Archives for posts with tag: Art

Have you ever thought about how few people leave any sort of lasting mark on the world, or the lives of others in an individual mortal lifetime? Humanity’s impact on the planet, other life forms, and each other, generally, is pretty obvious (and pretty reliably negative, which is unfortunate), but as individual human beings, by far the vast majority of us will pass through these mortal lives almost unnoticed, and leave no lasting legacy of the life we lived. Maybe, if we’ve worked hard and been quite fortunate, we’ll leave something of value behind, in cash or assets, that our heirs may or may not appreciate in the way that we hoped. Most of us will live, die, and be forgotten.

… That’s a huge downer, isn’t it? My own experiences of “existential dread” most commonly center on this awareness that it’s quite likely I’ll be forgotten once I’m gone…

The closest thing we human beings have that approximates immortality is to have some sort of lasting legacy that endures beyond our limited, all too brief, human lifetime. The written works of writers, philosophers, historians, and storytellers of all sorts may survive thousands of years. The paintings, drawings, and sculptures of visual artists working in durable media may survive many lifetimes beyond the death of the artist who made them. More modern art forms have yet to prove themselves, but recorded music, and film, endures – as long as the means to view them survives. Architects design buildings and crews of builders, engineers, and tradespeople work to bring them into being – where these survive, a name may survive with them, but only one (or few) of many.

I fret about what my own legacy may be, when this brief mortal life ends. Will my art survive? Will it be known, even to some few, or lost over time due to lack of appeal or discarded as lacking value? Will my small but thoughtfully selected porcelain collection become treasured by someone else, or be sold piecemeal as part of clearing out the clutter I left behind? What about my books? My written work? The contents of my email? Will the things that were important to me have lasting importance for anyone else? Will I be remembered? If I am, what will I be remembered for? That seems like an important question, although considering the likelihood that I’ll simply be among the vast forgotten multitudes as soon as I’m gone, the seeming importance of the question may be an illusion.

A sunny summer day, an oak grove, a meadow.

I walked down the trail this morning thinking about legacy and mortality, and meaning and purpose, and wondering again “what we’re here for”. How long after I’m gone will my beloved say my name with longing and love, before his memory begins to fade? Once he’s gone, what then? Who will continue to “say my name” and cling to their memories of me?

I’m not thinking about these things in a sorrowful way, just contemplating what it takes to leave behind an enduring legacy of love and high regard? I am asking myself what I hope to be remembered for? I have come to understand that it isn’t enough simply to be remembered. Some pretty terrible human beings are remembered through history, and I have no interest in being one of those. It’s more complicated than simply being remembered, isn’t it? Hitler is remembered. Andrew Jackson is remembered. Jack the Ripper is remembered. Saddam Hussein is remembered. No doubt Trump will be remembered. These people are not remembered for anything good they did. Their legacy is of trauma and crime, and how terrible human beings can treat other human beings. Their names evoke cautionary admonishments and document terrible deeds. There are worthier things to be known for.

What do you want to be known for? Are you even doing the things that have that potential?

One hot air balloon drifting across a blue summer sky.

I walked and thought. Later I’ll have coffee with a friend, run a couple errands, get the oil changed in my car, and return home to my Traveling Partner’s love. None of that holds any particular potential to leave a lasting “legacy”. These are moments in one human life. Perhaps it is enough to simply live authentically, and to love well, and treat people with kindness and consideration?

I watch the leaves of trees quaking gently in the morning breeze, and enjoy the feeling of sunshine on my back. It’s a lovely morning, and perhaps the best possible choice is to embrace this moment, savor it, and live my life as it is? Maybe it isn’t for us to decide what our legacy could, or may, be at all? I suppose it is eventually in the hands (minds) of others, regardless what we may do to influence or guide that outcome. I breathe, exhale, and relax. I keep walking. I can wonder, but I can’t know – funny to recognize and acknowledge that with such ease. The question of “legacy” now seems potentially an obstacle. A bit of misdirection. Perhaps it is far more important simply to become the person I most want to be, living well, loving deeply, and present, here, now?

I sigh and smile. I hear the clock ticking. I keep on walking. Regardless whether I am remembered or forgotten, I am enjoying this life, and savoring the many little joys in it. Each moment is uniquely its own experience, whether anyone else remembers or not; I’m here, now, living these moments. It’s enough, isn’t it? I think about it awhile longer. Soon, I’ll begin again, grateful for the chance, and the moments.

