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The Watcher in the Window



The night crept on apace, the moon went down, the stars grew pale and dim, and morning, cold as they, slowly approached. Then, from behind a distant hill, the noble sun rose up, driving the mists in phantom shapes before it, and clearing the earth of their ghostly forms till darkness came again.

~Charles Dickens, The Old Curiosity Shop (1840)



I am still vacillating over whether the painting above will be included in my October exhibit at the West End Gallery. Hell, I wasn’t even sure I would share it here.  It’s one of those pieces that have such personal meaning that it’s hard to tell if that same meaning or feeling that will come across to others.

Or if my personal feelings keep me from judging the painting on its own artistic merits.

 I woke up in the dark one morning a few weeks back with this painting firmly planted in my mind. There was a definite image I felt compelled to put down in paint it was painted it quickly that same day as though it were a task that needed to be completed at once. It couldn’t wait.

The image in my head changed as it went on the canvas. Little attention was paid to detail and much was pared away as I worked. It became more about capturing the feeling of that original image rather than replicating it, since most of the details were unimportant to anyone but me.

The result is a piece that feels a bit like folk art. Not that I care what label someone might attach to it. Call it whatever pleases you. Call it a cat box liner if you wish.

I call it The Watcher in the Window.

A short version of the backstory is that when I was growing up, we lived in a large old farmhouse that was built around the time of the Civil War. It was isolated from the other houses up and down the road on which it was located. It was a creaky and somewhat creepy place with little hidden nooks and crannies, a mysterious locked room on the second floor that our landlord claimed was just storage for some of his furniture though my kid mind felt it held something much more nefarious, a Widow’s Watch on its roof, and a walk-up attic that still haunts my dreams. 

Opening the door to the stair leading up to the attic was like that moment in the Wizard of Oz where Dorothy opens the door after the tornado and the film goes from sepia to vivid color. Only in this case, it was in reverse. Everything was coated in an ancient brown wood dust, illuminated by the light from the attic windows. There was ladder that went up to the Widow’s Watch which we never were able to access.

It was a place that felt strange and ominous to me as a kid, one that had its own presence, its own personality. I had many disturbing dreams about that attic space when we lived there and long after.

Even now, once in a while.

But even so, for all the time I spent alone in that big, isolated house and in that attic, I never felt threatened in any way. It was spooky at times, but it was more in that Halloween-y, want-to-be-scared kind of way that so appeals to some kids. Nothing more ominous than that.

It was more like the house and that attic was simply a watchful entity, one that existed in its own time and place that somehow overlapped ours. For all I know, I may have seemed like an apparition or ghost to it.

The watcher part comes from the numerous times I would find myself in the side yard under the attic window. Many times, I felt as though someone was watching me. I would glance quickly up at that attic window, fully expecting to see someone looking down at me.

Thankfully, nobody ever was there in the window. I don’t know how that would have went over in my kid brain. 

 I drive by that place periodically and it still has a presence and personality of its own for me. I wonder if the Watcher in its window still resides in that place.

Or does it only linger in my memory now? 

The Sailor’s Lament

Headed Home— At Principle Gallery



Ships at a distance have every man’s wish on board. For some they come in with the tide. For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men.

-Zora Neale Hurston, Their Eyes Were Watching God (1937)



I had intended to write something else this morning but it was one of those things that requires a lot more time than I have at the moment. Instead, I am sharing a triad with the words above from the opening of Their Eyes Were Watching God from Zora Neale Hurston along with the painting at the top, Headed Home. which seems to align well with the passage.

This painting appears to depict a ship coming into port, but will it land laden with the fulfillment of a wish or dream? Or will it arrive with its hold empty?

I can’t tell you the answer even though I painted it. I sense in it a return which might be the fulfillment of a wish for the Sailor and for those that wait for the Sailor. The dream of a homecoming. Yet, there is also a feeling of unfulfilled wishes in it. As though as the Sailors returns their eyes still scan the horizon longingly and a plan for the next voyage, the next attempt at fulfilling the dream is already growing. 

The Sailor’s Lament.

