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The Pacifying Light– At Principle Gallery

 



A man’s work is nothing but this slow trek to rediscover through the detours of art those two or three great and simple images in whose presence his heart first opened.

-Albert Camus



These lines above are from an early essay, Between Yes and No, written by the French Nobel Prize-winning writer Albert Camus. It basically states, in sometimes grim detail, his belief that art “exalts and denies simultaneously.” In short, truth is generally somewhere in the middle, never absolutely in yes or no.

Yes or no is generally an oversimplified view, the extreme ends of the pendulum’s arc on which we swing.

While I may not fully understand all the subtleties of Camus’ essay, I do fully agree with the premise as I see it in my own simplified way. I think that art communicates best when it contains both the yes and the no— those polar oppositions that create a tension to which we react on an emotional level. For example, I think my best work has come when it contains opposing elements such as the light of hope or optimism tinged with the darkness of fear or remorse.

The Yes and The No of things. The certainty and uncertainty of all things.

Beyond that, I find this line about the artist’s effort to rediscover those few simple images that somehow first stirred something within their heart and soul intriguing. I certainly recognize it within my own work. I had no idea what I was trying to find when I first began to paint those many years ago. But the idea that there were some inner images that needed to be expressed nagged at me, even though I wasn’t fully aware of what those images were. They were slowly revealed to me and though I often didn’t fully understand their meaning, they somehow made sense and began to fill an emptiness.

That continues to this day. It is, as Camus, says, a slow trek. I still don’t know what to expect when I begin to paint and still have the nagging feeling that there is still an image out there– or in there– that eludes me. But I have some small degree of certainty, for whatever that is worth, that it is there waiting to be discovered. I just have to keep moving towards it.

Here’s a favorite song from a favorite artist, Rhiannon Giddens.  The song is the folk classic Wayfaring Stranger. It’s one of those songs that has been covered by a multitude of singers and is such a strong tune that every incarnation is equally wonderful.



Serene Gratitude— At West End Gallery



If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.

–Henry David Thoreau, Walden (1854)



I was going to write something else this morning but am feeling a bit foggy and tired. Instead, I thought I would share a post from a few years back and add the Don McLean song, Castles in the Air, at the bottom.



This is a well-known quote from Walden. Maybe the most well-known. It basically states, in my opinion, that we are meant to dream, to imagine better things and circumstances for ourselves. But there comes a time when we have to put the necessary work if these dreams are ever to become a reality.

Pretty sound stuff. The value of work and dreams is not lost on me. My life as it currently is, relatively simple and humble, was once a castle in the air. I was leafing through an old journal from when I was 16 or 17 years old and came across a list of goals for my future.

I had forgotten that I had made such a list and was surprised at how closely it matched the life I now live. Apparently, though I stumbled and fumbled around for too long a time, I somehow subconsciously made my way back to those castles I had built in the air with that list as a teenager.

I was pleased at first for it validated this idea that you somehow eventually reach destinations for which you set a course. Then I began to wonder what might have happened had I built my castles even further up in the sky.

Were the goals of an unexceptional and naive 16-year-old too restrained and self-limiting? Or did that 16-year-old know itself better than I currently think it did, that it already recognized its own core strengths and deficiencies? 

I don’t know the answer to that question. But I can say that I don’t regret placing the foundation under the castle that I first built in the air when I was young. It suits me.

My one wish is to have time enough to put other foundations under a few other castles that float in the air above me. We shall see.

As it is with most of the quotes I use here, I like to seek out the context in which they appear in their original form. I felt that the paragraphs that end with these words from Thoreau should be shared in full.

There’s still a lot of meat on this old bone from Mr. Thoreau:

I left the woods for as good a reason as I went there. Perhaps it seemed to me that I had several more lives to live and could not spare any more time for that one. It is remarkable how easily and insensibly we fall into a particular route and make a beaten track for ourselves. I had not lived there a week before my feet wore a path from my door to the pond-side; and though it is five or six years since I trod it, it is still quite distinct. It is true, I fear, that others may have fallen into it, and so helped to keep it open. The surface of the earth is soft and impressible by the feet of men; and so with the paths which the mind travels. How worn and dusty, then, must be the highways of the world, how deep the ruts of tradition and conformity! I did not wish to take a cabin passage, but rather to go before the mast and on the deck of the world, for there I could best see the moonlight amid the mountains. I do not wish to go below now.

