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Demo Prep/ Sand Dabs, Five

Posted in Uncategorized, tagged , , , , , , , on April 24, 2025| 2 Comments »

Eye to the Future— At West End Gallery

You can have the other words-chance, luck, coincidence,
serendipity. I’ll take grace. I don’t know what it is exactly, but
I’ll take it.

— Mary Oliver, Sand Dabs, Five

I am getting ready for a painting demonstration I am giving on Saturday at the West End Gallery, beginning at 10 AM. This event is part of the Arts in Bloom Art Trail of Chemung and Steuben County which involves open tours of artists’ studios and events such as this in the area’s art galleries.

As I mentioned before, I seldom paint in front of people and am a little self-conscious as a result. Even more so when at one point on Saturday painters Trish Coonrod and Gina Pfleegor will also be showing off their prodigious talents. Both paint in a more traditional manner at a very high level of skill. I think of Trish’s talents as one would of a grandmaster pianist and Gina’s as that of a highly trained operatic soprano or a golden voiced chanteuse.

Me? I think of myself as a guy with an old and out of tune guitar who knows maybe three or four chords. Sings a little off key. What I lack in skill I try to make up for with the 3 E’s— effort, emotion, and earnestness. 

I do whatever it takes to find something on that surface in front of me. It’s kind of like the line at the top from poet Mary Oliver— I’m forever looking for serendipity or, on those special days, grace to show up before me in the paint. There’s a lot of time when its appearance is an uncertainty and it can take some time to coax it out into the open. 

My hope is that it will choose to show up during the few hours I will be working on Saturday. I am still trying to decide if I should have a plan on how or what I will paint or if I should just let serendipity and grace decide for me. I am leaning toward the latter just because that path can sometime be the most exciting.

We’ll see what happens Saturday morning. I am hoping grace shows up for a brief visit.

I am sharing the rest of the Mary Oliver poem, Sand Dabs, Five, from which the line at the top was taken. I think that I could apply much of what it expresses to what I am trying to say as an artist., particularly those final lines.

 

Sand Dabs, Five

Mary Oliver

 

What men build, in the name of security, is built of straw.

*

Does the grain of sand know it is a grain of sand?

*

My dog Ben — a mouth like a tabernacle.

*

You can have the other words-chance, luck, coincidence,
serendipity. I’ll take grace. I don’t know what it is exactly, but
I’ll take it.

*

The pine cone has secrets it will never tell.

*

Myself, myself, myself, that darling hut!
How quick it will burn!

*

Death listens
to the hum and strike of my words.
His laughter spills.

*

Spring: there rises up from the earth such a blazing sweetness
it fills you, thank God, with disorder.

*

I am a performing artist; I perform admiration.
Come with me, I want my poems to say. And do the same.

 

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The Communing

Posted in Uncategorized, tagged , , , , , on April 23, 2025| 2 Comments »

The Communing– Coming to Principle Gallery, June

In the spell of the wonderful rhythm of the finite he fetters himself at every step, and thus gives his love out in music in his most perfect lyrics of beauty. Beauty is his wooing of our heart; it can have no other purpose. It tells us everywhere that the display of power is not the ultimate meaning of creation; wherever there is a bit of colour, a note of song, a grace of form, there comes the call for our love. Hunger compels us to obey its behests, but hunger is not the last word for a man. There have been men who have deliberately defied its commands to show that the human soul is not to be led by the pressure of wants and threat of pain. In fact, to live the life of man we have to resist its demands every day, the least of us as well as the greatest. But, on the other hand, there is a beauty in the world which never insults our freedom, never raises even its little finger to make us acknowledge its sovereignty. We can absolutely ignore it and suffer no penalty in consequence. It is a call to us, but not a command. It seeks for love in us, and love can never be had by compulsion. Compulsion is not indeed the final appeal to man, but joy is. And joy is everywhere; it is in the earth’s green covering of grass; in the blue serenity of the sky; in the reckless exuberance of spring; in the severe abstinence of grey winter; in the living flesh that animates our bodily frame; in the perfect poise of the human figure, noble and upright; in living; in the exercise of all our powers; in the acquisition of knowledge; in fighting evils; in dying for gains we never can share. Joy is there everywhere; it is superfluous, unnecessary; nay, it very often contradicts the most peremptory behests of necessity. It exists to show that the bonds of law can only be explained by love; they are like body and soul. Joy is the realisation of the truth of oneness, the oneness of our soul with the world and of the world-soul with the supreme lover.

