Tag Archives: Drawing

All the Colors

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When we speak of something having ‘all the colors of the rainbow’ I am certain we don’t quite understand the enormity of such a thing. My sisters and I used to criticize badly designed or tasteless clothing, interiors and the like as being so artificial and clumsy because they were of a ‘color not found in nature’–but then, too, our thinking was far too constrained. For nature, that queen of design, has more colors than can be perceived, let alone understood, by mere human eyes and minds.

She’s a trickster and a lavishly opulent over-doer, is Nature. We are much too small to comprehend the fulness of her range and beauty. What seems like one rather simple thing at first often morphs, as we look and imagine further, into something far different and most likely far more subtle and complex.

I was reminded of this last night when I sat down with a new set of children’s marking pens–the cheap permeable-tip markers that last for about five drawings but cost a tenth of what the ‘professional’ pens do–and began to sketch something leafy. As soon as I began I knew that one kind of green would not make a leaf; no, I knew that all four kinds of green supplied by the manufacturer of this little bag-of-pens couldn’t begin to be sufficient to convey the character of the simplest, plainest sort of leaf-like thing, let alone give a hint of the way light might play across it in different climes, at different times of day. Or how much its appearance must be affected by my own vision, my mood, my expectations.

Our abilities to envision, physical and metaphorical both, are fluid but can never quite keep up with the mysteries around us. And that, my friends, is a fine excuse for forging ahead into the puzzling and problematic and pearlescent thing that is the future . . . .

colored markers on paper

How It Works

In Haiku,

Reality takes

Sudden swerves

 

The Insomniac

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P&I drawingR.E.M.

Under a slab

Of cement I sleep,

Wilderness heavy,

Sorrow deep;

Sorrow deep,

Archaeology old,

Running through

Corridors untold—

Racing the hallways

Of my dreams,

Ankles shackled,

With muffled screams;

With throttled throat,

I strive to wake,

Covered in cobwebs

I cannot shake;

Cobweb-bound,

Imprisoned in doom,

Under concrete,

In the dreamer’s tomb.

The Stench of Doom

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Breathe on Me, Breathalyzer

What is that sulfurous smell?

Is it the mouth of Hell?

Or is it only Morning Breath?

With you, I cannot tell.

oil pastel on paper

Through mystic haze and mystery,

Through funky dark and gloom,

Throughout the house and yard and park

And to the edge of doom,

It penetrates both brain and soul

And harries unto death—

Begone! foul demon, Hell-bound hound,

And take your stinking breath.

oil pastel on paperTake Thou Thy Hindmost Hence-ward

If thou must wind down, go downwind, please;

I’ll remain up here while thou tak’st thy ease,

for I’ve found if a lady’s downwind of thee, she’s

immediately an endangered species.

A Whisper in Your Ear, My Dear

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graphite drawingFriendly Advice to a Feckless Youth

The true Reckless Endangerment

is seldom what you’d guess:

not often quite so obvious

as acting under stress,

thus putting others in harm’s way

for physical duress;

more likely, it’s just saying things

much better left unsaid

about your girlfriend’s hairstyle, or

about great-uncle Fred,

who is your mother’s richest

relative and, shortly, dead.

It’s bad enough your note on Fred

will cut Mom from his will,

and likely keep you from her own

good graces longer still,

but there’s your girlfriend left to calm.

Let’s hope the bitter pill

of your ill-thought hairstyle remark

won’t make her wish you ill.graphite drawingWhen Ladies are Dancing

Patterns of elegance, synchronized moves,

Footsteps as fluid as flowing in grooves

Down sides of a fountain afloat with champagne,

They leap and they glide and they dance the refrain

As though they were ageless and weightless as light,

Each gesture, each pattern, each detail so right,

So proper and grace-filled, expressive of joy—

Intimidate wholly the poor sidelined boy!

I am Getting SLEEEEEEEPIER . . .

