We were So Civilized

Digital collage: We were So CivilizedNo matter where I am on the Fourth of July I am likely to think about the country in which I was born and have lived all of my life thus far: the United States of America. The Fourth is the official birthday of the nation, though many of the current states joined the union long, long after that July in 1776 when it was established by its founders. Like so many nations around the world, this country and its history are a tremendously complicated and varied patchwork of fact and fiction, hope and fear, two steps forward and one step back. Over and over and over again.

Imagine this: a pack of refugees from religious persecution left their homeland and sailed into the unknown across an ocean of which they also knew very little except that their passage across it was dangerous and miserable and killed plenty of them before they hit the new shore. When they landed, to their surprise there were already plenty of other people living on that new turf, and did that stop the interlopers from moving in, too? Of course not. I don’t expect it ever occurred to them, to be honest, that there wasn’t room for everybody or that if they took a ton of the resources around them that might just mean there were fewer for the previous residents of the land, folk who had, indeed, already long established a very different relationship with the continent.

That the illnesses and diseases the newcomers brought with them from Home would endanger and kill many of their new unwitting and unwilling neighbors could never have entered these interlopers’ minds, when they were so preoccupied with not only their current survival but their escape from the hardships and sorrows back in their own homeland. That they themselves would suffer privation, fear, danger, loneliness, and the loss of their lifetime homes, belongings, families and friends across the vast ocean they had crossed was a stark enough reality that perhaps they willed themselves not to think too hard about all that they faced next also affecting the long-tenured native peoples across whose lands they moved like human bulldozers.

The establishment of this new home was far from smooth and easy too, as anyone could probably guess, though I wonder if any of them really considered that the goal as much as simple escape from what they’d known before. Still, none of those inhabitants of North America—invaders or original denizens—could possibly imagine at the time, I suspect, quite how vast the whole continent was and what that meant in terms of creating new colonies within it, let alone new nations. In the years that followed, the westward migration confirmed the existence of innumerable tribes and clans of people not before known to the new arrivals, but also of wild creatures unimagined, of terrain unlike any they had dreamed possible, of climates that had been the stuff of legend until then.

In those many decades of carving out new paths and territories, it was inevitable that, just as it had been with the foregoing generations of various indigenous peoples, there would be struggles over who had access to what, who could live where, and who belonged together with or as far as possible away from whom. No surprise that this led not only to separated towns and enclaves and ethnic, religious, political or philosophical communities but also, in turn, to a wild array of accents and ideas that might as well have been different languages and different species altogether.

Amazing that all of this could remotely possibly coalesce into what is known as the United States of America. Today’s states are still so diverse, even sometimes from county to county or one side of the railroad tracks to another, that it’s nearly laughable to call them United. We fight like pesky siblings with each other all the time; it’s a miracle, in my book, that the so-called Civil War, one of the most uncivilized events in the country’s history, hasn’t simply continued from its beginning to the present day. It does, perhaps, at subtler levels. Just because the invasion of the continent by a bunch of frightened Pilgrims who only thought themselves seeking freedom from tyranny didn’t destroy the whole land and kill every one of them off outright, and because the various internal skirmishes that led to, but were far from limited to, the Civil War didn’t complete that annihilation doesn’t mean we’re not still perfectly capable of incredible incivility at every turn. We try, we fail.

On the Fourth of July, I think of how astounding and—generally—good it is that this messy nation has managed to survive this long without self-destructing. But I can’t help also thinking this of most of the rest of the world. Humans just plain are messy. We form and break alliances; we argue over being Right instead of being compassionate or practical, let alone pursuing justice. We blunder around, hog resources, ascribe privileges and powers to ourselves and our chosen comrades that we willfully deny others, or just pretend the others don’t exist, and thanks to our weirdly, wonderfully diverse array of accents, when we do get around to discussing the least of these things, even those who ostensibly share a language can’t understand each other half of the time anyhow.

Just possibly, our life form may have been civilized at a few choice moments. There is plenty of potential in this odd species of ours, I like to think. Even we Americans aren’t entirely irredeemable; we keep bothering and beating up on each other like so many brothers and sisters, and yet most of us still manage eventually to just agree to disagree and, in moments of precious lucidity, even to see each other’s point of view and operate in an environment of respect and hope. As rotten as we can be to each other, we care enough to wrestle it out and try to find ways to go forward. Together, even. If that isn’t a family worth saving, I guess I don’t know what one is. Happy birthday, USA. Go forth and get a little more civilized, if you can.

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

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 grandparentsancestors 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