––Rabindranath Tagore, Sādhanā: The Realisation of Life (1913)

This is a new painting that is included in Entanglement, this year’s edition of my annual solo exhibit which opens June 13 at the Principle Gallery in Alexandria, VA. This painting while modest in size at 14″ by 14″ speaks volumes about the theme behind much of the work in this show, of which I gave a rough outline in a post here on Monday.

This painting is titled The Communing. and it speaks to, as the great Indian poet/philosopher Rabindranath Tagore put it in the passage above: the truth of oneness, the oneness of our soul with the world and of the world-soul with the supreme lover.

This goes back to the concept of singularity, one expounded by Stephen Hawking that theorized that the universe and all that it is was once a single thing, a single tiny point of zero radius and infinite density, before it the Big Bang exploded it and created all that we know the universe to be now.

We were all part of one thing. We were and, for that matter, still are that one thing. A oneness.

That’s what I see in this piece. I see myself as the figure on the rooftop, reaching out to the hidden knowledge of the universe that are represented here by the twists and entanglements of the bands that make up the sky. They create a sense of both mystery and interconnectedness. Of our oneness. They raise questions that can’t be answered while at the same time giving a sense of understanding.

And isn’t that the basis of all belief systems?

This was the first piece that employed these knot-like bands in the sky, and it immediately sparked something within me. It was like I needed to see them and this piece at that point. I have no idea how people will react to this painting and the ones that followed it. But, as I commented to my wife, it doesn’t matter– I needed to paint this now, if only for what I take from it.

It speaks to something needed by me now. And if it speaks or doesn’t speak to others at this time, so be it.

That’s the story of all art, right?

If you like, I’ll see you up on the roof…

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Tango/ Passionata

Posted in Uncategorized, tagged , , , , on April 22, 2025| Leave a Comment »

Passionata–Now at West End Gallery. Corning

“It’s a tango.” Marco maneuvered me out among the dancers. “I love tangos.” “I can’t dance.” “You don’t have to dance. I’ll do that dancing.” Marco hooked an arm around my waist and jerked me up against his dazzling white suit. Then he said, “Pretend you are drowning.” I shut my eyes, and the music broke over me like a rainstorm. Marco’s leg slid forward against mine and my leg slid back and I seemed to be riveted against him, limb for limb, moving as he moved, without any will or knowledge of my own, and after a while I thought, “It doesn’t take two to dance, it only takes one,” and I let myself blow and bend like a tree in the wind. “What did I tell you?” Marco’s breath scorched my ear. “You’re a perfectly respectable dancer.”

-Sylvia Plath, The Bell Jar (1963)

I am busy this morning and was planning on skipping the blog today. But this song, Tango, from jazz great Diane Reeves came on and I immediately felt like it should be shared. It’s a wordless song and for Reeves the composition serves as a sculpture’s underlying armature that she fills in with her improvisational skills. I’ve heard a number of performances of this song and each has its own distinct feel. It is the same song but always unique. It almost feels new each time, and in reality, it is.

I’ve often described my painting in similar terms. There are compositions that I fall back on over and over again, but they are never really the same. There are so many varying and constantly changing factors that go into each piece that I would be hard-pressed to recreate any piece in the same way twice. The color choices change, sometimes subtly and sometimes in much more drastic ways. The textures change. My brushwork changes, often as a result of the change in my brushes as they age from use. What I see as the focus of the painting shifts, sometimes altering everything.

And to top it off, I seldom do anything exactly the same way all the time. This sometimes makes things feel exciting and new in the moment. And sometimes, it can be frustrating. Like so many things in life.

Just wish I could paint as well as Diane Reeves sings.

I have seen this song called Tango du Jour which no doubt is a nod to each performance’s uniqueness. Whatever you want to call it, it’s a tour de force. This is from a 2013 performance in Istanbul.