I learned this, at least, by my experiment: that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours. He will put some things behind, will pass an invisible boundary; new, universal, and more liberal laws will begin to establish themselves around and within him; or the old laws be expanded, and interpreted in his favor in a more liberal sense, and he will live with the license of a higher order of beings. In proportion as he simplifies his life, the laws of the universe will appear less complex, and solitude will not be solitude, nor poverty poverty, nor weakness weakness. If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.




New Day Rising– Now at West End Gallery



Art is not a plaything, but a necessity, and its essence, form, is not a decorative adjustment, but a cup into which life can be poured and lifted to the lips and be tasted.

–Rebecca West, Black Lamb and Grey Falcon (1941)




In what is considered her masterpiece describing the history and culture of Yugoslavia, author Rebecca West wrote in Black Lamb and Grey Falcon that art and culture, especially in the form of myths and storytelling, provide both countries and individuals with a revitalizing well from which they can drink in order to survive the difficulties of life and history. Art and culture connects us with symbols, stories, and myths that changes our mere existence into one brimming with purpose and meaning. 

I know that West is writing primarily about storytelling and the myths of nations, which is evident in the passage from which the lines above are taken, which I am sharing below. But I feel that the purpose they serve, as West sees it, is very much the same for art in general. Art moves us beyond our own day-to-day existence, connecting us with our known and unknown pasts and futures. It allows us to feel as though we are part of some greater vehicle, serving both as a function of memory and desire.

Indeed, art is not a plaything. It is an elixir that invigorates the spirit and soul.

Below is the expanded passage from Rebecca West. I think there may be relevance in it for this country at this juncture in history.



Art is not a plaything, but a necessity, and its essence, form, is not a decorative adjustment, but a cup into which life can be poured and lifted to the lips and be tasted. If one’s own existence has no form, if its events do not come handily to mind and disclose their significance, we feel about ourselves as if we were reading a bad book. We can all of us judge the truth of this, for hardly any of us manage to avoid some periods when the main theme of our lives is obscured by details, when we involve ourselves with persons who are insufficiently characterized; and it is possibly true not only of individuals, but of nations. What would England be like if it had not its immense Valhalla of kings and heroes, if it had not its Elizabethan and its Victorian ages, its thousands of incidents which come up in the mind, simple as icons and as miraculous in their suggestion that what England has been it can be again, now and for ever? What would the United States be like if it had not those reservoirs of triumphant will-power, the historical facts of the War of Independence, of the giant American statesmen, and of the pioneering progress into the West, which every American citizen has at his mental command and into which he can plunge for revivification at any minute? To have a difficult history makes, perhaps, a people who are bound to be difficult in any conditions, lacking these means of refreshment.

Wherever the Wind Takes Me – At Principle Gallery



All journeys have secret destinations of which the traveler is unaware.

–Martin Buber, The Legend of the Baal-Shem (1955)



Wasn’t planning on posting anything today but a song popped into mind and I thought I would share it. Not sure that it fully lines up with the painting or the words of Martin Buber at the top, which do mesh well together. The idea of secret destinations, of arriving at a point that is unexpected, is the basis for the story of many life journeys, after all.

How many of us can say our lives ended up exactly where we thought they would be when we first set out? And for those who did arrive exactly where they intended, I don’t know whether to envy or pity them. There’s something to be said for the security of sticking precisely to your set course. On the other hand, that insinuates that will travel unchanged throughout your long journey, that your desires and values won’t be shaken up and reorganized by things encountered along the way. That you won’t at some point realize that where you thought you wanted to arrive then was not the same as it is now.

For myself, it’s pretty obvious that I never had a real plan, a true set course to any destination. And though at times it’s been hard, and that even now, though my journey is much closer to its end than its beginning, I still am not sure where it will ultimately take me, I wouldn’t have it any other way.

Here’s that song. It’s another gem from that perfect coupling of artist and composer, Dionne Warwick and Burt Bacharach. From 1966, this is Trains and Boats and Planes.



Hold On, Hold On

The Entangling– At Principle Gallery



Centuries of husbandry, decades of diligent culling, the work of numerous hearts and hands, have gone into the hackling, sorting, and spinning of this tightly twisted yarn. Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; and where we had thought to be alone, we shall be with all the world.

