Que Lindo Sueño (Life is but a Dream)

No matter what the language, no matter the land, if one is purposeful, hopeful, loving and a little bit lucky, life is full of dreamlike beauty. My recent wanderings on holiday reminded me of it in the larger sense of being with beloved people and going to marvelous places, having plenteous desirable free time (and deeply-loved sleep), delicious food, and delightful small adventures. I was also reminded of it in the more intimately tiny sense of prettiness all around me and well-being inside of me. So I give you a selection of small, visible tokens of those joys and remind you that whether you say it ‘Que Lindo Sueño‘ or you row your boat around singing that Life is but a dream, whether you’re in Russia or Morocco or Iceland or Texas, the astonishing and lovely is all around you for the looking, listening, tasting, and holding. Sometimes all it takes is to be aware; to pay attention. I wish you a year full of beauty!photophotophotophotophotophotophotophotophotophoto

In Dreamland

I live in my imagination. And I’m an artist. And further, I want to invite others into my imaginings, at least some of the time. I haven’t got endless resources when it comes to the skills and tools and knowledge it might require to make images that other people can indwell in the same way I experience them. When I ‘go to my happy place’, so to speak, I’d like to be able to take others along with me. It’s always so magical there that I want to share the delirious sweetness of the experience with anyone else who might like to try it.photoMuch to my surprise, I discovered recently that one of the characteristic things I do, and have done for as long as I can remember, is a technique that is now embodied in a photographic format so tremendously popular that it’s taken even to the point of software being developed to help accomplish the trick for you and dramatically called HDR (High Dynamic Range) imaging.  I am less dramatic myself, apparently, as I’ve always simply thought of my little tweak as good old-fashioned exaggeration. What this discovery (at this late date) says the most is that I’m slow to catch a clue. But it’s also somewhat heartening to me to think that despite my lingering ignorance of HDR–among innumerable things of which I am miraculously ignorant–I have actually been practicing techniques aimed at accomplishing what is newly center stage again in the visual art world.  Who knew. Me, being fashion-forward. Ha.photoI’ve long since striven to bring out the contrast and depth and the separation between different components of my visual compositions by intensifying various parts of the art a bit beyond plain statement of fact. I suspect that most of us at least feel that we see (never mind experience) the things we see with greater intensity than we could hope to fully convey to those around us. A little push might be required to help others to enter into our worlds fully. More saturated color. Wider contrast between the lights and darks. Sharper definition of edges, even to the degree of incorporating bits of ‘outline’ to imitate the separation our eyes naturally make in transitions between unlike values and textures and colors in the real world. And, in photography, since I can manipulate my pictures readily now that I’m a digital shooter, exaggerating those qualities in various parts of the photos by changing the pixels.photoThe joke’s on me, of course, because lacking either a camera that has HDR bracketing and stitching capabilities or the know-how or software to use any sophisticated quick-click methods to accomplish this look, I still plod through it by selecting the tones and textures, the areas of emphasis and low-contrast, and saturating or desaturating different parts of my pictures all by laborious hand-tooled means. My true artistry may be my unique ability to be both forward-thinking and backward-doing at one and the same time. But I’m okay with that, if it makes it easier for other people to find their way into my images. You’re all welcome in here too, you know.

Characteristic Characters

graphite drawingThere have been a few occasions in the past when I thought I would go out into the wide world, metaphorically speaking, and seek my (however tiny) fortune on the strength of my artwork. I happen to think I’m a pretty good artist. Even other, seemingly sentient and sane, people have given me reason to think I’m a pretty good artist in somebody’s eyes besides my own. Not that I would be in the least biased.

So I’ve looked into various ways to ‘put it out there’ [Ed: don’t be ridiculous. NOT THAT!], from looking at DIY publishing, either online or on-demand, of prints of my artworks or of books–I’ve got a whole stack of book pages laid out with my art and writing on a whole slew of topics and themes, all stashed away digitally for Maybe Someday use–to sending hard copy prototypes of said books and artworks to various publishers, galleries, shops and the like to see if they’d be interested in aiding me with their resources. The answer, always, has been No. All who respond with anything other than simple form responses indicate that they, too, think my work is good stuff. But the other universal response is: I’m too hard to ‘package’. After whatever amount of hemming and hawing is required in the instance, the clarification is that my work (usually referring to the visual parts, but written forms have been included as well) varies too much. I’m not same-same-same enough to be marketable, apparently.