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My eyelids are growing HEAAAAAAAVIER . . . oil pastel on paperAnybody who’s known me for more than half a day figures out pretty quickly that without my requisite ten hours or so of sleep per 24 hour period, I’m an increasingly lost cause. And there’s no surprise in travel increasing the sleep-deficit effect until the relative percentage of my vegetable content threatens to permanently overcome any humanity I might pretend to have. A couple of very early mornings in a row, accompanied by social activities and gadding about town wherever I happen to be located, perhaps enhanced in their potency by certain giddy overeating episodes that are completely compulsory when I’m in places I don’t often get to visit–all add up to one semi-comatose creature plodding like a Fat & Sugar Zombie (clearly I don’t eat brains or one would think something useful therein would have rubbed off on me) down the byways of my days.

I am so grateful for any nap. The one in the car when my chauffeur-spouse is too tired to drive safely and we stop off in a random parking lot to steal a few winks. The micro-sleep in the dentist’s chair while that nice hygienist is mercifully buffing away the sins from my teeth. The fantastic curl-up right between the softest sheets in the known universe when there’s time at home (or home-for-the-moment), dreaming of nothing, nothing, nothing.

If I babble on an ordinary day in my blog posts, and you all know I do, it can only be made exponentially more exotic and random by lack of sleep. So I am sure that you will all pardon me while I kip out just for a little longer and press my nodding noggin against the nearest available horizontal surface. Just so I can wake refreshed and entertain you that much better. Not making any promises, mind you, just a hopeful, wistful wish as I toddle off to dreamland . . .

Maybe not Captain of My Own Destiny, but at Least I’m on the Crew

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mixed media on canvasboard + textWhen I was a young artist-in-the-making, it irritated me to no end that people who saw my interest in art and knew of my Norwegian roots often instantly assumed that I was a big fan if not acolyte of Edvard Munch, Norway’s best known artist. Besides that my knowledge of Munch’s work was pretty nearly limited to ‘Skrik‘ (‘The Scream’) and what little else I’d seen even in passing was not at all to my taste, I took it as an insult and a frightfully narrow-minded view of my potential. And that, my friends, was the capper, because it implied that I was not in charge of my own future but predestined by my ancestry to be a pale imitation of somebody I wasn’t particularly fond of or impressed by in the first place. I was jolly well going to go my own way and choose my own muses and inspirations and, most of all, I was absolutely not going to be told what to do and when and how to do it by some ghostly abstract borne in my bloodstream.

As a very fortunate young pilgrim, I did manage to get to the Old Country and spend a little time rooting around my ancestral stomping grounds during my undergraduate studies. I got to meet and spend time with my great-aunts and various other relations and visit the house my grandfather helped build for his elder sister, our Tante Anna, and the family farms–the sylvan Ovidsland property with its tidy white house and taller red barn set in among the slender birches, and the more remote summer pastures of Eitland, a smaller and more rustic place on land with a sweet little lake for fishing up dinner. I was able to see the headstones of relatives long-gone, outside the little church where many of the family had attended services for many an age, and walk paths and travel roads where many of them had trod and ridden for ages before that.

oil on panel

Eitland, painted by an unknown family member or friend in the early 20th century.

It was a rich and rare opportunity to both visit the places of my family’s past and to live among my Norwegian family in their current places and way of life, something that few people get the chance to do and that I will treasure for as long as I live. Because it did change me, and change my point of view. It may seem strange, but some of the greatest change happened in completely unexpected ways; I was not especially surprised, though quite pleased, that getting to know family I had not known before and see the world from which my grandfather in particular emerged to live in the States (my other three grandparents‘ ancestors all came from other parts of Norway, where we had less constant and present contact). But I never imagined that simply setting foot in the country of my ancestors would move me as it did. I could never have begun to imagine that I would be so struck, feel such a palpable and somehow heart-wrenching connectedness on standing in front of the amazing Oseberg ship in the Viking Ship Museum of Oslo–but I was; I did.

