STAND IN SERIES
I've been working quite vigorously on a new series that began about a decade ago with three pieces. The project is called Stand In and it's basically poems in things.
In a solo exhibition opening on Saturday September 17th on the outskirts of Ann Arbor, I will share several new pieces in this series, along with two other brand new, related bodies of work - puffy paintings and peg drawings. What I'm sharing here is a little peek at a few Stand In sculptures. At the opening from 4-6:30, Suite 1, 7885 Jackson Road, Ann Arbor MI Sat. Sept 17, I will also be raffling off one copy of NOWISH, the 2023 Calendar that I make a very small edition of valued at $50...so come with your lucky rabbits foot!
Each sculpture has three component parts: the base structure, assembled objects, and a legend, like the legend on a map. This legend translates between static objects and lived experience that never stops moving.
Here's the Project Statement.
These conceptual, sculptural works are found object assemblages used to express ineffable, personal experiences. Sometimes, the experiences mapped through these objects are poignant and moving; sometimes they are awkward and difficult, and or hard to recollect at all. Fleeting occurances like a wink, the last visit with someone, or an interaction, are broken down into its aspects, and paired to each object.
In a sense this work is about presence: the presence in objects, and the way presence opens up and closes down in the course of living a life, or the movement through a day.
I made this series after witnessing humans in that experience of being separated from their things. It's for me both an exploration of the lives of things, their histories as companions in our homes, and their fate in junk shops and land fills. This human inevitability of parting with what we care for and hold closest, as well as my own fascination with all the 'stuff.' I'm interested in the inside/outside delineation in human experience, what we don't know of another's life, and what's laid open to be seen. Also, what we often can't fully register - those moments - as they happen in our own.
These works, presented via garlands, shelves and spindles, generally are under two feet in their largest dimensions. Larger site specific, temporary versions are also in development and I welcome invitations to collaborate with a space and one's 'things.' The work is both the sculptural assemblage and the legend that accompanies it.
This project first began in 2014, and continues today.
As a side note I've noticed that labels and legends are an integral part of several of my projects. These include the projects Offering Shelf and Fresh Eyes and Attendant. Stand Ins between words and forms also happens in all three books of prayer.
This may sound complicated but it's in fact fairly simple. It's a little like reading the book Goodnight Moon in that it's about pattern recognition and the ridiculousness of a cluster of strange objects.
I'm noticing as I make these new pieces that there are certain things that are being illuminated in the poems, and certain things being illuminated in the objects. I'll share some of the themes here. In the poems, what's being described are the things that we tend to miss because they are hard to pin down. Things that are either so mundane that we don't even really register them: Like the times we're alone in between events. It's easy to not even be conscious of that happening at all. Or the times when we have an awkward situation with another person, or an intimate moment that's either welcome one or unwelcome, with a stranger or with someone we love. Also, those moments that are big, poignant and memorable, as well as tender, vulnerable and fleeting, are represented in specific pieces in this series.
The objects also have themes in them as well: they are domestic and often incongruous with one another. They invoke for me a kind of play, a balance, and a kind of jumble. The color palette, texture and overall form of them are composed with a lot of consideration.
I may propose a residency with one of the junk shops because I'm there so often and I'm also kind of curious what exactly I'm doing there. What I find I'm doing is sifting through the evidence of other people's lives and the visible way in which a place like that holds evidence of lives that have either been interrupted by events or where a decision was made to declutter and clear out. Some of the objects that I'm selecting were parts of unfinished craft projects or perhaps were part of a life from another era.
Our lives are so full of things. This is stuff we can't take with us when we die or when we go through transitions that we didn't ask for. These pieces are a way to both honor those objects and the quiet little relationships others have had with them in a home: to translate them with what's going on really behind them and through them. I've heard it said that
Matter is a way of seeing, not something that is seen.
I've also sat with the interesting idea that
Objects are something to think with.
The first comes from a non dual philosopher Rupert Spira, and the second comes from Seymour Papert, a child psychologist who invented logo programming for children. Both of these individuals share a certain brilliance, and I think this work is an expression of both of these ideas. Seeing this all as metaphor for something else: Isn't that in some ways what life really is? To put it differently, if this is your dream, isn't everything in a dream a metaphor standing in for something else.
If you are local, come to the opening and try your luck at the raffle! We're a small operation, so it'll be good odds in your favor!
And if you want to reserve your calendar - or for any other reason - drop me a line or leave a comment below.
The gallery will be open by appointment , and for events on October 8 3-6, and for the closing on Oct 22. Masks are strongly encouraged and please do not join us if you are sick.
TODDLERS ON AN ERRAND
I recently came across a bizarre show on netflix called 'Old Enough.' It's a Japanese reality TV show where a toddler is given an errand to run, usually with one or two stops picking something up or dropping something off at a shop or with a family friend. It's an interesting look at rural Japan and working class Japan and just how different Japanese and American culture are in many respects. It's in moments very sweet and also disturbing. The other night in the middle of the night it occurred to me why it was compelling to me: All of us are toddlers on an errand.
Doesn't it just make sense?
When we're up at night trying to get sleep but finding that the mind won't turn off, it really does strike me that we're toddler sized in a big world, in the middle of a crowded fish market trying to remember which stall mom gets the sea bream at. Or trying to understand how to pull a cabbage out of the ground that is connected by this incredibly thick root system and it's getting dark and we have to walk home in the dark. Isn't that really just what life is like?
When worry is happening, when stress and anxiety are there in the middle of the night, usually somebody or some situation looms incredibly big in our thinking. In this way too we are like toddlers on an errand because as a little three-year-old tries to negotiate a grocery store counter or shop stall or people's big bodies while moving through a crowded space, it's overwhelming, and so can life be. In the morning when we wake up, what worries us is often right-sized again.
I don't know that I have more to say here but as you're going through your day, think of it: Toddlers on an errand. Everyone around you and you yourself. In the middle of the night, think of it: We are toddlers on an errand.
PS. In about the fourth episode, I decided the show itself is kind of dark. The kids, these two and three year olds, somehow know this isn't normal and that there's something off about the whole situation. This speaks to their purity and the way things just often are twisted around and you see innocence being lost in some episodes which feels sad. But yet, perhaps it's riveting because that is how it is for every one of us, in some way, and we have at our core that same clarity, that same innocence.
ELEMENTS: WHAT WHEN WHERE HOW?
For you today, I have a brief talk I gave back in the fall of 2018 called 'Art Among the Elements.' at a local night club as a part of Nerd Nite - a story corp style gathering hosted by the illustrious Ann Arbor District Library. I talked for 22 minutes about the third book which was in process at the time: The Elements: a love letter to all things everywhere.