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Entanglement

Posted in Uncategorized, tagged , , , , , on April 21, 2025| Leave a Comment »

The Entanglement— Coming in June to Principle Gallery

So the universe is not quite as you thought it was. You’d better rearrange your beliefs, then. Because you certainly can’t rearrange the universe.

–Isaac Asimov, Nightfall (1941)

 I have been extraordinarily fortunate to have had solo exhibits at the Principle Gallery in Old Town Alexandria, VA every year since 2000. This year’s exhibit, my 26th solo effort there, opens Friday, June 13, and is titled Entanglement. The painting at the top is the first piece from this show that I am sharing. It is titled The Entanglement.

At my last Gallery Talk at the Principle Gallery this past September, I spoke briefly about my own belief system. I can’t remember exactly how I put it since I pretty much speak off the cuff at Gallery Talks, but I vaguely remember beckoning at my work on the walls behind me and stating that one could observe my entire belief system in those paintings. It was not of any particular religion nor was it a rejection of any other. I pointed out that we all have a belief system of some sort. Even Atheism or whatever else you might call believing in nothing is a belief system. Mine, as shown in my work, was simply how I saw the totality of the world and the universe, expressed in a way that my simple mind could comprehend and accept. 

I don’t know that I was able then to fully explain it in a way that was satisfactory to anyone but myself. Probably not. But I felt kind of freed up by just admitting to a belief system, however unformed and vague it might seem. Thought I had felt this way about the link between my work and my beliefs, saying it aloud made me look at my work in a different way. It became the impetus for this year’s exhibit.

Entanglement, the title of this exhibit, also is perhaps the most vital aspect of what I believe. Over the coming weeks, I will try to explain it a bit more, though my perception of it shifts and moves all the time.

You see, my belief system is not based on any dogma or doctrine or on any sort of demand for certainty. Human uncertainty is a given in my belief system.  I say human uncertainty because I do believe there is some sort of certainty in my belief system. But it’s more in the way of the immutable laws of physics. Well, the laws physics as an ill-educated person sees them.

And that’s where Entanglement enters the picture here. I see us as being manifestations of waves and bands of energy that have merged together to manifest and create flesh and blood beings. These beings, we humans, are temporary, existing for but a limited time on this physical plane. When that time comes to an end, their energy rejoins the bands and waves are constantly in motion around us.

We have free will in my belief system. There is no central figure overseeing and guiding our movements or choices while we in our physical form. Our freely chosen actions either create harmony or disharmony with these bands of energy. Good as we understand it might be seen as being in harmony with this energy while Evil might be seen as being in disharmony, which creates a disruption in the intricate pattern which these energy bands create.

However, it is a self-healing system, one that instantaneously begins to modulate and return itself to a state of harmony. The results of these healing actions within the system are sometimes referred to here as karma. As far as I my limited knowledge of history tells me, though there is always someone using their free will to choose disharmony, the system always comes back to a state of harmony within a reasonably short time. In short, evil seldom prevails for an extended period of time.

Much of what makes up this belief system of energy waves and bands is not inconsistent with other religions or systems of belief. Much of the underlying theology for most religions, once you strip away parochial dogma, is fairly consistent throughout the world. The Ten Commandments, after all, are generally rules which aim to create harmony and discourage disharmony. You needn’t be Christian to see that they aren’t bad rules to live by.

I am going to take a break from this for now. I get a little self-conscious talking about this, imagining someone reading this and rolling their eyes and saying, “What a nutjob!”

Not that I need to defend myself, I will say that it makes this world somewhat tolerable for me. When things are going bad for us as species, it allows me to believe that the system is already beginning to correct itself, aided by those on this physical plane who sense this disharmony and attempt to bring the world back into rhythm with their efforts.

There’s a lot more to it that I will share in the near future.  Actually, if you have read along for a while, you probably know what I believe already.

Now, getting back to this painting, The Entanglement. For me, I see this as being a scene of the harmony of which I have describing. The bands of energy move all around in patterns and directions we cannot sense and will never fully understand while we are here. It also creates a feeling of placidity in the scene as well as a sense of connection to the immense power behind it.