I am adding a piece of music from Moondog, an artist I mentioned awhile back, one whom I had promised to write more about. However, it is a long story with quite a few details and I just haven’t found time to write it yet. I will at some point. Promise. For now, here’s one of his more famous compositions, Bird’s Lament, as performed by the London Saxphonic.

This composition was written with jazz great Charlie “Bird” Parker in mind. Parker and a slew of jazz and classical giants were friends of Moondog when he was a street person in NYC in the 1950’s. We’ll get to that part of the story sometime. For now, here’s Bird’s Lament.



Of Fish and Dots



Hokusai Two Fish



At seventy-three I learned a little about the real structure of animals, plants, birds, fishes and insects. Consequently when I am eighty I’ll have made more progress. At ninety I’ll have penetrated the mystery of things. At a hundred I shall have reached something marvelous, but when I am a hundred and ten everything I do, the smallest dot, will be alive.

Katsushika Hokusai (1760-1849)



I really like the bit of wisdom above from the great Hokusai, both for his optimism on aging as well as the idea that as he continues to progress his work will reach a point where everything he paints– even something as simple as a dot– has a life force within it.

Attaining that life force in any one piece, where the painting transcends what you put into it, is a rare and difficult thing for any artist to achieve. This idea that you might one day reach a point where your work has moved from a product of thought and craft to a transcendent expression of the spirit often seems beyond our reach or even our aim.

But perhaps we should keep it as an aim in our mind, along with the idea that we will continue to progress as we age, even if it is stored in rarely visited corner. If we hold on to it perhaps we will subconsciously find our way to that goal. And when we are a hundred and ten, the dots we paint will have that same life force as those created by Hokusai.

It’s something to hope for…

I’ve included a few of Hokusai’s paintings beyond his famed wave and landscapes. I love his fish pieces and the raven is wonderful. Enjoy!



I came across this post from a few years back. It’s one that had slipped my mind but was appreciative for the reminder that art and creation have no endpoints within a person. More than that, this idea from Hokusai of the energy and life force of his work continually concentrating itself until it reaches the size of a dot jumped out at me.

It reminds me of the singularity theory first put forth by Stephen Hawking, which states that when a star dies it collapses into itself until it is finally a single tiny point of zero radius, infinite density, and infinite curvature of spacetime at the heart of the black hole formed from the star’s collapse. A single point of immense mass and energy.

A dot filled with everything.

It also struck me that much of my work in recent times has focused on the sun/moon as a central element and it has taken on more and more prominence as the years pass. I often see it as this same sort of Hokusai-like dot, the energy of the painting concentrating itself in and around this ball.

There are future blog entries coming on this subject. But for this morning I am going to just enjoy some of Hokusai’s wonderful fishes. And that raven!

FYI- I am aware that the second from the bottom image is not a Hokusai painting but rather one from Hiroshige that is styled after Hokusai. I am including it because it was in the original post and I like it. And that’s good enough for me.



koi-carp-and-turtles-katsushika-hokusai

gnossienne redux

On the Blue Side— At the West End Gallery



gnossienne- n.– A moment of awareness that someone you’ve known for years still has a private and mysterious inner life, and somewhere in the hallways of their personality is a door locked from the inside, a stairway leading to a wing of the house that you’ve never fully explored—an unfinished attic that will remain maddeningly unknowable to you, because ultimately neither of you has a map, or a master key, or any way of knowing exactly where you stand.

–The Dictionary of Obscure Sorrows



I don’t have much to say this morning.  I just wanted to share a little music from the French composer Erik Satie, someone whose work has always spoken to me in its elegant spareness.  It was a great influence on some of my earliest works.  In fact, I even titled an early piece or two after the composer, but I can’t locate the images at this point.

Thought I’d share his Gnossienne No. 1 as played in this fine video from the contemporary Italian pianist/composer Alessio Nanni.  The word gnossienne was created by Satie.  He sometimes created new terms or appropriated terms from other fields to describe his compositions.  Gnossienne is generally thought to simply denote a new form although I like the definition at the top from the website The Dictionary of Obscure Sorrows.  It seems to fit the composition very well.

Anyway, give a listen to Satie’s beautiful sounds this morning.