And I was truly astounded to discover, when I–a little reluctantly, perhaps–went with my sister to visit the Munch Museum that I not only found Edvard Munch’s work much more technically impressive and more profound, his life story and the stories that gave life to and were expressed in his work more impressive and thought-provoking than I had ever dreamed I would allow, but indeed, there was a lot more that I found simply compelling and even, startlingly, appealing. First of all, the guy could draw. He could paint, make prints, tell stories. He was, dammit, gifted and actually worthy of the attention. How very annoying of him, really. Because then I had to come back and re-think what I was doing a little bit. Was it so terrible to reflect something of our however-peripherally-common ancestry in my own work?

I had, if anything, a new appreciation for how much I didn’t wish to emulate his life, with the illness and suffering that marked life for and around him. But to take, as he did, what life presented and put it through the same filters of self and vision and thoughtfulness and surrealist whimsy and passion–that might be precisely what could make me more, dare I say it, myself as an artist. Who knew.

So by the time I set about making the collection of artworks for my master’s degree exhibition, it was an amusing ‘closing of the loop’ to find quite a number of people observing the works in preparation and in the finally installed show coming back to that same old observation that had used to frustrate me so. ‘Has anybody ever mentioned how much your work is reminiscent of Munch’s?’ It was even amusing to me to realize that, though the subjects might stray from his, though the media were sometimes decidedly different and the techniques concomitantly skewed to fit them, and though most of these viewers had no inkling of my ancestry, apparently there was a little something making its way up from my roots to the surface of my art.

Somewhere along the way I had also started to grow up a bit and begun to figure out that we all, inevitably, have less control over our own destinies than we fancy we do, and that that’s not inherently a bad thing–that life will always surprise us and challenge our grand plans and hopeful dreams and carefully charted paths. That the very things we can’t predict or control help to guide and shape us into things we might never have imagined we could plan or wish to do or to be. I guess I just took a longer and more convoluted route to letting my little commonalities with my fellow Norwegian artist Edvard show through; being dead, he could spare the time to wait for me to catch up. And once I got comfortable with the idea of seeing a hint of him in the mirror, I didn’t feel like screaming anymore either.digital painting from an acrylic painted original

Rodents on the Run

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graphite drawing + textgraphite drawing

Doodle Bug

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pen & inkI would like to state for the record that I am not, nor have I ever been, to my knowledge, an actual doodlebug, either zoologically or as a rolling or flying vehicle, a dowsing rod, or a method of seismic activity tracking. Not that there’s anything wrong with any of those. And it’s probably safe to say that my garden and numerous dimly lit corners of my home are probably full of living and dead pill bugs (what we used to call potato bugs when I was growing up), and I confess to thinking it highly amusing that these creatures are in fact tiny crustaceans that live right in my house and look like–indeed, are scientifically named after–armadillos. House Armadillos or Domestic Crustaceans, either way kind of weirdly cool in my estimation.

But I digress.

What I am is one of the many humanoids prone to doodling. And that’s not a bad thing, either. Doodling (or randomly scribbling on whatever is handy, usually a cocktail serviette or textbook or office paperwork or top-secret legal document, depending upon one’s status and age and current supposed activities) often leads, though many a grade school teacher would vigorously deny it, to thinking. And on occasion at least, thinking is not an entirely bad thing.

Whenever I’m struggling to get a piece of writing, a drawing, or frankly, any other project underway, there are few motivational tools that compare with doodling. The serendipitous or random mark that merely records a purportedly thoughtless and pointless motion of the hand can sometimes come to resemble an actual Something, and well, Something almost always leads to Something Else. In drawing as in life, just getting in there and starting, whether I’m ready or not, is the best way to potentially get anything done. Who knew!