I share in this talk about why I make books, how I came to make this one on such a different subject than the two prior books (on prayer), and the distilled learnings and takeaways from the process to date.
I am sharing it with you here. It’s not the live talk, so you can’t hear the wild and untameable audience participation, but the sound quality is pretty good and there are some pretty slides. A note too that I have a few scientific facts *almost* right in this talk, corrected when I actually did complete and publish the book in 2019.* Please enjoy and thank you for helping make this book a reality!
All I had at the time of the talk was a prototype with a slightly different name. I was still working out layout and layering of the meaning and content of the book. Looking back, it’s amazing to see how many things needed tremendous time and patience to come into focus. I didn’t learn how to give them either until I was in the very end stages. In essence, this book taught me to slow the F down, care for my body, and to tolerate uncertainty better than I had ever been able to before.
To see the book in its finished form, you can visit its official web page, or find it for sale in digital or physical form at my shop. You will also find a grid poster, a set of prints and a set of postcards, as well as a curriculum to walk children and adults through the book scavenger-hunt and interdisciplinary-style, which is my teaching and making way.
Speaking of uncertainty, that’s a topic I am currently exploring in another decade-long book project that is underway in earnest today! I will share more about that soon.
*The primary factoid to correct is that Hydrogren formed not immediately after the big bang, but as things cooled down in the time that followed when atoms could in fact pull together at all.
Share with me your thoughts! What is sparked in the electric being that you are by this topic and this story?
This ongoing series of paintings began in 2005 when I put together an exhibition for Judy Goldman on Newbury Street in Boston. It was the second show I'd had with her, she represented me for as long as her gallery was open, and it was the first time I'd made this type of painting. The exhibition had painting, drawing and small sculpture, and the palette was black, deep blue, red and green. This was the second round of pour drawings, another trope that continues in my work today.
I essentially upholster the wooden supports, and then cover the surface with various types of acrylic, and in some cases, oil paint. Occasionally pencil or chalk or another type of mark. I am amazed to find that these paintings, provided they are correctly stored away from sharp corners, are incredibly durable and stable.
When I first made these paintings, I tended to work in black and white, or monotone with shades of blue. Now, I often start with a white or other color like ochre, and do not tend to make paint strokes on the surface, but work with what's happening in the pour. Occasionally, I've made a very involved and busy type of puffy painting, one that has equal parts disturbed and delighted me. This one was such a one, it was delightful and at the time so different than what I was going for that it alarmed me. I remember that a friend was coming to the studio and I hid it, because I thought it was so ugly, but then I couldn't stop thinking about it. This fear of ugly is an interesting a fertile territory for me.
I kept trying to 'finish' this one, until I felt I had ruined it. This happens sometimes and can be how my comfort zone gets stretched. So I essentially took it apart and then, over the weeks that followed, regretted doing so. It was a forerunner of sorts, and I have kept pieces of it, sort of like a pelt.
Here is me working on some of the newer ones, which are branching out in the base colors, patterns and fabrics beyond gray or white. Please share with me your impressions, thoughts and questions in the comments! I am always interested in which pieces speak to someone - or what kind of response is inspired. I learn so much from what happens in your worlds in relation to what is happening in mine.
I want to put in a plug for the awkward - especially as it relates to our relationships. Awkwardness gets a bad rap in our modern culture of the smooth and the glib, but to me it's a refreshing kind of honesty. What is awkward?
Please share your versions of awkward below.
Even the word itself is an awkward spelling. What other word has to Ws flanking a K?
The most awkward moments in my life are the moments when I was being honest. When I didn't look good, but was being true.
What has been awkward lately in your life? Can you see the humanness in it? What do you love that is awkward? Or what do you not love?
LIGHT IN THE HOLIDAYS
To counter the Dark Side of December post, here is a lighter angle on the holiday season we are in. First off, Happy Winter solstice! As of the 21st, we have officially lived through the darkest, shortest day of the year. Go us! Go planet earth and all of the sun worshipping creatures alive today!
There is also a lot of twinkly light and color at the holiday. Things that smell nice, and usually a little break. Sometimes one is completely alone. Sometimes there is no family. Sometimes the invitation to share the holiday was declined, devastatingly. But still, opportunities are there for listening in the silence, in the dark, in the big hush and pause of the whole thing.
For a while in my life, my holiday was piggybacking on someone else's holiday. For a while it was lots and lots of pie making, and then pie giving away. There were the drunken years, living to join friends at the bar after the family meal, and the breakup at holiday time, which is a brutal no fun experience.
In the end, there is a kind of Christ light coming into the world that I sense at this time of year. Interpret that however you like, in the lense of whatever your beliefs. Some seed beginning to germinate that really hasn't broken the frozen ground. The miracle of all of the animals that somehow survive the cold and bare outside for the whole year. A chickadee for example: how does a ping pong ball size bird manage to stay alive, let alone fly and sing, in the northern part of the US, all winter long? Also, there are the little twinkles and the tiny bells, magicking out the dark.
How do you personally, sense the quiet light of this time of year? What brings it clearest into focus for you? I find that with every year, what I love gets easier to identify and then to bring forward as a way of relating to and being in this time. What is it for you? Let's pool ideas.
MEDITATION IS NOT A PERFORMANCE
I have noticed that when meditation comes up in conversation, I often hear the phrase 'I should...' followed by some description of how someone is failing to live up to some ideal way of doing it. After meditating in a group of people where there's some kind of check-in afterward, I commonly hear descriptions of either a difficult/disappointing experience, or a lovely, special state type experience. When you're learning to do something like say, skateboard, and you go out there and try your hand at it, and come back either having wiped out, dusting yourself off, or successfully land without wiping out - what a rush! A positive, confidence building experience. I always wanted to be that guy having the rush, not the one who became increasingly aware of the intense kink in her shoulder over the course of the sit.
Meditation however, is not a performance. It's worth exploring this because otherwise, it's another thing to make us miserable. Some kinds probably are performative. But presence isn't something that you do, and this term meditation is simply about presence when all is said and done, or "This" : whatever's happening right now.
Instead, it's what is never not there. You aren't doing being presence, or doing being. Like the sky, or say, noticing you have socks on, the presence of socks is not about you, they're just, well, on your feet. The sky is never not there, whatever your level of interest in, focus on, or idea about the sky may be.
