Harsh sheets
fall softly.
Leaves once, crack in November.
Shellac the face with stones,
I saw this:
a model whose head
pasted with small grey stones,
like you find
on any rocky pebble beach.

Sheets perhaps of rain,
or the ones you wash because
you sleep in them,
or what we write or draw on.

Sheets fall

my walls

falling, falling
like tears.

As masked women in the circle, we wear our secrets and our feathers. Bird-wing women. Masks represent ways we hide our feelings. We dance. Spontaneously a masked woman enters the circle, slowly or spinning or high stepping. At the moment of uncovering she removes her mask to reveal her reflective face. As woman after woman enters the spotlight of the centre of the circle dancing and strips her mask, we cheer. Vulnerable without what hides us, sweat, and crease, and laughter, we: flash glitter dancing glyphs; we: body poetry.





The Reflective Face, 2009, 13"x16"; 33cmx41cm;
India inks, oil pastels, acrylic & dried leaves on archival paper (on right, earlier version; on left, finished, with leaves dried nearly to veins, gloss, and more paint added -click on images to see larger versions)

I didn't like the finished painting, so have played with it in Photoshop. The original is varnished, very high gloss.

Dancers After Midnight, 2009, 8"x11", 20cmx28cm, oil pastel, India inks on paper

It's called 'Dancers After Midnight' because I sketched it in the midnight air, and finished at maybe 2am, when the air was still dark smoky blue-black.

Recently I've been 'put through the paces' over my work by someone I considered a friend but who turned out not to be supportive of my painting. In summarily dismissing almost all of my work, it was called 'abstract,' a label that mystifies me. I would say that if one liked a more Classical style of painting, stillness, realism, then my work would not be adequate, but neither would I call what I do 'abstract.'

How can I explain my art? Let me try.

When I work I like to create something realistic enough for you to recognize the subject matter, yet I like imperfection because life is like that. I like to see the brush-stroke, which to me is like the breath of the artist breathing onto the canvas. And a calligraphy of drawing, the poetry of the lines, is crucial. As is motion: rhythms of colour, sweeps of brushstroke, moments of tension between forms.

Slick does not suit me; I like it raw.

When I paint, it tears my heart out of my chest. Can you see my pulse beating there, in the dance of oils and inks?

I like beautiful, on this side of frenzied.

If I had to accept a label, I would say my art is somewhere between drawing and painting. My main influences are an incredibly diverse range of artists both contemporary and throughout history. I think the way you paint is linked to your biological gesture in the world. That paint and inks do not come out of tubes or bottles but fingertips.

My ex-friend and I have parted ways.

I guess the lesson is that you have to believe in yourself. That's most important.

Be true to yourself and follow your vision.

It's important not just to support and nurture the talents of others, but to have friends who support and nurture ours. When there is a balance, of give and take, a crucial reciprocity, we can freely explore and express our gifts, which are, afterall, our sacred offerings.

Just checking out SoundClick widgets for my site there: Aural Pleasure. This is my favourite, I think.

I've been tossing around the idea of uploading some of these pieces to Jamendo... not sure how they'd be received in a music community... but, yes, I'd let you download them from Jamendo, yes I would.

I get a kick out of how SoundClick described my poetry recordings in the widget that other artists post at their sites:

rich text with
pleasing undulating
voice and music

Figure in Blue-Feathered Strokes, pencil, India ink, fixative, acrylic matte medium, watercolour pencils, oil paint on archival paper, 12¾"x10", 2006. Digital version, 2009.

This morning I vacuumed the apartment (uh huh), and then did yoga (yah) with the intent to "do" the tasks I'd set for the day (a major clean-out of a closet, working on 2 paintings). The 'yoga with intent' didn't seem to be working since after the yoga I ended up dancing like a crazy cotton-tail all about my small space grateful that I was alone. What do you expect if you're listening to Buddha Bar? That went on for some time. Song after song found me kicking and jumping and shaking my hips, I couldn't stop. After I settled down after lunch, oh strange occurrence considering there hasn't been a night in many months that I haven't thought about starting the final painting in the Women in the Seasons series and day after day I've resisted, you know, I put a large piece of Plexiglas on the twin pull-out leaves of my desk, a few clamp lamps underneath, and transferred figures to delicious 300lb Arches watercolour paper! Pleased to report that guilt for a year (over not starting this final painting of a series) = gone.

While I was looking for the set of figure drawings I've been using for the Women in Seasons series, I found this little painting. Yeah, she's the same life drawing model who graces the Women in Seasons series, only I've not painted this pose in those paintings. I find the final digital composition of my afternoon's work on how best to present the image with its layering (only about half a dozen layers in the image), multiples, repetitions, colouring intriguing. It's fun to play digitally, though I like to base my digital work on images of an actual drawing or painting, which in turn is composed from sketches from lifedrawing sessions... (didn't Wallace Stevens say something about always basing your work on the 'real'? I like that.)