I’m sipping my coffee thinking about a strange dream from which I woke this morning, groggy and unprepared for a new day. (I really don’t like the change to DST at all; I’ll be groggy in the morning for days to come.) In this dream, I’d somehow made my way into the basement of a large modern museum, and from wainscot to rafters that space was hung with my art – but only that difficult-to-access basement space. lol Large work, small work, framed, unframed – crammed along the walls, a chaos of color, mostly unsigned. I recognized all of it – even the pieces I haven’t yet painted – and I could examine each one clearly, and recall when (and why) it was painted. I walked through the space, eyes wide with wonder to see it all – so much! There were other things to this dream, a shared living space elsewhere, other artists (with whom I am not yet acquainted), friends (some of whom had slyly snatched a favorite piece from the walls of that place to take along for their own personal joy). What had my attention was the art – so much of it! The pieces I hadn’t yet painted drew my attention most often, and most clearly. I examined them closely, hoping to understand the journey ahead of me more clearly… “When will I paint that?” I wondered as I walked.

Waking up was a bit disappointing; I wasn’t finished looking yet, and had just gotten into a deep discussion with an old friend about a particular piece he was making his own. I wanted to tell him all I knew about it, but he stopped me. “I want to keep the mystery of it,” he said smiling, “I want to love the work in spite of anything to do with the artist”. When I woke, the thought that lingered was “how much of an artist’s signature is simply ego, nothing at all to do with the work? What might the signature take away from the work?” A lot of my work happens to be unsigned, not for any lack of intention to sign it but only because it’s generally the thing I do last – after the piece is entirely finished, the paint dried, and the work ready to sell or to hang, and because I’ve more or less lost interest in continuing to work on it at that point… I forget to sign it, until it’s necessary because the piece has sold. lol Now I’m wondering if there may be value in not ever signing some pieces, at all, and leaving that mystery intact? I sign quietly to myself, and a bit cynically; if I took that approach, sooner or later someone else would likely claim some particularly good or interesting piece as their work… and my ego rebels. There’s something here to think about… maybe later.

I sip my coffee quietly. This morning it feels… medicinal. I’m so damned groggy. Head still foggy from my dreams, feeling not quite awake, yet, though it’s been nearly two hours since I woke. Everything seems to take longer, and feels somehow less “fluid”, less routine, and taking more than usual concentration and effort. Putting words together feels a bit cumbersome and awkward. My morning oatmeal is an exercise in will; it is 100% quite disgusting this morning, and I wonder why I bother. Nothing “sounds good”, and I am noise-sensitive, and a bit cranky – I’d rather be painting. lol I have in mind a particular piece I saw in my dream… my fingers itch to put it to canvas or paper, to see it come alive in front of my eyes. (Was I actually using the heads of thumb-tacks in that composition – or were those sequins? Where did I get so much gold dust??) I chuckle softly; now is not that time. Even as the thought crosses my mind, I recognize that trying to create that piece today would only be a dim copy; it is not of this moment. I don’t work in that style or with those materials, these days. I breathe, exhale, and relax, and let the dream fade away as I sip my coffee. This coffee is so good this morning, and I am grateful to have it.

I look at my reflection in the window, a mirror in the predawn darkness. I look tired. (I feel tired.) I watch myself stretch, and gently rub the frown lines from my forehead. This too will pass, I remind myself. It’s already time to begin again, anyway…

Imagine for a moment that you are a traveler on a long journey, arriving at an airport perhaps, after a long flight. You’re groggy from lack of sleep, long hours, and you are deeply fatigued. You’re in a strange busy place, noisy with unfamiliar language, brightly lit, chaotic – and you are hungry. Hungry and fatigued, to the point of tears, in a foreign place. You don’t speak the local language. You enter a Strange Diner, are provided a seat, served a beverage, and given a menu. The menu is… vast. Huge like an unfolded paper map. The print is tiny. You don’t read the language, or understand it when spoken to you. Everything is strange. You feel a little lost by the incomprehensible selection on the menu in front of you. You look around at what other diners are having, point to a picture, figure it’ll do and hope for the best.

Eventually, over time and repeated return visits to the Strange Diner, you learn to fold the menu accordion-style, as you see other diners doing. You pick up some of the language a little at a time, and figure out the characters that make up the language on the menu. You learn the table manners by watching other diners, and you pick up some of the culture and behavior of “the locals”. You begin to conform. Conformity is comfortable. The menu seems more manageable folded small, revealing only the few familiar options you feel safest with. Comfort feels… comfortable. Safe. Easier.

…There is so much you haven’t explored, so much you don’t know, because you’ve chosen conformity, comfort, and safety, again and again, in the Strange Diner. Most people do. This Strange Diner is your life. The menu is as vast and interesting as you allow it to be. It is as narrow and predictable as you insist on it becoming. You are making choices.