The other day I heard great table metaphor that may illustrate this. There's a table covered with books. Lots of books. That's you - the table - with all kinds of interesting books on it. The books are the identifiers we have - the things that when we're gone and everyone who knew us is also gone, go as well, because they are a shared thought. This includes your history, your plans, your opinions, your life story, your nationality, your preferences, how you vote, your personality, your style, your body, your chronic pains, your psychology, your turns of phrase, your reflection in the mirror, what you love and don't love about your body, your closest kin, your habits, your address, your drivers license number, your social security number, your CV and resume, your skill sets, pedigrees, your successes, your failures, your traumas, what you overcome. Your memories, others' memories of you, your reputation, your good deeds, your misdeeds, your credit score, your best moments, your bank account balance, your possessions, what you've made, what you failed to make, finish, accomplish or complete. Also, time, objects and space can go there too but that may be another conversation.
When the 'books' are removed, like when you're tidying up in the living room, you find there's a table underneath them. It's always been there. It's never not been there. It's familiar to you, as it's what you have used to access and read these books, and to refer to your 'self' in the form of each of these books, these programs or information packets about yourself. You may put your feet on it or put your dinner plate on the table too. Meditation is just awareness of This, or you could say, awareness of what is the ground of experience. The big attainment is actually just - the table is here, where it's always been. How spiritual!
The idea of meditation as a performance is just another book or glossy yoga type magazine on the table, with a picture of yourself perhaps, doing whatever idea of your meditation performance is. It's pretty funny and incredibly amazing how thought co opts even just This - what's happening right now. The flow of one thing after another, a live stream of you.
To take the table metaphor a little further, it's not even 'your' table - with a style, with a level of wear, perfectly reflecting all the books that were on it. It turns out that everybody's books are on one table, one gigantic table, again, just a metaphor this table, but it's not actually an object, and nobody owns it, or dusts it, or made it. It's not a thing like a galaxy is a thing, or a pebble. It's just that we are built to see and talk about and interact with objects, so that's as good a metaphor as any: table.
This big wide foundation or ground on which all the objects form a fleeting impression of the story of you and your life, is always here, always offering up the next thing, and is in fact, you, and me, and this word, and the sound you're hearing, and the plans for the next hour, and the irritations and concerns, and the gratitudes and questions, and the dog and the cat, the wad of tissue that didn't make it into the trash can lying on the floor, and the tree shimmering out the window.
Nothing, no book, no passing object of experience, and the presence underneath, is not you.
Here's a suggested way to let this sink in a little further.
Cue up a song or two, get a glass of something, maybe a snack. Sit in a chair and look out the window. Five minutes we're talking. Maybe set a timer. Let the flavor of your food and drink mix with the sound of the music or the kids fighting, mix with the sight out the window, the movement, inside/outside blending, and constantly changing, coming and going.
OR When you get really annoyed, overheated, or suddenly tired and notice this, plunk yourself down with that - sensations, the litany of thought, sounds, the taste in your mouth, how your body is, the temperature. Nothing needs to change and no one needs to do. Like a piece of cardboard lying on the side of the road, just being.( In this case, an agitated or overheated piece of cardboard.)
When you are in conversation with someone, notice what that's like, what the body feels like, the sounds, the gestures, emotions, distractions, how space and arrangement of bodies and body language is. No need to put ideas to anything, just become curious without getting involved in thoughts about it.
That to me, is what they call - meditation - or even better - it's you - the one talking, the one listening, the one reading, the one writing, the weather outside, the weather inside, the flavors and the smells, the ungainly and the very compelling. The pull and the push away.
DARK SIDE OF DECEMBER
There's a real mix in the holidays of light, joy, sad and dark. Have you noticed? Generations of regular people lose loved ones who immigrate, go off to war, simply leave, are taken somehow, or pass away. It makes sense that most if not all family systems are marked by some form of absence or loss in this season. Memories of holiday times past may, by default, carry a major imprint of sad.
Have you also noticed how the more cranberry sauce is piled on and the louder the carolling, the more that heavy imprint may be running the show? Sometimes it's me turning up the cheer. Some cope with a complete bah humbug attitude, others by just going off grid for several weeks, and others by going full boar into the traditions. It's maybe a little bit of all of this, mashed together - like one of my christmas cookies here - that makes us our human-suited holiday selves.
In my own life I can recount so many wonky holidays - when I couldn't show up though everyone around me seemed able to - when I was the only one getting her act together while everyone else was in revolt - break ups, break downs, silent treatments, arguments in front of the guests, hitting the sugar wall, the overlit box store, the disproportionate gift exchange.
While this may come across as a very wet blanket contemplation, perhaps its a way for to preemptively make room for the small grief cloud that curls in under the door, usually unnoticed and unwelcome. It visits kids without knowing what they're picking up from around them, and all of us who may carry the football of inherited grief in the form of pressure and tradition without knowing what is driving us to do so.
I am asking myself, why am I writing such a downer of a post. Reflecting like this may be a way to see the whole thing at work, and thereby to see the wider field of possibility, and the love it expresses. The missing of the ones we love, of simpler times, the things that were but aren't now, or aren't yet. Perhaps its just a tender hearted time of year: a big tender heart in a period of waiting, twinkly lights and humanness.
Bubbles: A doorway [Part 3]
In a specific kind of meditation practice that's anything but a practice called Unprovoked Happiness, I encountered the suggestion to play with bubbles.
Unprovoked Happiness* is pretty cooky, and it's very simple. It's a non-practice of looking closely at anything, and getting absorbed in it. It's what kids are doing all the time. When they play with water, pick paint off a fence, or sing little ditties to themselves, they are actually having a pure conscious experience, which is one in which they aren't thinking, or aware at all, of themselves. Newborns do this too, or *are* this, as they stare at a fan or a light, or peer out at you, they are not separate, they are not registering a me and a you yet.
It's the same experience you can have at the beach or on a walk. You know those excellent vacations when time seems to go away, and a whole day goes by where no one is saying much of anything? Those are the moments in which the sense of self recedes, and no one is doing anything. This is in fancy terms zen mind: nobody there, everything functioning perfectly.
It's the very opposite of a world of becoming someone, which we all as kids in many respects have to go through, to learn to safely cross the street, communicate, be moderately clean. This kind of being is not a state of zoning out, but a state of being all there, out of the world of concepts, including time, personal identity, and self consciousness.
The recipe for a pure conscious experience is first of all, to be moderately relaxed. This can feel like a high bar at certain times. When there is a significant amount of stress, there's also a me that is stressed, a kind of basic contraction of a self under threat, and needing to do or undo something to feel safe.
Blowing a bubble is one easy avenue to invite enjoyment, a small dose of wonder, and a slowing the doer down a few notches. In the summer, it's fun to bring bubbles when I go out on a boat, watching them bounce on still water, wondering at how they do that.