I consider this high praise. But it’s rotten for business, as you can imagine. Yes, I’ve sold both speculative and commissioned artworks, but only privately and by word of mouth and for very modest sums and, frankly, none in quite a long time. I’ve had a number of gallery showings, but virtually all ones that I organized myself, paid for from start to finish, framed and installed and lit and removed myself (though as my family and close friends will attest, not entirely without enslaving some of them for some of the schlepping and heavy lifting)–and nearly all of these also garnering me good reviews, when I could get any critics to attend, and lots of enthusiastic appreciation from attendees, but no sales. I’m actually beginning to think they might be onto something, those crazies who sell high-end mansion properties and deal with slow sales by jacking the prices higher and higher until equally crazy buyers consider the places posh enough to capture their highfalutin imaginings and plunk down megamillions of dollars or Euros or what-have-you. Meanwhile, I’m sitting here on my little paper and digital treasure trove of creative wonders and selling occasional copies of them for pennies at Zazzle.com.

The other aspect of the critiques I’ve sought that always seem to end with ‘gosh, you’re wonderful, buuuuuuut . . . ‘ is that the same people who tell me I’m too diversified (if not wholly a dilettante and a flighty fool) for my marketable good often tell me in the same conversations that I have a very recognizable style, so no matter how much my subjects and media and moods vary, they find my work fairly easy to identify. And they say this as though they, too, think that’s a good thing. Can’t say I can untangle how the good seems to be perpetually the enemy of the moneymaking; clearly a puzzle I haven’t solved. Yet.

Until then, I keep doing-what-I-do, plodding along and enjoying the process because if it isn’t making me (or my patient partner) any income, it should at the very least be fun to do it! And I do find that no matter how much my attention wanders or my themes hop around from light to dark, from complex to childlike, from crudely handmade to semi-seamlessly digital, I see more and more the marks of my own nature and personality and style peering out at me from each work. I may draw characters that are as far from my own ‘type’ and experience and even beliefs or prior interests as can be imagined (by me), but each of them ends up being somehow a child of my own making or a member of the larger family of my creative spirit, and that’s pretty good, too, I’d say.graphite drawing

Trading Bouquets All ‘Round

photoI’m rather pleased with myself, but then that’s hardly a new thing, as anybody can tell. At the moment, part of my self-congratulation stems from passing the 500 posts mark on my blog, almost all of those posts at the rate of one a day. Yes, this blog is my multivitamin! I get so much affirmation, yes, but also so much practice writing, drawing, working out topical ideas, cooking, photographing and all sorts of other things that it’s beneficial in more ways than I can count.

I also continue to gain enormous amounts from the fellowship I find here with blogging friends and readers, where we share our thoughts and inspirations, and often, our hearts on a regular basis. This is a world that, considering I didn’t even know of its existence very few years ago and even then, had no idea of its potential influence on my life and others’, has become a remarkably important part of my every day as well as a challenge and quite frequently a great pleasure.

It doesn’t hurt that the kindness of previous strangers in my circle of blogging friends has also included cheering me on in the form of blogging award recognitions, and I would be remiss if I didn’t say, with a deep bow, Thank You to them once again for the gracious support and encouragement that make me feel happy to be here far beyond the initial drive that found purpose merely in enforcing my need to practice and to be accountable for doing so regularly. I am in fact trying rather hard these days to apply the same sort of discipline to getting back some seriousness about both useful physical exercise and some degree of greater mindfulness about my eating, both of which I know from experience serve to make any intellectual and artistic practice more feasible and more enjoyable too.

So to my generous and gracious co-bloggers Subhan Zein (passing along the Sunshine Award, though he himself is one of the brightest rays of light in the blogosphere!), Kate Kresse (she is so amazing she knows how to make me feel Illuminating, Versatile and Lovely whether she’s flying by to grant me awards or not!), and the London Flower Lover (whose land of peace-love-and-joy compels me and delights me at every visit!), I say that however slow my public acknowledgement of their sweet open-handedness is, it is truly sincere and grateful. Along with all of you dear people who have cheered me on with awards and readership and, especially, your constant comments and conversations with me, this has been a richly rewarding place to be for this last year and a half, and I will gladly keep ‘living here’ for the foreseeable future in your marvelous company if you let me! Your popping by this ‘daily diary’ of my thoughts, artworks and adventures makes every second of it a worthwhile treasure, and I thank you all. Bouquets to each and every one of you.photo

Blogsistentialism

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Sighhhhhhh . . .