We are, after all, built from that energy, distinct parts of it. Our energy, our spirit, as we might call it, will forever be entangled with those ever-swirling bands of energy.

This connection and entanglement is the focus of much of the work from this year’s show. I find myself staring intently at the swirls and tangles in the skies I have painted for this show. Engrossed by its layers and shifts, I find myself sitting for a long time in front of some of these new pieces, often asking where it begins and where it ends. 

And I know there are no answers to these questions. And that’s just fine with me.

I don’t need an answer from that which I am.

The Entanglement is 18″ by 24″ on canvas and will be part of Entanglement, my annual exhibit at the Principle Gallery, opening Friday, June 13, 2025.

 

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The Bears/ Demo Update

Posted in Uncategorized, tagged , , , , , , on April 16, 2025| 4 Comments »

“Oh well, bears will be bears,” said Mr. Brown.”

― Michael Bond, More About Paddington

We’ve been visited just about every night recently by a family of bears, Mom Bear and her 3 young ones. I believe they are yearlings, probably not far from the time when they will be set out on their own by Mom. The photo above was from the night before last, right around 7 PM. It was a little earlier than their usual as they normally come under the cloak of darkness to invade our bird feeder, so I was able to get a few shots of the group. This shot was taken from a window in our dining area.

We normally get visits from bears several times a year. They usually tear down and empty our suet and hummingbird feeders or destroy two hanging feeding platforms that I continuously remake from old picture frames. Our large main feeder is on a pole that is about 9 feet off the ground because over the years bears had destroyed a few of our previous feeders on the shorter post that was then in place. We wrapped the pole with stovepipe because the taller post alone didn’t dissuade the bears from climbing up to get the feeder. You can see how crunched and dented the stovepipe now is from years of their attempts to climb it.

This group has made our feeder a regular stop on their dining schedule lately, to the point that I now go out as it is getting dark to stow away our platforms and the suet. They came this night before I had chance to get out there. Mom was not really feeding this time and seemed to be just showing the gang the ropes. She was super attentive to noises up in the woods and down the driveway and would sometimes lumber off to a point higher in the yard to sit and watch over the young ones. 

We gave them quite a while to feed off the fallen seed on the ground. But when one of the little guys finally stretched up and was able to grasp one of the platforms, spilling the seed all over its head, we decided it was time to head out to disrupt their party before they destroyed the platform and crushed the suet cages.  Merely opening our backdoor caused them to scatter, Mom and one of the small ones quickly heading up into the forest and the other two setting down through the yard toward our pond in full sprint mode. They might seem to lumber around but when they need to move their speed over open ground is startling. I don’t know that many large dogs could run faster.

We were worried that they might be separated but a few hours later they were all together again and revisiting the bird feeder.

We enjoy having them around even though they tend to periodically tip over our garbage and compost bins or invade our feeders. Or when Mom leaves big piles of, uh, let’s just call them calling cards all around our yard and bird feeder. Though I admire their resilience and love seeing their natural beauty, I find myself worrying for them. They have such a hard existence that it’s easy to overlook their occasional transgressions.

After all, bears will be bears.

I also want to remind everyone that I will be doing a painting demonstration at the West End Gallery on Saturday, April 26. My demo begins at 10 AM and runs to about 12 noon. Maybe a little later than that depending on how the painting I will be working on is progressing.

Gina Pfleegor-Unbound at West End Gallery

This event is being held in conjunction with the Arts in Bloom Art Trail of Chemung and Steuben County which involves open tours of artists’ studios and events such as this in the area’s art galleries. I mentioned in the earlier announcement for the demo that painter Trish Coonrod will also be giving a demonstration of her immense talent beginning at 11 AM but failed to mention that the wonderful Gina Pfleegor will also be giving a demo beginning at 10 AM.

So, at one point you can see three painters with three distinct styles at work.  I’ll certainly be taking a break or two from my own demo to watch Trish and Gina ply their talents as I am big fans of both.

Hope you can come out to the West End Gallery to spend some time with us, maybe ask a question or just chat while I smear paint on stuff. Could be fun.