You can also experience this kind of being when you do dishes or wash your hands, noticing the feel of the silky soap, the sound of the tiny relentless pops, how they all wash away just like that: a gleaming dish, wet hands, clinky sounds. Any sensory experience where there's a kind of basic delight, is this kind, and this is why it isn't a practice, because no one is there to do anything. When I say ‘ wow, I’m having a pure conscious experience’ that’s actually thought, and instead the next best thing.
The least real thing, when investigated, is thought, narrative, story, and the emotions that come with them. Thoughts and emotions will happen anyway, and only become painful when claimed as mine or my problem.
Anything you look closely at, even a pile of worms, an oil slick, a skittering empty beer can in the wind, a sock strewn just so across your floor, can be a doorway just like a bubble. Music you love, a strange sound, the taste and texture of foods, the sensory feel of motion, the way things pass by, the complexity of wood grain or water in basically any form or state, can all be regarded without the story, like a newborn sees them, before the world is chopped into labels and associations in reference to ‘me.'
Next time you're decluttering a closet and you encounter a bubble wand, stick it in your bag (tightly closed!) and bring it on a hike or to a gathering. Yes, you might look a little stupid, that is until you remember that you are much more than a self, and when you pause for a moment, it might just be delight that's there, with no one separate from it.
* check out this kooky website to get a good sense of it. I have not done exhaustiv searches, but if you're curious, this is a good starting point.
BUBBLEs [Part two]
I wrote previously about the magicky bubble miracle that lasted forty minutes. I would like to share now about some interesting thought patterns I noticed at the time.
Initially, I was engaged in social patter, drinking of tea, trading thoughts and words, slapping at mosquitos, with Guy. The bubbles were a footnote, a silly kid's toy that I find fun to engage at times.
When these bubbles stuck around for an uncharacteristically long time, enthusiasm and curiosity, and a deeper level of attention and engagement kicked in. When Guy went away and it was just me witnessing this, there was excitement, amazement, and a deep desire to show others what was happening. I noticed thoughts about writing about the phenomena, and several attempts through shouts and whistles, to get Guy to come back. As the strange phenomena continued, and more developments in color, visibility and duration occurred, I felt a stronger urge to enlist others, to share and show.
When the bubbles didn't immediately pop as I've seen thousands upon thousands of bubbles do (yes), I noticed some impatience, boredom, and a desire to get on with the day. Thoughts came in like 'I'd love a piece of toast', and 'How long is this going to take? I have plans and things to do.' I find this interesting because I was literally witnessing something I'd never seen before and that didn't seem possible, and toward the end, the closest experience of invisibility - the phenomena of something being present that is also invisible, like a ghost or an apparition, that I've ever seen. Bubbles are already like that, right? That's why they are such a fascination for kids and delightful for everyone. But here I was, wanting to engage my story, wanting to just get on with being Hannah in her day, doing what she does.
It felt like a test of endurance to keep witnessing, to hold that tiny, rainbow style vigil for the time it took to see the bubbles through. I was also aware that those around me were in their stories, their days of jobs to be done and things to do, and had someone come by, their likely response would have been even more distractable than mine.
By the time the last bubble, and the second to last one, popped, they were essentially invisible, except for the swirling silvery base of each. It was 100x wider than a dew drop, but would have been near impossible to see. Which makes me aware of just how limited our perception must be:
If we can overlook something like a bubble, something I had made myself, what else are we not ever seeing, that's immediately and truly right around us?
I am sure there is a simple explanation for what happened with these bubbles. Likely the very humid, windless morning and all of the fog, as well as the tensile strength of the material in the bubble wand, would explain it. The changing colors and the thinning surface was likely some kind of evaporation or reaction with the salty air. There can be many ways to explain things. But in my immediate experience, this was something never seen before, a 'normal' and simple object doing something very out of the ordinary, revealing itself over time in the way that never has happened because they are so predictably fleeting. A bit like a solar eclipse.
I then galloped around telling various family members about what happened, hollered down to my husband on the dock IT JUST POPPED, with a very large popping gesture in case he couldn't hear me, frantically writing down all of the details. There is a great desire to hold on to this miracle, to found some kind of new religion around it. Or to found the Bubble Blowers Association with the founding date being today. So there's the other way that humans do, to try and hold something, so fleeting as a bubble, and to make it into something solid.
Thoughts also flashed in about 'Records' world records, not to try and have one, but how funny it is that there is always a biggest pumpkin, a fattest blueberry, an oldest living human, and how these things must have started with an act of recording, of trying to make permanent, and then become this way of trying for fame, or of besting and winning. Oh, we people are crazeballs. So yes, I suppose I am too, but it's not because I stared at a hovering bubble for forty minutes, it's that it feels crazy to get so excited about it.
I recently was asked to say a few words on ‘art as meditation’ and meditation as art by my friend in the Pioneer Valley Abbie Wanamaker. Abbie was having a two person show and there was a forum that she asked me to speak at. I’ll share a few of the thoughts that came to mind as I considered her work and process, and the idea of art as meditation and meditation as art.
First, the word meditation in US culture has felt loaded with a sense of personal shortcoming and obligation for many, to the point that it may not be a useful word to use anymore. In a similar way, the idea of art practice has with it for many a sense of should, haven’t yet….maybe someday, soon.
Instead of meditation let’s talk about presence. That thing you were when you were born and still are, without any effort, prior to any self idea. That thing that sparks between you and a small woodland creature when you stumble upon one another and hold the other’s gaze. Presence is what we make room for in a process of deep play, prior to the part of our minds that narrate or decide the merit of what we are doing or what we might be making.
I enjoyed looking at Abbie’s paintings, their unapologetic, straightforward and vivid qualities. I think too about resonance, and I know that Abbie has resonated with my work and ideas for a while. I can see why: in the directness of her process, her statement and how she figures out what’s happening after the fact, letting the doing, the activity itself and the textures and qualities of the materials lead. This practice is presence too and similar to what happens in my studio when things roll naturally. I see in her work that Abbie values the doing over the thing that’s made, turning art practice into a form of attention.
Consider the difference between the governed idea of creative action and cultivating presence, and the direct experience of these things: what you already are: the situation, what’s happening inside and outside of this skin envelope we call a body: the temperature, the textures, sounds, tastes, motion, exchanges with people, animals, elements like sunlight and wind and sounds, intersection of elements that will never intersect quite the same way again. To me that’s deep play, creativity at its best, and contemplation all rolled up into one. It’s a sense of belonging, or inherent value, or naturalness, the way a dry leaf becomes the forest floor or a child is held in arms.