I am short on time this morning, so I thought I’d rerun the simple short post above that I have shared a couple of times over the years. The only difference in these posts is the accompanying painting. I chose On the Blue Side at the top because it had that same sense of an inner life that people that know you will never truly know. Its title was also taken from a song, one from the Steeldrivers, the bluegrass group that once featured Chris Stapleton, who sings on that track. A much different feel than this Satie piece but no less applicable to the painting.

After all, trees and people are complicated, filled with mystery and contradiction…



Welcome to September



Land Alive- GC Myers



But it’s a long, long while from May to December
And the days grow short when you reach September
And I have lost one tooth and I walk a little lame
And I haven’t got time for waiting game

— September Song, I Kurt Weill and Maxwell Anderson



It’s the first of September and I let out a sigh of relief that August is behind us. I have confessed my utter disdain for the month of August here in the past but have refrained from doing so this year. For me, going back to my childhood, August has usually been a month of heat and anxiety, an uncomfortable month in which things never quite go right and often go very wrong.

As a result, the first days of September have the feel of a prison door being opened so that I might be released. I feel the cool air of freedom on my face once more.

Refreshing.

That first day of September is finally here after an August that seemed to start in July this year, with the anaplasmosis that plagued me carrying me into August. Every year on this day I share a version of the classic September Song. It has long been one of my favorite songs and becomes even more so with each passing year as it becomes more and more personally relevant. The verse at the top sures feels relevant to me on this cool morning.

Written by Kurt Weill with lyrics by Maxwell Anderson, it was first sung, surprisingly, by Walter Huston in the stage production of Knickerbocker Holiday back in 1938.  Since then, it has been covered by literally hundreds of musicians and singers throughout the world. I have listened to and played many of them here from a wide variety of artists. As it is with most great songs, most of them are wonderful renditions. It’s just that good a song.

It’s a bittersweet and slightly melancholy reflection on the passing of time, that inevitable march to old age symbolized in the turning of leaves and the shortening of the days. These precious days, as the song says.

This year I am going to share a performance of September Song from the great Ella Fitzgerald. You can never go wrong with Ella. Having her serenade us out of August and into September feels right somehow.

Welcome to September.



If I Can Dream

Lux Templi-At the West End Gallery



I dream’d in a dream, I saw a city invincible to the attacks of the
whole of the rest of the earth;
I dream’d that was the new City of Friends;
Nothing was greater there than the quality of robust love—it led the
rest;
It was seen every hour in the actions of the men of that city,
And in all their looks and words.

— Walt Whitman, I Dream’d in a Dream (1855)



Keeping it simple this morning since it is a Labor Day weekend. The theme today is dreaming of a better world and though it might seem that has little to do with the work or labor that is celebrated by this holiday, there is a connection.

After all, why do we work?

To provide a better life for ourselves.

Though it might seem like we toil simply to survive at times, we all still maintain a dream of a better world for ourselves in some form.

I would like to think that it is not asking too much that we extend that dream of betterment to all others. Wouldn’t our personal world be enriched and made better by the fulfillment of such a dream?

That’s all I have to say this morning. I have work to do. It might not better my life or anyone else’s in any way, but I am still going to make the effort. It’s all we can do– make an effort.

Here’s a bit of Sunday Morning Music. I went with two biggies today, two American icons– Walt Whitman and Elvis Presley. The song is If I Can Dream from Elvis’ legendary Comeback Special in 1968. I remember watching this as a kid with my dad and even then, being impressed with how hard this guy was working for our approval. You may or not be an Elvis fan, but there is no denying that the man is working hard here.

Dreams take that kind of effort.





If hard work were such a wonderful thing, surely the rich would have kept it all to themselves.

——Lane Kirkland, AFL–CIO President, 1979-1995




Ralph Fasanella- Bread and Roses

Ralph Fasanella- Bread and Roses



[From 2014]

I caught the end of a Bill Moyers interview yesterday with Nobel Prize-winning economist Joseph Stiglitz in which he described how our current level of income inequality was surpassing the levels of the prior two times when they reached a level of crisis here in this country– the Gilded Age of the late 19th century and the Roaring 20’s.  In each case, we were at the brink of total collapse but were able to come through and bring wages back into levels of greater equilibrium which always leads to greater prosperity across the board.  He wasn’t too positive about our ability to avoid the consequences of our current inequality, given the ability of the wealthiest to buy political clout with impunity. 