What might happen if you were to unfold the menu? Maybe just a fold or two at first, a peek at other options, other flavors, other experiences… other choices. Life’s menu is vast (so vast) – there is so much to choose from, and each new choice could open still another folded section of that menu to reveal still more experiences to choose from. There is so much to see, do, and experience. So much “flavor” to life that you’ll never taste, however boldly you choose from this vast menu; there isn’t enough time in a single mortal life to taste it all.

Many years ago, when I was first “trying things from the menu” as an artist, I decided against pastels. My first choices were based first on ignorance (I really knew very little about art, generally, or painting specifically – only that I wanted to do this thing). Later I made choices based on my assumptions about various mediums – and myself as an artist. I like things “easy”, there’s no point saying otherwise. I folded the menu, concealing the options to do with pastels (and sculpture, lithography, anything to do with fine metal work… lots of stuff disappeared from view based on how I folded that menu). I simply didn’t consider them. I was a different sort of artist, and I focused on the menu items I was most comfortable with, myself. I made my reasons make sense to me – and I made my choices. I wasn’t even unhappy about it, not at all – it all made sense to me. That was enough. I enjoyed my art. I didn’t give pastels another thought – that section of menu was concealed from me by my own hand, and it disappeared from view. “Out of sight, out of mind” – quite literally. Life (and art) moved on. The menu stayed folded.

Recently, it became clear that my physical limitations were becoming a constraint on my artistic work. Big canvases yielded to smaller ones. Homeownership placed firm limitations on storage space – and work space. More choices. The menu folded, again. Still more recently, circumstances put a new choice in front of me; give up my studio to make room for my Traveling Partner’s son to move in for some temporary-but-undetermined time, or go without help caring for my Traveling Partner while he recovers from surgery. Well, shit. Not much of a choice, but doing so would constrain my artistic “freedom” still further… wouldn’t it? Over days, I considered the “folded menu” (metaphorically) in my hands in life’s Strange Diner…

…So, I carefully unfolded it, revealing so many artistic options I had mostly given no thought to… I could return to working in watercolor, on paper… why had I given that up? What about pen & ink… drawing instead of painting? Fused glass? Origami? The menu quakes in shaking hands, reminding me that choices have consequences, and not all choices are a great fit for the need of the moment – or the artist that I am. Like someone with a bad case of munchies on a limited budget, I stared at that menu for… days. I thought about the options. How they might fit into my experience. Was it too late for a change? (The equivalent of giving up on it as “not really hungry after all”, I suppose.)

Tucked in a little box, in the corner of a drawer, hidden behind my carefully kept watercolors (it’s a very nice set that I rarely use but definitely love)… a small box of iridescent hard pastels, never used. Why do I even have these? I still wonder… My Traveling Partner and I watched a video – serendipity is definitely a condiment in the Strange Diner, it sits on every table. Pastels appear on the menu in that moment when serendipity hints at something more to a small unused box of pastels that has gathered dust in a box of art supplies since the early 80s. It no longer matters why I bought those then, what matters is what I choose to do about them, now.

The menu takes on new color – quite literally – as I consider pastels. Oil pastels? Soft Pastels? What brand? What colors? What surfaces and what tools? As exciting as trying an exotic new dessert, I make new choices, and try new “flavors”. By July, I’ve given up my studio at home, and purchased a basic set of soft pastels to “try out”. I’ve built a playlist of artists’ video tutorials, and gathered some useful reading material. I study the new medium thoughtfully. On July 10th, I paint my first small piece using the new medium, and distract myself from my timidity by doing it while I was on a conference call during a work day, letting the medium guide the work.

“Recollection of a Sunset” 3″ x 6″ soft pastel on La Carte Pastel Card, 2024 (I’m not saying it was good, just that it was first.)

It’s now been 86 days – and 16 new paintings. It’s hard to imagine working in any other medium at this point in my life as an artist – a bit as if I’d eaten nothing but burgers and fries in the Strange Diner all my life, then finally tried real French cuisine and fallen in love with food all over again. Artistically, this is very much what has happened. I am changed – because I chose change. I opened the menu to reveal new options. There are soooo many options. The menu in the Strange Diner is disturbingly vast. It’s no great surprise that most of us live our lives keeping that menu folded up quite compactly. It’s more convenient. Less overwhelming. It’s generally enough – but there is more. So much more.