Bubbles [part 1]
A bubble is commonplace and ordinary. It's part of washing your hands, your hair, your car, and certain baths. Blowing bubbles is something many children do all the time, so it becomes very ordinary to some children too. So ordinary, that it's easy to overlook the tiny miracle that a bubble is.
Here's what I find incredible about a bubble:
Next time you are in the presence of a bubble, see it as a whole life, see it as significant as your own life, the floaty path it takes, your path. It's remarkable existence, yours. It's sudden disappearance, just like yours will be, the moment when you are no longer in the world, reflecting its details, swirling with changing tints and hues, perfect, fleeting, a marvel.
WHAT SLIPS BY
I've been trying to put my finger on something since my return from the Colorado River last week. It was a short trip. Hard even to recall and yet it's left an imprint that moves like a sun spot - always on the periphery of what's going on, but here still, adjusting everything in a way I can't yet place.
While there on the river, one thing presented after the next: floating, climbing, eating, chatting, hauling, organizing, snacking, getting ready for and floating out of the next or last rapid, covering up, cooling down in the water, caring for eyes in the dry hot wind, playing werewolf in the dark with eight people whose names I mastered just as I bid them goodbye. And the whole time trying actually to arrive.
We stopped at many bright and sacred oases, hidden waterfalls and water pools, places where ancient Puebloans left the mark of concentric circles or stored their grain way up high. Each of us rested on a warm rock in the shade, watched the glowing walls change as we floated up to, by and past their silence and specific set of magnificent scars.
I was rarely alone - normally I am alone more than half of the day. There I sat only a handful of times in solitude. The time I sketched canyon walls in the ninety degree blue white moonlit dark, too bright to sleep in. The times, each of them, when I was easily an early bird, rising before others to stand at river edge, or look out from the privacy of the 'adventure toilet', or to follow the hide and seek of a dawn bird call. The last time was in Deer Creek Canyon, sitting, awed by the height we'd climbed up over the waterfall, to the oasis behind and above it: cottonwood trees, carved pools, the sense of a thin flat plane of water appearing to flow uphill, the surprise of a place you didn't expect, and the overwhelming presence of grief love: when one's home in another has gone beyond one's physical reach, accepting the time had come for them or you to leap the ledge.
There and finally in Flagstaff when I shut the door to the hotel bathroom, were the moments I registered being alone, outside of the itinerary, the patter of family, short term plans and passerby, the flowing by of scenery unlike the familiar touchstones of my home address and agenda.
The main takeaway: This all slips by. It can't be held. It's vaster than can be comprehended or discovered, it's sometimes floating, sometimes shocking with cold or challenging with a heart-pounding climb. You can't stop it and yet it is saturated with tenderness, an intimacy that you already and ever are, that soft sand suggests and the small circle of a blowing weed traces in it. Just this is yours for just right now.
It's taken all day to get into the studio. There are days like this when I feel fiercely protective of my time in here. The funniest thing is that what I do in here looks like so little outwardly. I read a little, I write a little, I drink coffee if I have it, I listen to music. Sometimes I nap. And sometimes it's all activity and insight and inspiration and stepping back and looking or marking and cutting and placing, digging around for stuff. My favorite is when I'm on a roll with something, when I know what I'm doing and how and I love what I'm making, when I'm literally delighted, or internally lit up, or you could say joyous, about what I'm doing.
I got a book by Anne Truitt off the free pile from my good friend's studio's common area. I'm feeling it.
I read these lines just now:
...this process is mysterious. It's like not knowing where you're going but knowing how to get there. The fifteen years that David Smith thought it took to become an artist are spent partly in learning how to move ahead sure-footedly as if you did actually know where you are going. -Anne Truitt
Yes, it's like tracking yourself. Where was I? What was I caring about the last time I was in here? What did I learn? What did I know I was to do next?
I also read these lines: At first tentatively and then with more confidence, I began to find delight in the acquiescence [to the natural flow of events], and finally even a kind of joy in acceptance.
Also Anne Truitt.
I enjoy reading what artists write - some of them, and how they talk about what they care about, because it's generally 180 degrees opposite how the rest of the world is marching along, and it feels like a tall glass of water when I'm thirsty. Those are my feelings and my words.
Anne Truitt had a very up front professional career. I am tired by the thought of trying at that anymore, but I have confidence that what I do and make is no less important or inspired, when the inspiration is here. So that's a kind of acceptance and freedom. Freedom in knowing that it isn't up to some art scene mafia to decide what is of value to this one in the middle of her life, and what's of value is letting this natural flow occur. I had a lovely early career in Boston. A sweet little CV of shows and associations. I am pleased to have that memory. There may be more in the future, and they may not be. And that is not for me to decide. But it is, right now, clear that my job is to show up here and make work, and share about it, and the process of making it. There's no question to me that I am an artist making strong work. I don't doubt that. I may and often do doubt pieces, if they're resolved, if the presentation is strong and clear, etc. But not if the activity and the viewpoint is of value. No one will prioritize this more than me. And the same time, it's all ordinary art-making.
Someone just stopped in to invite me to join them for digging up some free plants across town. It's nice, and it requires me telling the truth, that No. There is nothing in me that wants to leave my studio to go dig up some plants. No and no. thanks. Maybe another day. Not now.
Are you comfortable with your work?
"In making my work, I make what comforts me, and what is home for me."
Are you comforted by making your work?
[I notice this question might be for the creatives reading, but consider that if you are reading here, my guess is that you are a creative whether you like it, know it, or not! In other words, this applies to anyone reading. So...]
Are you comforted by making your work?
I don't think comfort is a motivating factor in art-making for me. Perhaps the whole process of showing up to make, the routine of it, is a comfort, but the work is brightening and enlivening to me, sometimes disturbing to me, so I wouldn't say comforting. I don't make what comforts me, do I?
Sometimes making certain marks on certain surfaces, and finding the composition that is a YES to me, feels like putting things in order, or like straightening up the world. Putting it right. Perhaps that is a comfort to me.
There is also a discovery process, where for a long time there can be the same pile of materials, or the same kind of shape or process, and suddenly, by mistake or a loosening of something, or just paying closer attention to it and engaging it, the same 'stuff', in some new way or combination, has a new kind of pop or magic to it. That discovery is delightful to me. And then watching what happens to this discovery, or a new process, if it is sustained, or if it sort of fizzles out quickly. Exploring the questions of what sustains it, is in itself, quite motivating and engaging.
It's always felt really clear to me when something I make in the studio is valuable, though not always right away. Sometimes however, doubt gets ahold, some cloudy afternoon when it's cold, and the whole project seems lifeless or a complete lark with no value at all. I have also dreamed of some gorgeous things, while sleeping, and woken up besotted with interest, but not actually brought these things forward. Those are great dreams. Was I supposed to make that stuff? I don't know. Can you relate to this?
