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Posts Tagged ‘Red Tree’

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Keep close to Nature’s heart… and break clear away, once in awhile, and climb a mountain or spend a week in the woods. Wash your spirit clean.

John Muir

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I wish I had a bit more time this morning to write about this smaller painting, a 10″ by 20″ canvas that takes it title, Nature’s Heart,  from the words above from the fabled naturalist John Muir. There has been a recent assault on many of the protections given to our environment and we can’t afford to idly stand by while this happens.

We need clean air, clean water and clean soil to continue as a species. Just as important, we need those pristine places where we can wash our spirits clean, as Muir said.

I see this piece as a plea for everyone to take a position as caretakers of the world in which they aim to prosper.

Take an active stand. Listen and speak up.

Be nature’s heart…

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This painting, Nature’s Heart, is part of Haven, my solo show at the Principle Gallery in Alexandria that opens next Friday, June 1.

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This new painting has been sitting in front of my desk here in the studio for several weeks now and it has began to feel like part of the place. It just feels right in that spot, even though it takes up a lot of space–it’s a big painting, 36″ high by 48″ wide— blocking a large part of the stone fireplace that I normally enjoy having in front of me. I wasn’t happy taking it down to photograph it. Like I said, it just felt right where it was.

Maybe there’s a sense of optimism or empowerment in it that I find attractive, both qualities that are sorely needed in these times. Maybe it’s the sense of unity with its surroundings that the Red Tree seems to possess. Or maybe it’s the symmetry in its composition or the rhythm in the bands of hills.

I can’t really say for sure but whatever it is, it makes me feel better in the time in the time it is front of me.

Hopefully, it will work that way for someone else when it goes to my show, Haven, at the Principle Gallery that opens on June 1.  If not, I will gladly welcome it back to brighten my outlook.

I am calling it Natural High.

I guess that makes a nice segue for this week’s Sunday morning music. The choice this week is, of course, the soul classic, Natural High, from the group Bloodstone recorded back in 1973. I hadn’t heard the song in a very long time and after hearing it recently, it became an earworm for me. It dug itself in and I found myself singing its chorus under my breath as I was walking through the woods to the studio at 6 AM. Maybe that’s why I chose to use its title for this painting. The song is an earworm for me like the painting is an eyeworm.

God, that sounds disgusting, doesn’t it? All these worms and ears and eyes. When, in fact, it’s actually all good. Take a look, give a listen and have a great Sunday.

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Just a month out from my solo show, Haven, at the Principle Gallery. The work for the show as a whole is shaping up well and I am going through waves of elation and anxiety as I prepare. The elation comes in the way I feel the new work is finishing off and the anxiety in that I fear my judgement might be off base a bit, that what I am seeing and feeling in the work might not come across to others.

That I am working with my head in the clouds.

Fortunately– or unfortunately–that anxiety is not new to this show. I’ve had it in varying degrees for every single show I’ve done over the past two decades. This is my 19th solo exhibit at the Principle Gallery and my 52nd or 53rd solo show overall and I can’t remember ever feeling absolutely confident in how people would react to what I was doing. But so long as I have faith in my own reaction to the work, that I trust that I am experiencing real feeling from it, then I live a little easier with that anxiety, even though it never fully recedes.

The piece shown here is a new painting, 24″ by 12″ on canvas, that elicits the elation I described above. It checks every box for what I wanted from it. It has an equilibrium of fineness and roughness that appeals to me. There is a cleanness in its design that makes it feel solid and whole to my eye. It draws me in and lets me feel that I am the Red Tree here and it is a fulfilling experience.

It makes me feel good, to put it plainly.

Now, I must note that these are my reactions. You might look at it and feel nothing. That is no less valid a reaction than my own. But because I know what I am feeling is true and genuine for myself, the anxiety of showing it to someone who might not feel anything from it is lessened.

So, with that thought in mind, I must get back to work.

With my head in the clouds.