I scanned the painting in two sections and stitched it together in Photoshop Elements 6, which is what I use on my iMac. The central image that I have titled is the high resolution scan. Then I took a photograph of the painting on the smoky-coloured Plexiglass with the light shining through it. Through the afternoon the images got attached to each other, and then a third, and digitally painting a framing, and, here it is, sharing...

(click on Figure in Blue-Feathered Strokes for a larger version)

Later: after 2am now... since this was a simple project with few layers , I created a short slideshow out of saved versions. Click through to Picasa if you'd like to see it larger, with captions:



Direct link:

Figure in Blue-Feathered Strokes

I've had one of those frustratingly 'tired' days where you can't get your mojo moving... and silly things run through my mind, like "Enjoy the Joy." Or jewels in carved Bavarian gold. Or ragged veins of brown leaves in the streets that you'd never know once ran green with the mysterious process of chlorophyll and sun. Speaking of which, it was unseasonably warm today and I did spend a good hour walking in shirt-sleeves with my dog, soaking in the disappearing sun. And while I ate easy things today, cheese, fruit, beef samosas that I only had to heat up, multi-grain salad, and then filled myself with a large bowl of fresh buttered popcorn, I had no energy to cook. I had such a list of things to do today, and not one single item accomplished.

Tomorrow, then, vacuum the apartment; take apart a bookcase and pull everything out of the front closet and get rid of stuff, but keep the Ikat curtains, wrap them carefully for storage. Put felt and try the appliance wheels on the bookcase - it sits in mostly front of the closet and while I had thought the back end could just be storage I've discovered things are really lost back there, so I need to make the bookcase slidable. Then refill the bookcase with its books. Do the drawing for 'Women in Autumn,' finish a series! C'mon. And work on that 'Celestial Dancer' painting that my daughter wants to be a little more 'realistic' than I usually do simply because I can, or so she said. Plus do a bit of grocery shopping, and cook. And don't forget to walk the dog.

No wonder I had no energy today! That was my list for today, and not one thing accomplished.

My contract position ended a few weeks ago. I'm looking for what's next work-wise, though I have a lot to do here, too.

A wash of a day.

Good thing it was Sunday, a quiet day anyhow.

Do you have days like this too?

Meanwhile, I found this, and then spent an hour searching for any other videos of Polina Seminova, which were good, and researching her, and coming back to this brilliant video of her dancing, watching it a few times:



Wow. Grace, artistry, sheer athletic performance. Polina Seminova's centre of gravity isn't like anyone else's. An extraordinary dancer. Enjoy this Joy.

Women in Winter, 2009, 29"x21½", 74x55mm, oil on 300lb Waterford archival paper.

I waited 6 months for this painting to dry, and applied a matte varnish to it. Today I finally photographed it in sunlight (it's the last image in the slideshow). Now I must, must, must make myself finish the series (of 4 paintings, all of the same woman from the same lifedrawing session, each one named after a season, can be seen on the home page of my Art & Writings website).

This one is raw, the green and the blood. I painted it last Winter, and dedicated it to my son.


Slideshow documenting the developing painting:



Direct link to album.

Chthonic goddess of the greening earth. Wrinkled, like tree bark, painted, an exotic glade. Process, the recycling of Nature, life emerging from death. An organic art. The mask's fronds as if growing out of the forest floor in the Spring. Papier-mache, mulch: paper, or leaves. The face as landscape; the face carrying the landscape with it. Flower colours framing her face; the iridescence of insects, sheen of dragonfly. Feathery wings, plumed serpent, vestiges of living vines. A vision of a Nature spirit, Summer Solstice, a Midsummer Night's Dream. Shaman of the forest. Tutelary guide in the rainforest. Jungle of the imagination. Then the Surreality of the sky-blue mask on the greening gold fields of her face: I offer you a masked mask.




Or go to Picasa and see all the photos, and a larger slideshow:

Green Goddess Masque - Process

Above, photos documenting the inception and evolving masque, which were posted at Rubies In Crystal as I did them, now collected in a slideshow. There may be more added depending on when and how photos from the Buddha Groove emerge from various cameras that were flashing that Halloween night.

Below, a slideshow documenting the stages of painting the masque:



Or go to Picasa and see all the photos, and a larger slideshow:

Green Goddess Masque - Paint Sequence

In June 2011, I danced in the woods wearing this masque, and created a video poem:


direct link: "Green Goddess" Masque (a dance in the woods)




          

Despite myself (my perfectionism, desire to always do better), I am delighted with this masque.


(Note: I've uploaded a much larger image this time. If you click on the image and then click again, you can better see some of the detail.)

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*Note: To see the finished masque, as well as two short slideshows of the process of making it, go here: Green Goddess Papier-mache Masque.