There was a period too where some of the marks that really satisfied me, didn't seem to hold up to scrutiny and I couldn't figure out what was going on. I think the intimate scale of making wasn't holding up to the more distant act of viewing a work from further away. In other words, my lines were falling apart from a distance, and I wasn't in enough conversation with others to realize it. This is where relationship, scrutiny, conversation, is so useful.
There are people like Henry Darger who hole up and just do their thing, and later someone realizes it was brilliant, in his own little world, so complete and unapologetic. And I think in a way, that innocence is the thing of letting your inner kid have free reign and knowing that this is where the brilliance is. But there's also the reality that for every discovered Henry Darger there's a rotting pile of papers on a landfill of someone else's world. And it will likely be mine!
There's a freedom in seeing how none of this ultimately matters. Even when a small mark or line also counts. That's a fine line I seem to walk, where there's a need for freedom to break a rule I had laid down, or to make a mess of something, and then there's the self curation, the conversation, the response of others, the asking of questions, and then choosing again. Nothing matters and everything counts.
In the end, it sometimes just comes down to color therapy. When I am surrounded by the colors, as well as the relationships of texture and forms, I feel fulfilled. Happy. Pleased in the most basic sense.
The rest of the art process: the part about jockeying for notice and applying and all of that makes me feel tired before I even begin. And so, I tend to not do that, and pursue other avenues. In part, this is because, when I do have a "show" where I put on a blouse and some boots and eat some sweaty cheese with friends, it often doesn't hold much magic afterall. It is however, truly a delight to meet people through the sharing of the work. To feel like my spirit and someone else's spirit meet through the resonance with my work, or their work, or the conversation that artwork ultimately can be is quite a thing. That is deeply valuable to me, and motivates me to write, to put things in print, to find other avenues to sharing that don't involve as much of a dog & pony show. Life is too short to be a pony or a dog.
Is what you make a comfort for you? I guess in some ways, it turns out to be for me.
This object has been traveling with me for over 14 years from studio to studio. I have never actually exhibited it. I may never. It has shown up in several studio photographs because it is often out and commanding a small parcel of wall or shelf. I made it in 2007 when I had a studio in Somerville MA. I was wrapping and folding and stabbing and dipping stuff, and came up eventually with the series called Three Variables that was on view at Judy Goldman Fine Art. This little pink sculpture was a scout for those, in that it was an experiment that caught my attention but didn't feel resolved. It has, to me, a lot of personality.
What I didn't see then, but do now, is that it is a figure. This is probably obvious to everybody else, but it's taken a while to understand what it is. To me, it's the bundle of energy parts, or sensations, or just parts, that comprise a person, probably in this case, me. Wrapping chords of tension, layers of diverse textures and materials, a chunky little core, and in this case, what appears to be like a side pony in a now corroded rubber band on top. Now I see it's essentially a self portrait.
I call it a Scout because Chris Nau, an artist in the same building at the time, shared this term with me for something that you do and eventually, years later, it makes sense, in light of the future work you hadn't yet made. Like a precursor or a portent. This is a small reminder of perhaps the spirit of Hannah, my small Daemon, though it's never been for anybody else but me. I like to place it on the top edge of a shelf or painting and just balance out the room with it's vibe. Here it is in situ, meaning situated just above the mess.
ways to sit - pick the easiest
There are many forms of meditation:
Formal and structured
Open eye, walking around in the world types
Closed eye or soft eye meditation seated
Mystical and direct path practices
Loving kindness practice
and many different flavors, cultures and styles to how these are presented:
Zen from Korea, Japan and elsewhere
Vipassana from Burma and Thailand
on so many more
You may yourself already have a practice, have favorite books, a community and a personal philosophy. You may be sampling and learning.
Whatever your situation, I recommend that you do whichever one feels literally the easiest and the most relaxed. We don't need to tie ourselves into knots over something else in our lives. We have plenty of ways of doing so already. So do whatever feels effective and easy for you.
I love the simple exercise Ajahn Chah had listeners try in a talk he gave once. He asked: Do you notice that you are seeing right now? Just check.
Then he asked, how much effort does that seeing take?
That's the effort that is needed for meditation - just that little bit of noticing. No efforting, no big doing, or trying.
I love this. I agree.
YEAR OF THE BODY
Beginning a year ago in January, I declared 2020 to be the year of the body. There was no evidence in my world of a pandemic, and this theme had no virus or really health related aspect to it. For me, it was a desire to learn to hear what my body was telling me more clearly, how to do a better job of caring for it.
In January 2019, I was starting to get the loud message from eye strain headaches and weird shoulder and neck stuff that I was kind of overdoing it, and essentially ignoring the innate intelligence of my body. So I declared this past year, Year of the Body, and set about a new set of drawings, writing, and thinking about this theme.
I have for a long time understood that for me, a highly sensitive person, grounding in the body was the best way to be in balance. This is a long standing theme in my writing therefore, and there are many related posts listed below, if this sounds useful to you as well. I have found that being able to feel my legs and feet while having a social conversation or an argument was always helpful, and that a walk or a lie on the floor has always beens a fantastic way to clear the head.
Another reason for the body theme is that for years, figures have been lurking in my otherwise abstract artwork, and I've always wanted to push this away. It didn't fit my idea about the kind of art that I make, and so I didn't want to deal with that. So for 2020, I met this head on, and both went through older drawings, and then began a new series that was meant to explore the feeling of being embodied in the day to day. Here are some examples of drawings of mine over the years that clearly have some kind of a figure in them.
TANGLE PROJECT 2009
Toward the end of this year, I shared this whole project with my artist's group, and introduced it with several older projects that also have this body theme, as a connect the dots kind of presentation. So I share this again with you:
In 2009, I did Tangle - a performance and documentation which I showed in 2010 in Lancaster PA in a solo show there called Placeholders at the Ganser Gallery. I took eddies of my stuff, like the contents of a junk drawer or office closet bin, and wrapped these items around my head with twine. I photographed myself like this, and then filmed the process removing each item one at a time, and all of the leftover twine. It was a way of making visible and palpable the feeling of having tension or lots of thoughts in the head, and then clearing the head, using the objects that collect around me as metaphor.
I did this with about thirty piles of my stuff from various parts of my life, exhibiting the films and photographs.
BODY JOURNAL 2010
In 2010 I embarked on a Body Journal Series that has not been exhibited, which was another in this theme of chronic pain and tracking the energy flowing in the body.