Today’s doodle is brought to you by my propensity for turning many of my scribbles and scrawls and squibs and squiggles into things that resemble simplified linear paisley patterns or rosemaling, or any number of other folk design traditions. Once I get going on them, I find it meditative to a degree just to follow the whimsical path of inserting repetitive forms and line treatments, geometries and organic outgrowths of the marks, until I’ve filled much of the available space. Many of these folk-like, repeating elements become almost a trademark doodling style that might be as identifiable to some as my handwriting. Though, hopefully, more legible. And while the doodles don’t necessarily lead to specific or pictorial drawings in and of themselves, they do lend themselves neatly to a more relaxed and receptive state of mind in which those more concrete thoughts and ideas can indeed begin to insert and assert themselves usefully. And that can lead to different sorts of drawing, whether more topical or more sophisticated or more directed. Or not! The inspiration is in the action.digital painting from a P&I drawing

Today I was led by the doodling, not to a different drawing entirely, but to scanning it and playing with it digitally, first layering colors all over the place, then digital textures, then altering the proportions of the image, and lastly, stitching the resulting mash-up into a larger grouping of four copies of the same image arranged in a pinwheel fashion and then stretched, skewed, cut-and-pasted, and electronically stamped into a fabric-like whole that uses the same idea of the initial doodles repetitions-with-evolutionary-changes so that the end product still seems to appear quite handmade, as it’s not symmetrical or fully even from side to side or top to bottom. Now, if I were to take that square and repeat it, even if I turned it 90 degrees each time, for example, it would finally become more machine-made in appearance as well as manufacture. But that’s just mental doodling right there, isn’t it, because I could further alter the combination every single time I ‘copied’ it.

Which illustrates exactly what I was talking about as characteristic of doodling. One thing does lead to another, as long as we bother to do the initial one thing.

That said, I suppose I should get up from my desk and go forth to do a few individual things that might lead to getting some other essential things done around here. Cheerio!digital image from a P&I drawing

Sunflowers

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It’s too soon to find them in bloom. They’re mostly two feet tall at best, thus far, and not nearly ready to flower. And the sky is overcast today. Quite grey and a little bit dark. Any sunflowers would be hard pressed to find the sun and smile at it.

The thing about sunflowers is, they believe in the sun even when it’s not visible. I do, too.pen & ink

The Sun Always Returns to the Sky

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digitally doctored acrylic painting on canvasThis week that is far from a fatuous statement, even from a happy-go-lucky bit of fluff like me. I am always well aware that my life is, was and (I hope) ever shall be a dance party, a dessert buffet and a self-indulgent lounge-by-the-pool compared to most others’ lives. I am grateful to be such a spoiled, blessed or insulated–depending upon your definition; I would admit to all of them in vast quantities–person and like to think that I would never take such wealth for granted.

There are always sharp reminders for me in the family, friends and friends-of-friends who are doing valiant daily battle just to be alive, and if able, to maintain a modicum of quality and dignity in that life, when they are the unwilling hosts of those unwelcome shadow companions of chronic illness–physical, mental, and/or spiritual. I do wish that there were some magic wand I could wave that would miraculously lift away all of those torments and remove the dense dark clouds of them forever, from all people. That is simply a dream, and I know it. But this week I have particular reminders quite close by, and in many ways, of how fortunate I am, and yet also how resilient and remarkable the people and the world around me are as well.

I mentioned yesterday’s storms: the tornadoes that shredded roofs, trees, tractor-trailer trucks and neighborhoods as though they were so much tissue paper. The hail that shattered shelters and windows and destroyed crops. The rain that immersed the already open wounds of the storm-beaten regions in additional water damage. And of course the early high temperatures in the area that will contribute to faster decay and more difficult cleanup and repair work to follow. And not one little iota of the damaging aspects of that touched our home or us personally. Even my tiniest dainty garden sprouts are still thrusting their green leaves upward today. In brilliant sun.