This painting is titled, of course, Head in the Clouds. I used the quote below from Thoreau just a week or two ago but it fits this piece and this blogpost so well I am using it again:

It is better to have your head in the clouds, and know where you are, if indeed you cannot get it above them, than to breathe the clearer atmosphere below them, and think that you are in paradise.

–Henry David Thoreau

In this case, I think I know where I am…

 

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I see the words of James Stephens, an Irish poet who lived from 1882 until 1950, in the painting above, Native Voice.

The sun and sky represents the first condition, Chaos.

The fields represent the first law, Order.

The direct line that runs from the sun and ends at the Red Tree represents the first reflection, Continuity.

The still reflection of the Red Tree is the first happiness, Quietude.

Something to shoot for…

 

 

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Remembrance of things past is not necessarily the remembrance of things as they were.

 Marcel Proust

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A few days back I featured a new small painting that is headed to the West End Gallery for next week’s opening of their annual Little Gems show. That piece, and never looked back…, was a stark image in tones of black and gray that was about the idea of being forced from your home, never to return. It’s a depiction of that moment of leaving and the sense of loss and abandonment that remains.

The new painting above, also headed to the Little Gems show, is another take on the idea of abandoning one’s home. This piece, One Last Look, speaks to the nostalgia that appears after time, as memories of bad times and the accompanying anxieties have faded and singular moments of happiness have grown to fill all the moments of that time.  Time has smoothed away the rough edges and we begin to think that that time, that place, was much more idyllic than it ever was in actuality.

To me, this painting speaks to that nostalgia and its idealized sense of home and youth. With nostalgia, the past seems more vivid and vibrant.

The grass was greener then, I guess.

I am reminded of a post I wrote back in 2009 where a large poll taken at that time throughout Russia named Joseph Stalin as the third greatest Russian of all time. I wrote: Despite the many millions, yes, millions of Russian citizens who were put to death by Stalin, despite the political purges and gulags and Soviet policies that caused a type of artificial famine that killed far more citizens than any natural famine more than once, the current populace said that this Man of Steel was their guy.

Some of those polled had lived through the Stalin era but time, and a little more food and comfort now, had eroded the memory of the hardship, the famines and the purges. In fact, Putin had began extolling the virtues of Stalin about that time and many of these people felt the country needed that type of autocratic leader again. In Putin, they– and, unfortunately, we as well– may have found him.

We all often fall prey to this sort of nostalgia, our memories holding onto a few events of happy triumph here and there through time and discarding the much more numerous days and weeks and months of chaos or drudgery that many of us live through.

Nostalgia is like a beautiful double-edged sword– both wonderful and terrible. Such things should be handled with care.

 

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I opened the YouTube site this morning in hopes of finding a suitable song for this Sunday morning’s musical interlude and it was right there, waiting for me in the recommended section. I began to listen to the song and opened my files to find an image that jibed with the song, at least as I was hearing it in the moment. I opened a file of images from several years back and the first one I looked at felt instantly like a match.

Sometimes things fall into place.

And I appreciate that because there are so many other times when everything is a struggle, when every decision seems clouded with doubt and every action feels out of rhythm. Slog is a word that comes to mind. Just the sound of the word brings to mind the effort required on those difficult days.

But these effortless days wash away all remnants of that word and feeling. I remember that the painting I chose, Only Now, shown at the top being done on such a day in the early days of 2012. It seemed to fall on to the canvas without much assistance or direction on my part. It needed to exist in that moment, needed to find its way into this world.

Needed to find its way home.

Interestingly, this painting has never found a permanent home in this world. It has been at the gallery that represents my work in California for several years now and the ease and freedom in it that makes it a personal favorite for me has never spoken loudly enough to someone who might give it a permanent home. which is not that unusual as some of the paintings that speak to me most personally are often the last to make their way to a new home. Maybe the void in these pieces that need to be filled by the viewer in order to complete them can only be filled by me.

We’ll see.

So this week’s song is fittingly titled Can’t Find My Way Home from Blind Faith back in 1969. Blind Faith, for you youngsters out there, was considered one of the first rock supergroups. The group was comprised of Eric Clapton, Steve Winwood, Ginger Baker and Rick Grech, all stars in big-name, established bands. They didn’t last long– one album and one tour– but they left a mark, including this song.