It’s a scary situation and, on this Labor Day weekend, it made me think of what the labor movement has done for this country in battling for greater wage equality.  I went back in the archive to a Labor Day post from back in 2009 that I thought fit the bill.  Here it is:



[From 2009]

On this day, Labor Day, I am showing a painting from the great American folk primitive painter Ralph Fasanella, depicting the famed Bread and Roses strike that took place at the textile plants in Lawrence, Massachusetts in 1912. I thought it fitting that something be shown that is closer to the spirit of this holiday which has faded from the public’s knowledge in recent years.

I was a union member in my first on-the-books job at a Loblaw’s grocery store when I was sixteen years old and a few years later I was a member of the Teamsters Union at the A&P factory where I was employed for several years. Barely 20 years old, I was the union steward, as well as a skilled Candy Cook, in the Cooking & Casting Department, for the last few years of the factory’s existence.

It was a position that I initially took because for some reason nobody else wanted the hassle of it. By taking it, I was protected from being laid off so long as my department was operating so I thought it might be worth a try. Most days had some sort of small trouble and on a few some major problems. There was always an argument to be had, either with company supervisors who tried to circumvent or twist the rules to their advantage or with co-workers who felt the union didn’t go far enough or went too far.

It was a very educational experience. I particularly enjoyed working with the WWII vets in the department. It felt pretty good when I was able to do something for them in my role as shop steward and when management sometimes made things tough for us in retribution for being held accountable, those guys stood tough and didn’t whine. They understood the idea of sacrifice for a greater good.

Unfortunately, the most telling observation from my time as steward was the general apathy from many of the workers, especially the younger works. They wanted the benefits and protections of the union without having to do anything and asking for any effort or sacrifice caused an outbreak of constant grousing.

Their attitude was the same as that which has led to the apathy that has allowed the solidarity of the union to erode and crumble over the years. This parallels the general image of labor unions, which has crumbled, perceived now as mainly corrupt and self-serving.

In many ways, it is a well-deserved image. But the failings of these unions are the failings of men, the same failings that the company owners possessed that the early unions organized against– greed and a total lack of empathy for their workers. It doesn’t take much research to discover that the working conditions of the last 130 or 140 years were deplorable. Long hours. Low pay. Incredibly unsafe conditions. Dismissal for any reason. No rights whatsoever.

Today, many view industry as this amiable, father-like figure but don’t realize how much blood was spilled by early union organizers and members to obtain the things we now take for granted as our rights.

The fact is that industry did not willingly give up anything to the worker without being forced.

I can only imagine what our world would look like without the efforts of our unions.

This very holiday would not exist nor would several others, as far as being paid holidays for the worker. Vacations would only exist for the company owners. Most people don’t realize that vacations for the working man are a 20th century invention.

The pay scale would be similar to those places on the Earth where many of our jobs have migrated, places that allow the avarice of the companies to override the rights and safety of the workers. Places where sweatshops still operate, as they once did here. Places where unschooled children toil in dirty, dank conditions, as they once did here. Places where the health and safety of the workers is secondary to the profit they provide, as it once was here.

You may despise the unions now for their corruption but make no mistake about it- without them our country would look much different. And not in a good way.

The Call of Wonder– At Principle Gallery



Three Rules of Work:

Out of clutter find simplicity; From discord find harmony; In the middle of difficulty lies opportunity.

–Albert Einstein



This Einstein fellow is a pretty smart guy.

Simplification, harmony and opportunity could be ingredients for any recipe to success in any field, but I think they apply particularly well to the creative arts. I know that I can easily apply these three rules to my own work.

For me, its strength lies in its ability to transmit through simplification and harmony. The forms are often simplified versions of reality, shedding details that don’t factor into what it is trying to express.