Trish Coonrod- Still LIfe with Eggs and Shot Glass, West End Gallery

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A Lifetime of Effort…

Posted in Uncategorized, tagged , , , on April 9, 2025| Leave a Comment »

Art is a human product, a human secretion; it is our body that sweats the beauty of our works.

–Émile Zola, Le Moment Artistique (1868)

Calvin and Hobbes from artist Bill Watterson has long been a favorite comic strip of mine. Though the strip ended its run in 1995, it is still rerun daily in newspapers around the country. The strip above was rerun yesterday and while Calvin’s sales spiel made me chuckle, it also reminded me of a blog entry from back in early 2009. It concerns the question of how long it takes to finish a painting, a question that has been asked of me many, many times at openings and gallery talks. I usually tell the story of a commission I did for a Finnish diplomat a number of years back and how the work I did on that piece became the template or rehearsal for a larger piece soon after.

The answer that I gave in 2009 still pretty much applies although I have noticed that in recent years that it is taking me longer to finish paintings. The processes I employ in my work have evolved, sometimes gaining steps that were not in place in the earlier years. I also tend to dwell on each piece a little longer now and am more apt to set them aside so that I can simply consider them before forging ahead. But there’s even a variable in that– sometimes the energy and direction of a piece is so determined that there is a danger in losing its momentum by setting it aside.

So, there is no one answer to the question. Here’s what I wrote in 2009:

I am asked this question at every opening and gallery talk:  How long does it takes to finish a painting?

Though it’s a question that I’ve answered a thousand times, I still have to stop and think about my answer.

You see, there are so many variables in my painting technique at different times that sometimes the actual process can be much longer or shorter on any given painting. Sometimes I can toil over a piece, every bit of the process requiring time and thought. There may be much time spent just looking at the piece trying to figure out where the next line or stroke goes, trying to weigh each move. Then there are times when the painting drops out effortlessly and I’ll look up after a very short time and realize that it’s almost complete. Any more moves from me and the piece would be diminished.

I often cite an example from a number of years ago. I had been working on a series of paintings, working with a particular color and compositional form. Over the course of a month, I did several very similar paintings in several different sizes from very small up to a fairly large version. Each had a very distinct and unique appearance and feel but the technique and color were done in very much the same way.

One morning at the end of this monthlong period, I got up early and was in the studio at 5 AM. I had a very large panel, 42″ by 46″ if I am not mistaken, already prepared and pulled it out.

Immediately, I started on the panel. Every move, every decision was the result of the previous versions of this painting I had executed over the past month. I was painting solely on muscle memory and not on a conscious decision-making thought process. I was painting very fast, with total focus, and I remember it as being a total whirl. The piece always seemed near to disaster. On an edge.  But having done this for a month I trusted every move and forced through potential problems.

Suddenly, it was done. I looked over at the clock and realized it had only been two hours. I hadn’t even had breakfast yet. Surely, there must be so much more to do.

But it was done. Complete.

It was fully realized and full of feeling and great rhythm. I framed the piece and a few weeks later I took it to the Principle Gallery in Alexandria, VA with a number of other new pieces. This painting found a new home within hours of arriving at the gallery.

I realized at that point that every version of that painting was a separate performance, a virtual rehearsal for that particular painting.  I had choreographed every move in advance, and it was just a matter of the having that right moment when plan and performance converged.

It had taken a mere two hours, but it was really painted over the course of hundreds of hours.

And perhaps many years of painting, listening, reading, and observing before that.

I hope you can see why I always have to think about this question…

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Painting Demo/ Solo Show/West End Gallery

Posted in Uncategorized, tagged , , , , , , on April 8, 2025| Leave a Comment »

Work in Progress 2025

If you’re a painter, you are not alone. There’s no way to be alone. You think and you care and you’re with all the people who care. You think you care and you’re with all the people who care, including the young people who don’t know they do yet. Tomlin in his late paintings knew this, Jackson always knew it: that if you meant it enough when you did it, it will mean that much.

–Franz Kline, Evergreen Review interview, 1958

Just taking a moment to announce the dates for two upcoming events at the West End Gallery in Corning.