Give a listen and have yourself a good day.

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I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream.

Vincent Van Gogh

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This painting, Resplendent,  which is now at the West End Gallery, reminds me very much of one of my favorite quotes from Vincent Van Gogh, shown above. Sometimes the beauty of nature sets everything right and wipes away the obscuring webs brought on by things we cannot control, creating a path for an expression of the effect from witnessing that beauty.

In my experience, these moments of clarity are accompanied by that uncertainty to which Van Gogh refers. It is not doubt, however. It is more like the recognition of losing conscious control to an outer (or inner) entity, one where all decisions have been made beyond your waking mind.

As in a dream.

The work at that point just comes seemingly on its own, as though it was meant to be or had a need to exist.

I know this a strained explanation. It’s such a nebulous thing, this act of creating something from what often appears to be nothing, that explanations and definitions often confuse more than clarify.

And maybe that’s the way it should be. Maybe the very purpose of art is to make us aware of the mystery and uncertainty of this life. Maybe it shouldn’t be easily explained.

That being said, I will stop now. Have a good day– enjoy the mystery and beauty around you.

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First thing on this Sunday morning, I would like to send out many thanks to Kathy and Joe at the Kada Gallery for hosting my current show as well as to everyone who took the time on a busy Friday evening to come out to attend the opening on Friday evening.

It was good to see and talk with many wonderful folks again and meet many new ones, as well. The response to the work was strong which is gratifying because even though I might feel the show was good that means little unless people react positively to the work.

So, thank you to everyone involved.

This Sunday morning music is a song you most likely haven’t heard from an artist whom you also are probably not aware. It’s titled Pawky and is from the late Dorothy Ashby who was a jazz harpist who is considered one of the most unjustly under loved jazz greats of the 1950’s. I came across her and this track in particular the other day by chance. And it pleased me greatly.

This song has a kind of 50’s jazzy, witchy feeling, like it should have been in the soundtrack of the movie Bell, Book and Candle, the 1958 film about modern day witches in Greenwich Village, starring Jimmy Stewart, Kim Novak and Jack Lemmon. But it was not in the film though I think the title theme poaches elements from this song a bit.

Now, pawky is a British word that means shrewd, tricky or slyly humorous.  I chose the painting here, Pax Domum, that is part of the Kada show not because of the word’s definition but because there is something witchily atmospheric in the sky that reminds me of the sound of this song. Take a look and a listen and see if you agree.

Oh, have a good Sunday.

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For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfill themselves according to their own laws, to build up their own form, to represent themselves…

Hermann Hesse, Trees: Reflections and Poems

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The painting at the top is titled The Spirit Tree and is part of my show, Sensing the Unseen, that opens tomorrow at the Kada Gallery. It is 11″ by 15″ on paper.

Trees have always held a firm spot in my heart as symbols of strength, wisdom and calm perseverance. My early memories of childhood often revolved around the black walnut trees in our yard and the hardwoods on the hill behind it. When I was among those trees I felt at home, safely in a realm that moved at pace that was beyond our own idea of time. Ageless.

Even now while the world teeters on the edges of chaos, walking among the trees is a source of great comfort, letting me know that as dire as it may seem this period of time is but a hiccup in the great continuum of the time of trees.

And that is how I look at this piece and the central tree. It stands strong and with an air of ageless wisdom, creating a band of light between the darkness of the earthly dwellings and that of the foreboding sky. As Hesse wrote above, like the most penetrating preacher.

That piece of writing at the top is from Hermann Hesse is from an essay in his book, Trees: Reflections and Poems. It’s a piece of writing that I adore and have posted here before. To read the longer version of this essay  click here.


Sensing the Unseen is now hanging at the Kada Gallery in Erie. The show opens with a reception tomorrow, Friday, December 1, running from 6-9 PM. I will be there to answer your questions or just shoot the breeze. I look forward to seeing and meeting you there.

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