Tuesday, December 29, 2009
Safe Trip, Neighbors!
As Promised
Following this idea of modular art: Why modules? There is an implication of progress in modular art, of infinite variety; the possibility of rearranging and discovering new color combinations, new tensions and harmonies. There is continuity to it. Each piece has a few characteristics in common: three colors, the use of pattern, a border of some sort, and some aspect of collage. Unlike more individual, more focused and “serious” artworks, there is a lightheartedness possible here, a potential for play and manual manipulation that ultimately creates new work from old. In the process of taking ourselves and our artwork lightly, we can allow our innate abilities to flow more freely and create work we might otherwise subdue with self-imposed editing. Here, there are only those four rules: color, pattern, border and collage. Everything else is fair game. And though it seems like we might be limited by those rules, they ultimately allow us creative freedom.
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Is it the rules that free us, or the acknowledgement of the rules and the ability to work within them? In a world without rules, given unlimited possibilities, a young artist can be overwhelmed by the sheer quantity of choices s/he must make in order to create a work of art. Each decision looms large, and seems mighty important. Given smaller, multiple bites, modular work with given parameters, those decisions seem less ominous.---------------------------------------------
As I write, I see so many parallels to child psychology and the educational process. We begin with simple bits of information and close structure, such as learning the alphabet, then move on to sorting consonants from vowels. As the years progress, and the child is taught more and more of the structure of a subject (such as language, our current metaphor), s/he is allowed more choices, and more varied parameters. Eventually, having internalized all of the structure, having mastered the grammar and the syntax, the rules of composition, the concepts of metaphor and simile, the student of language can begin to play with the subject, can begin to make art. Poetry becomes possible. Novels, expository writing; the rules, while present, can be artfully bent to the will of the writer, and conscious genius can begin to emerge.
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We can extend the metaphor to our own personal growth and development as well; life as art. We begin with structure and the comfort it brings, and then learn to use those things we’ve learned creatively as time passes. And therein lies the fascination.
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I believe I am entering a time of possibility in my life, a transitional time. I believe I have learned a great deal from the parameters I have created for myself, and am beginning to see some glimmer of the possibility of a more creative venture ahead of me. It’s still emerging, like a distant horizon in the morning fog, but I’m coming closer to it; it’s there.
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What will it be?Monday, December 28, 2009
Modularity
Saturday, December 26, 2009
Got Change?
Thursday, December 24, 2009
Still Smiling
Sunday, December 20, 2009
Lights in the Woods: December 20th
Saturday, December 19, 2009
Lives of Quiet Desperation
Wednesday, December 16, 2009
Make it and Take it.
Sunday, December 13, 2009
In Their Bones
Look closely. I do. When he's not looking, I search the curve of his chin, the color of his eye, the tilt of his nose. He doesn't know that I do this. No one does.
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Am I there? Some hint of me that will pass on, when I'm gone? This beautiful boy, this vessel, my family, my hope...will he and his brother remember enough to tell their children, if I never meet them? Will I meet them? Will they remember?
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On Saturday night, we took the boys to my daughter's open house at work, where we saw the fork lift she drives, and the huge warehouse where she works. They ate cheese and cookies, vegetables and dip, drank punch and soda, and saw Santa. The older one, Jared, had to be persuaded to sit on Santa's lap, and did so with an amused and slightly indulgent air though the little one, Trevor, smiled his brightest smile, and wished his brightest wishes that night. He's just beginning to be self-conscious; his school picture this year sports some odd manipulation of his haircut that I'm sure was unsanctioned by his mother. He's becoming himself. Am I in there somewhere? He's seven now. Will he remember me?
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On the drive home Peter, Jared, Trevor and I were tired and not looking forward to the hour's drive home in the car. Peter plugged in the GPS to find our way in the dark, and Jared was interested in it, so we switched seats. I told him it was the world's slowest video game, and he laughed; I left him to the front seat to discuss satellites and left turns, road maps and 2-D views with his Grandpa Peter. I sat in the dark, deep backseat, in the quiet with Trevor, our youngest, our last grandchild. I stroked his hair, and he fell asleep, his head tilting in the moonlight. With each streetlamp, I watched his face come into the light then fade: the long eyelashes of youth, the full cheeks, the thick, soft hair; and I knew that this child might be the last one to really know me, to know my blood, to have clear memories of the hands that held him throughout his life, the smell of the goats on my coat, the dinners I made for him, the homework we did together. Who else will know me after him? My boys, my heart. Will I ever know him, the grown man? Time will tell.
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I clearly see myself in my daughter's eyes. I feel her nearly as well as I feel myself. I confuse our memories and the pictures of us as children, sometimes. These boys are more removed, but still parts of the same whole; family, our blood, our line. And as fractured as I've made it, as difficult and dysfunctional as the years have proven for me and mine, this thing remains: I know myself through my daughter's and grandsons' eyes, and the curves of their bones. I know myself through the little hands that reach for me in their sleep, and through the sharp, thin shoulders that relax under my hands. I know their smells and their dreams, and they are a part of me. And I am a part of them...and theirs...for one more generation. Do we really remember longer than that, as a species? It's the rare story that transcends immediate memory. It's a story of photos, and songs, and traditions, but not the feel of a hand, or the blue of an eye. I'm happy to see the love in their blue eyes. And I hope, for awhile, they'll remember mine...and maybe tell the stories of our times together to their children. My hearts. My hope. My family.
Friday, December 11, 2009
When the Pump Goes Out, and the Water Freezes...
Thursday, December 10, 2009
What To Do When You're Doing Dishes
Which is REALLY the Home Team?
Sunday, December 6, 2009
On Sundays I Cook
Saturday, December 5, 2009
Things Could Be Worse...
There was nearly a white out when we arrived at the farm. Flint Hill has a climate of its own. If it's raining in the valley, it's snowing on the hill. Snowing in the valley: blizzard on the hill. You get the drift (pun intended). It's really quite beautiful, though I do anticipate a difficult winter if I'm able to keep milking. Kathy has begun to dry out the herd to prepare for the new kids, so we're down to one milking a day; this is timely, as I was diagnosed with advanced carpal tunnel in my right hand two days ago, and may need a little down time to have it fixed. Upsetting news.
Things could be worse. I could be this poor guy. These boys know how to spend a snowy day. That's my new farm vest they're sleeping on ($6.96 at the local thrift store for an L.L. Bean down vest. Score!) I didn't have the heart to make them move; I wore something else! Next time I'll make sure to hang it up!