The first is for my annual solo exhibit at the gallery. I have normally had my solo show at the West End Gallery in July. This created a short turnaround between my annual June show at the Principle Gallery and the July show at the West End which was very stressful. It has become more and more difficult as I have aged and my processes evolve. By that, I mean it simply takes longer to complete each painting. As a result, we have moved this year’s West End Gallery show– my 24th solo effort there— to the autumn.  The 2025 exhibit will open on Friday, October 17 and run until November 13. The date for the accompanying Gallery Talk will be announced later, closer to the show opening.

The second announced date is much sooner and for something I seldom do for a variety of reasons. However, after being asked for a number of years, I will be doing a painting demonstration at the West End Gallery in a little over two weeks, on Saturday, April 26. My demo begins at 10 AM and runs to about 12 noon or thereabouts.

This event is being held in conjunction with the Arts in Bloom Art Trail of Chemung and Steuben County which involves open tours of artists’ studios and events such as this in the area’s art galleries. Painter extraordinaire Trish Coonrod will also be giving a demonstration at the same time. We will both be in the Upstairs Gallery so if you’re interested it serves up a nice two-fer. A chance to witness two starkly different processes.

As I said, I seldom do these demos. However, I felt that it was important, with what looks to be a challenging year for the artists and galleries, to do all I could do to support the gallery that has been my home for 30 years now.

It’s definitely out of my comfort zone and I am more than a little self-conscious about painting in front of people. I think it’s partly because, being self-taught, I don’t necessarily paint in a traditional manner. It’s not always flashy and fast. I also worry that someone will be there only when the painting is in one of the flat and unflattering stages that almost all my paintings go through.

But despite my apprehensions, I am certain it will come off well. Things usually do okay when I am this nervous.

I know it’s early in the day, but if you’re interested, please stop in at the West End Gallery on Saturday, April 26 to watch and chat for a bit. It might be fun. No kibitzing though!

Here’s a time-lapse video from 2011 that shows the stages some of my work goes through on the way to being a painting.

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So Tired…/ Going to a Town

Posted in Uncategorized, tagged , , on April 6, 2025| Leave a Comment »

Exile on Main Street– (2020)

I’m going to a town that has already been burnt down
I’m going to a place that has already been disgraced
I’m gonna see some folks who have already been let down
I’m so tired of America

— Going to a Town, Rufus Wainwright

Much to do this morning so I am running short on time. But being a Sunday, I felt the obligation to share a song for my Sunday Morning Music. Checking my blog stats, I have noticed in the past few weeks that the post below from 2021 has been getting quite a bit of attention. I knew the song would be fitting for this moment in time, but went back to it to see if the writing might pertain as well.

It did. And it also reminded me of the shortness of our memories and how often we disregard history, having the hubris to think that we are beyond repeating the tragic mistakes of past eras.

But as often recently as I have felt like singing that chorus– I’m so tired of America— I still maintain the belief that we can and will get through to the other side, fire-tested and grateful for what we can hold on to.

I wasn’t going to display the lyrics above from the Rufus Wainwright song I am featuring here this morning. Saying that you’re tired of America isn’t a popular sentiment at any time and Wainwright says that this song, though one his more popular songs in concert, at times elicits strong response in the form of boos.

It was written in 2007 both as a relationship breakup song and as a protest against the Bush policies of that time, including an escalation of the war in Afghanistan, that Wainwright believed would lead to more and more damage here and abroad. America is symbolized here as being on fire and Wainwright is getting away by going to a city, a town, that has already gone through this experience, as the lyrics at the top point out.

That town is Berlin with its dark history from the Nazi era. A place that had already been burned down, filled with people who live in the long shadow of defeat and disgrace.

People who have stumbled through the inferno and came out the other side.

It’s an interesting song, one as much about rebirth as it is about the fire. It certainly has the feel of the bone-weariness that many folks here are experiencing now, as they can plainly see where things are headed. I know there are many days when I feel like saying that I am so tired of America and wish we could just move forward in time to the point where we are emerging from the fire.

But I won’t because we can’t. Just got to face the fire. Tired as we might be, someone has got to fight through the flames to that point when we start building once more.