In 2007 I had created Three Variables, a series of wrapped wall sculptures that is essentially a version of Tangle but with a bit more remove from the body. This was exhibited at Judy Goldman Fine Art on Newbury Street in Boston and versions have been in group shows since.
CONGLOMERATES / GEODES 2014
In 2014, I made several sculptural projects for a solo exhibition at the 555 Gallery in South Boston. These two were about considering the body as a collection of conditions, or patterns or tendencies, and considering these in a playful physical form.
These are the precursors to the drawings I made this year. I notice a theme of wrapping, lines of tension, and playful variety of things that make up a body. In my humble and non-objective opinion, these projects continue the theme of describing energy, in interaction that's fleeting, in how a body feels from the inside out, in emotion and experience without words. A translation into matter, color line and form of all the objects, the bodies that we appear to be and interact with, their funny jumble of parts and pieces, the ways that they are hard to keep together, have densities, expressions and characters each their own. And in some ways, the way that we are somewhat arbitrary and silly, when in fact it appears we are serious, permanent and somehow fixed.
Next, I'm going to show you the new drawings, as a little series. That blog post is called, Year of the Body 2: The new works on paper.
FASHION SHOW FOR ONE
Last night I started organizing my closet, and before I knew it, I was trying on everything, and having a fashion show for one. Partly, this was inspired by the tiktok meme which had been running through my head for a couple of days: Love it, couldn't wear it.
And partly, by discovering that the pair of pants I'd thought I'd lost were carefully tucked away in an opaque drycleaner bag in the basement! This wide, high waisted pair of pants that i've had for over 20 years, both fit me like a glove and Lo, have come back into fashion!!
So, understandably, for the first time since I moved here, I began reevaluating the whole pants inventory, and the shirts, and the sweaters...in light of well, not even needing to get dressed at all for the amount of people I see.
But it was fun for the aesthete that I must admit to being, the one that loves a clean line and just the right color shades and contrasts. It's a lot like cooking, and it's a basic fun - the grown up version of dressing dolls, or, heck, even playing with army men. It's fun to try on these expressions, to swagger about, and to find a spot for the things that may eventually one day, have a role in my life again.
It reminded me that just caring for what's right here is the best I can be doing right now. That in the words of my friend Kristen, things are in the midst of change but not the kind we can really make plans around, and this may be a time for simply waiting and trusting.
If I get that much energy going again, in this case fueled by a two and a half hour nap earlier in the day, I may just start photographing the ensembles, but that seems like a lot of work! so for now, instead of the usual brazen planning and visioning for the new year, I am going to count the blessings, and the matching pairs of socks and pretty scarves, and care for what's here already.
UNDERNEATH THE HOLIDAYS
We want a change of scenery, we are mostly not getting it. We'd like to eat in a restaurant or go to a movie, or sit with a good friend, seeing their whole face, carry on with traditions like any other year. We'd like to uncomplicatedly hug our parents or grandparents, or get away from them for just a little while. We'd like to have a "nice" christmas, holiday or break. We'd like to be with people who are sick when we can't be. Instead we're in these silos, acclimatized to this strange strange time to varying degrees on varying days, baking, zooming, miffing transitions, watching shows. Shopping and wondering if packages will arrive.
Things are weird.
There are two sides - at least - to every moment. The side our brains create, of feelings, events, time passing, things happening to us and our responses to those things.
And then there's the essence underneath that, in the way that the light hits something, the hum of the fridge, the sensations in your hands.
My neighbor has a big inflated snowman on his lawn. Sometimes the snowman is face down or beached on his side. Or in an S kind of contortion, like he's in the middle of the electric slide.
When the daytime comes, the snowman is sometimes flat, laying quietly on the lawn.
It's been such a shit year and so specifically a year of stuff coming to the surface - our fears, blindspots, addictions, interconnectedness, grief, and a bare simplicity too. I hope the next couple of weeks can be a zone of gentleness and allowing for you - allowing it all to be just the way it happens to be.
The wonky or sublime, or lopsided or dialed-in in way that the next few weeks unfold, can you allow for it, for the snowman to be on its side, or completely flat sometimes? For a broad margin? For a wide swathe of OK - this too, with a heart toward the even greater unknown of 2021?
I want to say helpful things - I'm not sure how. I'm planning on rolling with it all, the unexpected, the disappointing, the letting drop of any kind of force. Let's be gentle at the fulcrum of the year - enjoy its novelty and shed what isn't serving - not in a new year's resolution kind of *me* way, but like a sloughing of a skin you didn't even know was hanging off of you, or the opening of a hand. Let it drop. Let the sparkly underlayer come forward, just for you.
Whatever the particulars of your strange moment may look like, find a crisp edge or a brightness to something, in a sound or a shape, in what you've been so intimate with or wanted to avoid. Look into it, turn towards it, let it take you where you're headed - where you always are, into uncertain new light, basic aliveness, and the company of presence itself.
YUCKING MY YUM
Lately, my lovely morning coffee has been tasting to me like an ashtray. It's funny in the peculiar sense, that I have this idea of 'loving' coffee, that it's so great, and I'm so pleased about my morning coffee. But the idea is not lately lining up with the experience. The idea has gone stale, and so has this coffee habit.
Years ago I stopped having caffeine. That was a good move for me, a highly sensitive individual with an enjoyment of extremes, and another and another cup of something caffeinated. I have been able to have just the one cup of coffee, decaffeinated, but nice and rich, americanos when I go out to a cafe, and it's been working.
But the experience and the story are not lining up these days. The experience involves a kind of a yucky after taste, a slight dull ache in the front of my head, and yes, a bit of an ashtray type of experience. Also a coated tongue. Like my tongue has a thin cashmere sweater on. Coffee breath. Even the nice hot temperature feels a little much, like it makes my eyes bulge a bit. Why do I think of this as good?
There's some fear of trusting my experience over the idea. What if I let go of a good thing and I'm wrong? Well there's not far to fall here, as I can always begin again, this coffee habit, and there is this kind of FOMO - what if I feel deprived of my treat? Initially there's a hurdle to letting something go when there's this kind of attachment - a little bit of withdrawal and perhaps a feeling of missing out - but then, I'm guessing, freedom. I can have a great day even if I am not slugging the brown stuff, and a lightness or freedom in knowing that I don't *have* to do a damn thing.
So, you're the first to know, I may be quitting even my decaf for a bit. Imagine! We shall see how it goes.
Is there a place where you have an idea of something being a 'good thing' or 'treat' where in fact it's kind of shitty feeling when you engage it? Just becoming aware of this, as this post has helped me do, creates a tiny opening to try or choose again, just to see what it's like.