As oversized as All Things Texan can be, the moods of the weather at its wildest are for the most part quickly forgotten by the broad Texas sky, which today is intensely blue and dotted with the mildest of cotton-wool clouds and polished with blazing warm sunlight. The trees, following a light pruning by the winds that mainly took off deadwood and weak twigs in our neighborhood, are lifting their green crowns in thirst-quenched pleasure once more. Barring nuclear winter, it seems that the sun in north Texas always tends to return rather quickly after the darkest and angriest of nights.digital painting of acrylic painting on paper

The thunderclap that affected me more directly this week was not from the stormy skies of a tornado system but via a telephone call from ‘home’: Mom’s recovery from her pair of spinal fusion surgeries hit a serious setback. Her pelvis cracked in a stress fracture. What does it mean? Many more weeks of immobility and pain for someone who has already endured years of it. Another surgery–tomorrow–for the installation of yet more hardware to stabilize her fragile frame. Total bed-rest for what must seem an eon to someone who has been a virtual shut-in for a long time, the woman famous for a lifetime of being out and about taking care of all the rest of the world before her stenosis, scoliosis, Parkinson’s, and joint inflammation all combined to beat her into submission. But whose telephone calls have never ceased to be mainly aimed at reassuring those around her that she maintains her love and concern for them—us–and is bracing for whatever the next phase of her fight brings. I hang up from the call and rather than going to pieces in sadness, frustration and anger over the cruelties that her health has dealt her incessantly in these last years, I am weirdly comforted that her doctors are keeping a close eye on her and have a plan for dealing with the current circumstances; that she and my father are, however nervously it may be, committed to seeing through yet another surgery and recovery process; that my sisters and relatives living nearby are keeping a close eye on them and my aunt yet again stepping in willingly to assist with Mom’s care. And that across the world we have a collective host of family and friends who are all cheering them on, willing her well, hoping and supporting in the one way that we can when we are not physically on hand or trained surgeons either one.

In the midst of all of this, the choir-conducting member of my household has the particular and specially challenging time of year that so many western musicians find mighty intense: Holy Week. Never mind that my spouse is in rehearsals for several major upcoming concerts with his and other groups at the university: yesterday afternoon he had rehearsal at 2 pm for next week’s concert with his Collegium Singers (early music choir) that will join them with the university’s Baroque Orchestra, so at the end of that rehearsal he went straight to conduct the orchestra’s rehearsal; when that one finished at 6 pm, he dashed straight over to conduct a rehearsal of the Grand Chorus, which is a combination of his Chamber Choir and Dr. Jerry McCoy’s A Cappella Choir for a major concert on the 25th of this month. Amazingly, he still made it (just) in time to meet me at 8 pm to attend A Cappella’s own concert with Dr. McCoy.

And, oh yes, I was talking about Holy Week. Because of course as my husband is still the interim choirmaster at the Anglican church, he had last weekend’s Palm Sunday services (and Evensong) to conduct, tonight’s Tenebrae service (a ‘service of darkness’ that may have special meaning for many after yesterday’s intense weather slamming the region), tomorrow’s Maundy Thursday evening service, these all interwoven with the usual things musical and administrative continuing at the university; midday and evening services on Good Friday, Easter Vigil to fill with music on Saturday evening, and Sunday morning Easter services. And all the while, day becomes night, night passes, and the sun takes over the Texas sky once more. That’s how it goes.

I merely follow in the wake of all these events and life dramas, taking up the slack in the sails of our little boat as I’m able, and keeping us provisioned with food, clean clothes (keep plenty of black shirts laundered for concerts and services!), and my numerous and sundry checklists of what to do, where to go when, and things we mustn’t forget to bring along. It makes me tired to think of doing what everyone else around me is doing; I’m just glad if I can keep fairly close as I follow them. But I suppose I’m just a little bit like the elephant-following sweeper who is reluctant to ‘leave show-business’, as I wouldn’t trade this Job, however modest it may appear, for anything else on earth. Because the sun, when it shines on me, is so incredibly life-affirming and bright and joyful that I can’t say no to its urgings to come out of the dark and Do things, however small they may be.digital + mixed media