Give a listen, if you are so inclined. It’s a lovely song. By the way, for those who don’t know, Rufus is the son of singer/songwriters Loudon Wainwright III and Kate Mc Garrigle and the brother of singer Martha Wainwright.

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Art Endures

Posted in Uncategorized, tagged , , , , , , on April 3, 2025| Leave a Comment »

The Steadying Light– At the West End Gallery

But hell can endure for only a limited period and life will begin again one day. History may perhaps have an end; but our task is not to terminate it but to create it, in the image of what we henceforth know to be true. Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature.

–Albert Camus, The Rebel (1951)

With the hope that this doesn’t turn into an extended rant, let me point out that the hell that Camus refers to in the passage above from his book, The Rebel, is one created by authoritarian governments. As he puts it:

Modern conquerors can kill, but do not seem to be able to create. Artists know how to create but cannot really kill. Murderers are only very exceptionally found among artists. In the long run, therefore, art in our revolutionary societies must die. But then the revolution will have lived its allotted span. Each time that the revolution kills in a man the artist that he might have been, it attenuates itself a little more. If, finally, the conquerors succeed in moulding the world according to their laws, it will not prove that quality is king but that this world is hell.

Authoritarians come to power through destructive means and not having the ability to create or govern, stifle free thought, art, and the artistic impulse– anything that might in any way question their right to power. As a result, art dies which creates, in effect, a hell on earth. But he adds that each time they kill the artistic impulse, they weaken their authority, bringing their hellish reign closer to its inevitable end. As Camus writes: But hell can endure for only a limited period and life will begin again one day.

I guess my point here is a simple one– Art Endures. It is the realm of thought, feeling, and creation that cannot be suppressed for long because it is an innate and indomitable part of humanity, more so than the rule of any king or tyrant. 

Like a buried seed, it persistently seeks light and air.

So, though the days may seem dark and hellish, that seed is planted, always there, growing unseen beneath the surface. Waiting to emerge once more.

Art endures. And with it, our humanity and hope.

Here’s a favorite song from Richard Thompson. This is a duet with the great Bonnie Raitt of his The Dimming of the Day, that I haven’t shared here before.

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Stand Alone

Posted in Uncategorized, tagged , , , , , on April 2, 2025| Leave a Comment »

The Center Found– At the West End Gallery

The tumult of sorrow, of anger, of bitterness, of despair, was drifting farther and farther away. Even the terror, which was worse than any tumult, had vanished. In that instant of renunciation she had reached some spiritual haven. What she had found, she understood presently, was the knowledge that there is no support so strong as the strength that enables one to stand alone.

–Ellen Glasgow, The Difference (1923)

There really is something cleansing and ultimately clarifying in taking a stand or taking a path that diverges from the crowd. It sharpens your vision and centers you, washing away those depleting feelings– the tumult to which Glasgow referred above–that define and bind you to a herd.

Just reading that short paragraph, I am inclined to stop right here. What more need I say?

I will add that I really didn’t know the name Ellen Glasgow before I came across this passage. Glasgow, who was born and lived her entire life, from 1873 to 1945, in Richmond Virginia, is another of those folks who were celebrated in their time but whose work never quite reached the status of being iconic enough to span generations. I did know the title of her most famous novel, In This Our Time, which won the Pulitzer Prize in 1942 but only from the fact that it was also made into a Bette Davis film, one I have never actually seen.

But reading other passages and quotes from her, as well as reading several pages of the short story from which the passage at the top was taken, I am impressed by the depth of her observations. I certainly agree with her words on the enabling power that comes in standing alone.

Here’s a song from folk singer/songwriter Buffy Saint-Marie that emphasizes this point. It is the title track from her 1964 debut album, It’s My Way, that in 2016 was added to the National Recording Registry. Each year the Library of Congress selects 25 recordings that they deem to be “culturally, historically, or aesthetically significant.” It’s a richly deserving album with many significant tracks but for today we’ll focus on this one. It’s good stuff…

A late addition: Special kudos to Sen. Corey Booker for having the strength to stand alone. His record-breaking filibuster may seem a symbolic gesture in the moment but may inspire greater action for the future. But only if others have the strength to stand alone…

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