–Joseph Campbell, The Hero with a Thousand Faces (1949)



Was reading some Joseph Campbell and came across this passage and it immediately struck me as another way of looking at the Entanglement paintings from my recent Principle Gallery show.  Perhaps the twisting bands of ethereal energy as I see them are also representative of the twists and turns of the hero’s journey. It’s the story of human’s existence, one that takes them through a winding and often dark labyrinth filled with dead ends and numerous paths that seem to be leading to one’s desired destination only to be found to have led the traveler even further away.

And then when we are exhausted and filled with fear, all hope drained away, we take a turn on the twisting path and we find ourselves facing the light that gives us hope, the light that energizes and illuminates all that is behind and before us, showing us the unity of all things.

Hmm. Got to think about this a bit more.

Here’s this week’s Sunday Morning Music. Not sure it exactly fits the theme. I think it might. but it doesn’t really matter since I like this song and wanted to hear it this morning. It’s from one of my many favorites, Neko Case. This is Hold On, Hold On.





The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation.

–Wassily Kandinsky, Concerning the Spiritual in Art (1912)



It’s been about a month since I gave a painting demonstration at the Principle Gallery. In the days after, I shared an image of the progress that had been made on the demo painting at the end of the session. I was fairly pleased with how it had emerged but could immediately see that there were changes– additions, subtractions and alterations– that needed to be made before it would truly come into form, at least to my eyes. There were a number of small adjustments and a couple of major changes.

Among the larger changes was altering the shape and color of the distant mountains in the lower right quarter. I simply wasn’t satisfied with the original. There was something in them– or not in them– that just didn’t sit right with me. 

I also changed the shape of the Red Roof house in the upper left. Again, the original just didn’t feel right to me. I depend on my ability to sense rightness in my work, and it was not meeting the mark.

I changed the angle of the roof and extended it a tiny bit, which allowed me to clean up some messiness in the sky behind it. It’s not that I mind a little messiness. The late biophysicist Max Delbruck (1906-1981) had a theory that he called the Principle of Limited Sloppiness. which stated that too much sloppiness was unacceptable in scientific research but allowing a little sloppiness sometimes revealed startling, unexpected results that could then be cleaned up. 

I guess you could say I adhere to Delbruck’s theory. A little sloppiness is fine and sometimes revelatory. However, in my work it’s a problem when the messiness is out of the rhythm of the painting and becomes a distraction, pulling focus from the whole of the painting.

Cleaning up that bit of messiness really honed the feel of the painting for me as did the fine tuning of the colors throughout. The rising road was lightened and a bit of darkness added to the left side of the hill, away from the sun, which, along with its light arrows, was brightened a bit.

It may not seem to the casual observer that the painting was greatly changed but to my eyes it emerged in a much different form., one that truly reaches that sense of rightness that I mentioned. Looking at it now here in the studio, it doesn’t feel like a hurried demo piece. It has its own feel and life now– an extension of the inner world I try to show in my work. It feels like it is truly part of that world now.

I used a Kandinsky quote at the top about an artist needing to train both their eye and their soul. I think of all the hours I have spent alone working in my studio have honed whatever skill I possess– the eye that Kandinsky mentions– as well as the sense of rightness which might well translate as the Kandinsky’s soul. I don’t really know that can express what I am trying to say but I like the idea that an artist is seeking their own soul in their work.

I am pleased I was able to share a little of what seeking looks like with the folks who made it to the demonstration a month ago. Many thanks again to everyone who made it possible.

I have yet to title this piece. A reader suggested the title of an old Cat Stevens song, Road to Find Out, as a title. That might work but I am open to suggestions. Let me know what you think.

Let’s listen to that Cat Stevens song. There’s larger image of the completed painting below. That is, if it is truly completed. Like people, art sometimes needs to change…






Shine a Light

The Blue Moon Calls– At West End Gallery



No one lights a lamp in order to hide it behind the door: the purpose of light is to create more light, to open people’s eyes, to reveal the marvels around.

-Paolo Coelho, The Witch of Portobello



Shine your light somewhere, somehow.

That’s all I have to say this morning. Trying to light my own lamp this morning.

Here’s a fitting tune from the Rolling Stones‘ classic 1972 album, Exile on Main Street. This is Shine a Light.



Summertime

Trio: Three Squares – 2002



Summertime, and the livin’ is easy
Fish are jumpin’
and the cotton is high
Oh, your daddy’s rich
and your ma is good-lookin’
So hush, little baby, don’t you cry

One of these mornings
you’re gonna rise up singing
And you’ll spread your wings
and you’ll take to the sky
But till that morning
there ain’t nothin’ can harm you
With daddy and mammy standin’ by

–Summertime, from Porgy and Bess, Dubose Heyward, George & Ira Gershwin (1934)



I am not so sure about the livin’ is easy part of summertime. Summer has often felt more like steel cage death match for me. Or a grim and gritty fever dream. You might ascertain that it is not my favorite season by a long stretch.

