a little lower if you don’t see it immediately. I have to learn how to better embed videos. Ah, learning!)



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“The Walking Man I” — Alberto Giacometti



Artistically I am still a child with a whole life ahead of me to discover and create. I want something, but I won’t know what it is until I succeed in doing it.

–Alberto Giacometti



The short statement above from the late artist Alberto Giacometti perfectly captures a feeling that has been with me for a long time now.

Now well into middle age, I have been a professional painter now for over twenty five years and have did okay with my career in art. I do what I want basically, earn a decent living, get some recognition here and there and have established my own little niche with my work.

It’s a decent place to be at this point in my career and a lot of young artists would love to be in my position.

But most days, even when I feel the tiredness from the wear and tear of the years weighing on me physically, I still feel new to this whole art thing, like I have just scratched the surface with my work. As Giacometti points out, I feel like there is a whole life, an endless horizon, ahead of me that is filled with all sorts of new possibilities.

New forms, new expressions, new inspirations, new voices and more– all yet unseen and unknown. Just something.

And again like Giacometti, I feel a huge gnawing desire to find that something but don’t have a clue as to what it might yet be.

That was the same feeling that I had when I was first experimenting with painting years ago. I had a hazy vision in the recesses of my mind that I wanted to pull out but didn’t truly know what it was or what it might look like until it had emerged. When it did finally come out, I instantly recognized it for what it was and what it could mean for me. I ran with the inspiration from it for many years.

But at some point during these years, I began to sense that another vision of the same sort resides somewhere down there in my mind, one that had yet to be found. One that I won’t know until it comes out.

So, though I am a sometimes tired middle-aged guy, I know that I am still a child artistically, one who still sees the whole wide world and all its potential before him.

I work and wait in anticipation that this child’s voice will someday be heard.

 

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