Instead of the 'I have to XY or else' story, perhaps it's 'I can, but actually, I'm good, even without it.'
Look back, take stock, and celebrate.
While the first way: Stay in the Body is concrete and personal, the next two have a more contemplative and cerebral quality to them.
The question is then, how to do these things. There are a million ways. Right now what’s springing to mind is to suggest with a friend, or to set a date or two with yourself, to do these things intentionally. You might put on your calendar for a day of this weekend, or the one right before or after the bigger holiday events coming up, a two hour window at your favorite coffee shop or nook, to meet or factetime a copascetic friend or on your own, to come together write and share on the following.
A few guidelines:
Don’t force anyone to do this. Including yourself. No 14 year old kid is likely going to want to answer these questions. That’s ok.
If doing this in a group or with friends, let everyone be and respond as they want to. It’s not a time for advice giving or opining. This was everyone feels safe.
When I do this kind of thing with a friend, I find it helpful to share the questions and write on them, and then each person has time to share out loud what they wrote.
1. Stay in the body.
When manic holiday shopping or intensive socializing and activities are on constant offer, there is a tendency for my energy to go up and out. In the aisles of a store, the energy goes out through the eyes and the senses, or bores deeply into a list, and I can completely forget I have a body at all. At a holiday party or a tea with a friend in from out of town, I can feel a pull to match the bubbliness and superficiality that may be all anyone is capable of mustering as the weeks wear on. Another scenario that looks a little more like hibernation but also is a kind of disembodiment is binge-watching shows. Sometimes if holidays are lonelier, or there’s grief and loss as a part of this time of year, I can find myself wanting to manufacture good feelings by not one but a whole season of something, until I dream about the plot lines and characters, and my own life becomes of mash up of fiction and reality.
This is for most of us a norm at this time of year.
To stay in the body, here are some suggestions.
Happy belated Thanksgiving.
As the days get shorter and colder, I am now slowing down into this season of reflection, rest, and to the best of my ability, going inward. Someone recently pointed out to me that doing so poses a real challenge at this time of year because economic forces do not want us to do this, though for centuries it’s been a time for rest and falling fallow. At a grocery store three days before Thanksgiving, I felt and heard that constant jingle jingle jingle that spurs one to throw that extra holiday oddity into the cart, and just one more little gift. It’s fun sometimes, until it becomes a kind of manic autopilot. So, today, on the day after Thanksgiving, I’m going to start putting out some alternative points of focus to accompany all of that, or to do instead. I will do this in three parts.
We’ve got just over a month before the holidays are behind us. For myself, and for you if you choose, here are some ways to go slow and go in peace and stay healthier. I’ll outline these, and then go into more detail in the posts to follow.
1. Stay in the body.
3. Look forward.
Bring the insights of these practices to the more outward facing facets of this holiday time, and see how much richer an experience it can be!
The Shapes Arise!
Walt Whitman's writing arises itself from a very unified understanding of being, objects and the world.
On the eve of sharing my third book with all of you this September, I share this part of his epic poem Song of Myself.
17. Song of the Broad-Axe
The shapes arise!
Shapes of factories, arsenals, foundries, markets,
Shapes of two-threaded tracks of railroads,
Shapes of the sleepers of bridges, vast frameworks, girders, arches,
Shapes of the fleets of barges, tows, lake and canal craft, river craft,
Ship-yards and dry-rocks along the Eastern and Western seas, and in many a bay and by-place,
The live-oak kelsons, the pine planks, the spars, the hackmatack-roots for knees,
The ships themselves on their ways, the tiers of scaffolds, the workmen busy outside and inside,
The tools lying around, the great auger and little auger, the adze, bolt, line, square, gouge, and bead-plane...
I love about it that it's a list of things, that it's about the mundane, observing what's here, and just letting it awe one. The full title of the upcoming book is Elements: a love letter to all things everywhere. As you can see here, this poem is clearly a love letter to all things everywhere. And it is a song of Walt Whitman's Self. In this new book you will find lists of objects, arranged around each of the 118 known chemical elements that make all the stuff, all the shapes arising.
This part of Whitman's poem is not in the upcoming book, but there are other words of his included:
Every atom belonging to me as good belongs to you.
I was intrigued by Whitman's use of the word 'atom' because the atom as we understand it today in scientific terms, was not actually discovered during Whitman's time. It turns out that the word 'atom' is an ancient greek word meaning 'indivisible.' The smallest unit possible. Now for us, an atom is made up of smaller parts: protons, neutrons and electrons, and smaller particles including quarks. And we keep discovering that an 'indivisible' thing is made of other things, defying/expanding our understanding again and again. The concept and word 'atom' is ancient, and used by Whitman in his writing and poems, in sum.
An element, by the way, is a uniquely structured atom, with a set number of protons, and electrons, and its own atomic weight (based on these). There are 118 known such elements, or unique atoms, that bind and react (steam, smoke, fire, farts, fireworks, rust, yogurt and so on) and make all the things we are, eat, have, and see. The lightest one has one proton and electron and the atomic weight of 1 (Hydrogen H). The heaviest has 118 protons and electrons, and the atomic weight of 118 (Oganesson Og -recently discovered and named if you haven't heard of it).
Here are a couple of other Walt Whitman snippets that I considered including in the book because they hit upon these themes of awe, union, and inseparability that inspired my book:
15. To be in any form, what is that?…
I have instant conductors all over me whether I pass or stop,
They seize every object and lead it harmlessly through me.
14. My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their parents the same…
18. Songs of the Open Road
The earth never tires,
The earth is rude, silent, incomprehensible at first, Nature is rude, silent, incomprehensible at first,
Be not discouraged, keep on, there are divine things well envelop’d,
I swear to you there are divine things more beautiful than words can tell.
I can't wait to share this book with you. Thanks for tuning in.
UPDATE! The Elements book is now for sale here.
THIS IS HOME
May 27 - June 26
Gallery B in Castine, ME
A four woman exhibition opening Feb 3 2023 at the Ann Arbor Art Center.
Curated by Thea Eck.
Janice Charach Gallery
West Bloomfield MI
Jan 15-Mar 1 2023
Works of pure abstraction by 18 artists including five new puffies!
END PAPERS COURSE
Make your own hand sewn book from the papers left by a loved one.
FREE SESSION WITH HANNAH!
If you feel overwhelmed, confused or just plain excited by what's afoot in your life, and would like some excellent clarifying space and tools, try a session with Hannah! She's been a coach for 15 years. First 30 minutes is just to see what it's like...
Hannah Burr is a contemporary artist and author. Originally from Boston, she lives in Ann Arbor MI.