But that doesn’t take anything away from my appreciation of the great aria from Porgy and Bess. Like so many great songs, it’s melody and lyrics are so beautifully composed that it’s hard to find a performance that doesn’t resonate. There have been many, many great versions of this classic and there’s hardly a lemon among them. The Ella Fitzgerald version is perhaps the gold standard though that might be debatable. I am sharing a live performance by Janis Joplin from 1969 in Amsterdam.  I probably like this version because it has the grit and tone of my summers.

The image at the top is a small triptych from 2002 that hangs in my studio. It has long been a favorite and still gives me a rush when I look up at it, like I did just this moment. I see it as a link between my earliest work of the mid and late 1990’s that focused on sparsely detailed blocks of color and the subsequent work.

Here’s Janis…



Sixth Sense

Moment Revealed — At West End Gallery





We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses – secret senses, sixth senses, if you will – equally vital, but unrecognized, and unlauded… unconscious, automatic.

–Oliver Sacks, The Man Who Mistook His Wife for a Hat



Maybe that’s the purpose of art, to prompt us to some sort of sixth sense, one that otherwise goes unnoticed and underutilized in our usual five-sense lives. It is something that we don’t even know that we have been needing and missing until we are awakened to it.

This sixth sense enables us to detect the many dimensions which exist between and beyond that which we observe with our five senses, adding depth and richness to our sense-limited world. 

And art does just that, serving as the activating agent for this sixth sense and beyond that, acting as the connecting link between the known and the unknown. I believe that is what is taking place when one is moved by art in any form.

It transports you into dimensions beyond the five senses. 

And that’s where the good stuff is…

Here’s a song this morning about one type of sixth sense from Irish singer/songwriter Imelda May. With a style that covers many genres of music including jazz and rockabilly, she wasn’t on my radar until just a couple of years ago. I stumbled across a video of Robert Plant and her performing a rockabilly-Big Band rave-up of Led Zep‘s Rock and Roll that I very much enjoyed. I’ll throw that on below as well.





House of Blues – At Principle Gallery



‘Cause I have all of life’s treasures and they’re fine and they’re goodThey remind me that houses are just made of woodWhat makes a house grand, oh, it ain’t the roof or the doorsIf there’s love in a house, it’s a palace for sureBut without love it ain’t nothin’ but a houseA house where nobody lives

–Tom Waits, The House Where Nobody Lives (1999)



It feels like America in the year 2025– a house without love or joy. Or happiness. Or grace, vision, or humor.

Any of those things that make a house feel lived in.

Those things that make a house a palace of love.

We instead build endless chain-link cages to fill with our hatred and bigotry.

That’s all I will say this morning.

You might not agree. Fine.

Just calling ’em like I see ’em, as the ump behind the plate would say. Just hoping your individual houses are filled with love and laughter.

Here’s the Tom Waits song that made me think this with the full lyrics below.





There’s a house on my block that’s abandoned and cold
The folks moved out of it a long time ago
And they took all their things and they never came back
It looks like it’s haunted with the windows all cracked
Everyone calls it the house
The house where nobody lives

Once it held laughterOnce it held dreams, did they throw it away, did they know what it means?Did someone’s heart breakOr did someone do somebody wrong?

Well, the paint is all cracked, it was peeled off of the woodThe papers were stacked on the porch where I stoodAnd the weeds had grown up just as high as the doorThere were birds in the chimney and an old chest of drawersLooks like no one will ever come backTo the house where nobody lives

Oh, and once it held laughterOnce it held dreams, did they throw it away, did they know what it means?Did someone’s heart breakOr did someone do somebody wrong?

So if you find someoneSomeone to have, someone to hold, don’t trade it for silverOh, don’t trade it for gold‘Cause I have all of life’s treasures and they’re fine and they’re goodThey remind me that houses are just made of woodWhat makes a house grand, oh, it ain’t the roof or the doorsIf there’s love in a house, it’s a palace for sureBut without love it ain’t nothin’ but a houseA house where nobody livesBut without loveIt ain’t nothin’ but a house, a house where nobody lives

–Tom Waits, The House Where Nobody Lives (1999)