Anyway… I’m just saying; you’ve got options. No matter the circumstances. Whatever has stalled you. Whatever is holding you back or limiting your apparent choices – there is more to the menu in your hand. Unfold it. Take a look. See what life has to offer you from the menu of this Strange Diner. Try something new. Maybe you regret it. Maybe you don’t care for it. Maybe it’s too spicy or too bland. Maybe it’s too strange or not a great solution for you in this moment. You do have choices, though, and life has not revealed all there is to know. Not yet; you’ve still got that menu all folded up for convenience. Go ahead – unfold it.

Begin again.

Busy morning getting ready for a busy weekend. If I look ahead too far, I’m already tired. lol I guess I’m ready, though. Art selected for the show. Bag packed for the weekend, in case I decide to head south directly from the gallery… at 2:00 am… (It doesn’t sound like me, so… maybe not, but I’d be mad as hell with myself to be unprepared if I wanted to.)

IMG_20180624_120138_420

…There’s still time to water the garden…

My coffee is tasty. My chat windows are rather busy. The day has already begun; I see sunshine beginning to highlight the highest leaves of the trees beyond my window. Summer mornings start early.

I take a deep breath, and relax as I exhale. It’s already time to begin again.

Yesterday feels very far away from this morning. For me personally, it was eventful and busy. For the world, filled with turmoil, conflict, confusion, suffering…and not much more if you rely on the news for your information. Babies were born, though, and are loved. People find each other, connect, experience passion, romance, and love each other. The vast quantity of human knowledge grew a little more, although it’s hardly going to make a dent in the even more vast quantity of knowledge we don’t yet  have. There was sunshine, and storms, rain and breezes; there was weather. Some people shared what they have. Others guarded their assets closely. Sick people were cared for, and the dead were mourned. The living thrived in various degrees, struggled, faced challenges, grew as individuals, made choices great and small. It was a day, and it is behind me now, in the past.

We exist in the context of our experience.

We exist in the context of our experience.

Funny how our choices and experiences build our future out of that past bit we’ve already had. We’ve got right now, if we need to make still  more choices, tweak things a bit, or reach for some desirable moment or object on the horizon. My yesterday has a ripple effect well into the days ahead, that much I can see and is very real to me. What about days further out? Or years? Those, too, may be affected by yesterday, but when I get there will I have any awareness of the moment of yesterday that I’m standing on?

My traveling partner is heading to a festival next weekend. My at home partner is taking advantage of an exciting opportunity to join him there, and have an experience. I am excited for her; it will be a very new experience. I’m happy for him to enjoy the companionship of a loved one at the event. I am not suffering, because the ripple effect washes over my own experience most pleasantly; I will have an uninterrupted weekend to paint. It’s a rare treat, and already a stack of new canvas waits for me, and I am immersed in inspiration, and eager to begin work. It’s still days away. Days of delightful anticipation, and planning, and considering the moment to come with great joy. (I hope my partners have even half as much joy and wonder in their weekend experience as I get from painting.)

The artist within is already hard at work.

The artist within is already hard at work.

These days of planning are important for me. Taking care of me, and being self-sufficient as an artist with a brain injury, means taking steps to ensure I do stop painting to eat, care for myself, and handle daily chores (like feeding the pets and attending to their needs).  Without some structure, I lose myself in inspiration and put my health, sometimes my safety, at risk. (I once filled my apartment with smoke and almost asphyxiated myself while doing sketches and watercolors of… smoke; a neighbor broke in on my reverie, and possibly saved my life.) So, the next day or two is about supportive infrastructure – alarms, reminders, notes to myself stuck here and there, little attention-getters to ensure I eat, sleep, and take care of what must be done, so I can be free to paint. For days. I’m very excited.

I can be amusingly impractical. My at home partner is eager for my needs to be met by this change of plans, herself, and excitedly pointed out that I’d have the car all weekend. I felt puzzled about the relevance of that, and it was not until this morning, in the shower, that I realized that although I know I am not likely to go anywhere while I’m painting, that may not be obvious to anyone else. lol Perspective isn’t just helpful, some things are not understood without it.

Balancing the practical and the emotional is part of the ongoing experience of studying perspective, of being mindful, and of understanding sufficiency.

Each moment, each experience, utterly unique, and entirely our own making.  Choose wisely.

Each moment, each experience, utterly unique, and entirely our own making. Perspective matters. 

Today is a good day to be a student. Today is a good day to consider choices, and choose wisely. Today is a good day to treat myself well, and kindly, and show the world similar care and good treatment. Today is a good day to move softly through shared space. Today is a good day to consider how I can help ease someone else’s burden, even if for only a moment. Today is a good day to change the world.