There is often an underlying texture in the work that is chaotic and discordant. The harmonies in color and form painted over these create a tension, a feeling of wholeness in the work. A feeling of finding a pattern in the chaos that makes it all seem sensible.

And the final rule–opportunity lying in the midst of difficulty– is perhaps the easiest to apply. The best work always seems to rise from the greatest depths, those times when the mind has to move from its normal trench of thought. Times when one has to expand beyond the known ways of doing things and find new solutions and methods to move the message ahead.

The difficulties of life are often great but there is almost always an opportunity or lesson to be found within them if only we are able to take a deep breath and see them. These lessons always find their way into the work in some way.

Thanks for the thought, Mr. Einstein. I hear good things about the work you’re doing.



I run theses Three Rules from Einstein every couple of years and it felt like the right time since I think we are all looking for simplicity, harmony, and opportunity in our own lives. Plus, I am short on time this morning. I am going to embellish a bit with two other favorite quotes from Mr. Einstein and a newer version of the wizened wisdom of Oh What a Beautiful World from the ageless Willie Nelson and Rodney Crowell, who wrote and first recorded the song in 2014.

Here are those words from Einstein:

The world as we have created it is a process of our thinking. It cannot be changed without changing our thinking.

———–

“People like you and I, though mortal of course like everyone else, do not grow old no matter how long we live. What I mean is we never cease to stand like curious children before the great Mystery into which we were born.”

Albert Einstein, Letter to Otto Juliusburger, September 29, 1942

And what a mystery it is…



Exurgency

The Regeneration— At Principle Gallery, Alexandria, VA




exurgency – Noun (obsolete)- The state or quality of rising up, emerging, or coming to light, often with a sense of urgency and importance.




According to the OED, the word exurgency was only used for a short time in England in the mid-1600’s. It’s first known appearance was in the writings of minister/theologian John Owen.

Probably more than you need to know about this word. I only know it because I came across a piece of music titled Exurgency from Canadian cellist/composer Zoë Keating, now based in Vermont.

I liked the piece enough that I bothered to look up the word. I also liked the definition I found. It felt like this state of coming to light or rising up was a quality easily applied to many forms of art.

I think any artist would want their work to have this sort of revelatory quality.

To be filled with exurgency.

I certainly desire that in my work. Sometimes it’s there and that’s a good day.

Hoping for some more of that exurgency today.

Here’s that piece of music, Exurgency, from Zoë Keating.




First Happiness

Bound in Time— At Principle Gallery


Chaos is the first condition.

Order is the first law.

Continuity is the first reflection.

Quietude is the first happiness.

— James Stephens / The Crock of Gold (1912)



The lines above are from a novel, The Crock of Gold, from Irish author James Stephens. The form above is not how they were presented in the book originally. They were actually dialogue spoken by the main character, the Philosopher, in the comic/fantasy novel that deals with philosophy, murder, love and marriage, and Irish folklore, including Leprechauns and a stolen crock of gold.

From the bits of it I have read on Internet Archive where it is available, it seems like a wild ride. It has had continuing influence, too. The late Shane McGowan, leader of the Irish band The Pogues, used the title for his last studio album before his death.

But it is the bit of dialogue that caught my eye. It seemed to capture much of what I have been seeing in my work in recent times. Or. at least, hoping to see. You’re never quite sure what will emerge when you’re pulling things out of the ether.

This procedural list seems to match with what I am trying to depict. We try to identify order within the chaos in which we find ourselves. Having revealed whatever bit of order there is to be found, we try to maintain it through repetition of conditions and behaviors. Having done so, we find a bit of tranquility in whatever small patch of order we are able to maintain. Therein lies happiness.

That might be all you need to know about life.

I don’t know, that’s for damn sure. But it sounds like a decent recipe.

Maybe that is the gold in the Leprechaun’s crock?

Here’s a song that probably has nothing to do with post. Maybe that’s the chaos part of it?

Anyway, it came on the station I often listen to just a few minutes ago. I hear it every couple of days, and it always catches my attention, even if I am really focused on painting at that time. It’s One of Those Days from singer/songwriter Eilen Jewell.

Maybe the appeal for me is that I’ve had a lot of those days. Bet a lot of you have, as well.