I’ve got this little problem, see. It’s about my name. No, I am really pleased with the one I was born with–Mom and Dad did a bang-up job with that, as far as I’m concerned. Parents have it easy with the baby-naming stuff; it’s not their fault if the kid doesn’t match up with the moniker, considering that they had no way of knowing the shrimp beforehand to fuss over pairing name and gnome perfectly.

My problem is with my blog title. I’ve winged it with my online place’s birth-name, a version of my own, since I started the gig a little over a year ago, but in truth, it was pretty much a place-holder since I had no inkling then that I’d not only stick with the process but have people beyond the borders of my immediate family visiting with me here. So the problem is, if there’s nothing in the name of my blog to tell anybody outside of the aforementioned familial borders what the heck this blog contains, or why on earth they would have the remotest reason to bother visiting here. If, indeed, they did.

Now, then, I’m having a good old identity crisis. ‘Cause I don’t know what the heck to tell anybody either. On Tuesdays, yeah, you’ll generally find food-related ramblings when you show up. Other days, though, swerve from one topic to another so loosely and with such unpredictable abandon that I don’t know when I sit down at the keyboard what direction I’m bound to take. New drawing? New photograph? Reminiscences about travel, DIY monkeying, garden plotting, commentary on freeway drivers or a freshly minted and wildly ridiculous poem–I just haven’t figured out any sort of way to describe in a couple of words what’s on the non-Tuesday menu around this blog.

I’m open to suggestions. Thanks to my obsessive dilettantism, my spouse suggests that the family nomenclature for me of Short Attention Span Artist might just do the trick, but as accurate as it is in describing me (and probably what I do, too), it still doesn’t seem to me likely to tell a total stranger what to expect on arrival. Tangential adventures like mine could possibly be described as, uh, Tangential Adventures, but of course that’s pretty cryptic too. Art, Poetry, Photography, Essays, and Ingenious Insights combines the pompous and the dully categorical in a way remarkable only for its long-windedness.

I guess I’ll just keep a-sittin’ here in my little corner twirling my ponytail for a while and see if some astounding inspiration happens to alight upon my bedazzled pate. Ooh, Bedazzled Pate! Nahhhh, sounds like some kind of yummy mousse studded with masses of rhinestones. The truly big question remains. Who am I? Doubt that can be answered in this or any other lifetime. But perhaps I’ll figure out my blog’s identity one of these days, at the least. Feel free to help!

 

Black & White in a World of Color

digital painting from a photoI was just strolling along and running errands, minding my own business, when I spotted this little twosome toddling along a nearby lawn. The way that they bobbed in unison, then in counter-rhythms, then in unison again, side by side, made me think of piano keys. They were like visual music, these birds, unselfconsciously creating a silent but cheering melody as they made their way across the grass. And they were in sharp contrast, being mainly black and white, to the Technicolor world all around them which suddenly seemed a little dull and plebeian by comparison.

And I thought, that’s how art works for me. It’s not that it’s always spectacular in its showy presence, brilliantly executed or wildly original–just that it strikes me at the right time and in the right way to make me see both the art and its context a little bit differently. It’s one of the reasons that I so love black and white visual artworks, in fact: that the simple removal of the known and expected colors of the subject can make me see the mundane as magical and contemplate the distinct wonders of things that ordinarily I might pass by without noticing. I suppose it would be good if I could learn to do this with a whole lot more of my world a whole lot more often, and perhaps I would refresh my sense of wonder enough to truly appreciate how fantastic ‘ordinary’ life really is.photo montage

Blue, She Said!

That most fa-BLUE-lous of women, Ms. Cyndi Bookchick, just posted about her eternal color love, blue, and while I’m mostly noted as a whopping fool for unlimited color of every kind, I am, among those multitudes, deeply fond of all shades, tints, and hues of the blues. So with that friendly little bump from Cyndi’s blue-sky moment, I am moved to share some pretty blues with alla youse.photophotoBurning in Midwinter

Turquoise of the hottest hue

(A word not often linked with blue)

Bears in its heart the sun’s true fire

From its desert home, where it may transpire

Even in this day of detachment, cool

And belief in only the Facts of school,

That mystic magic and alchemy

Still stalk abroad and begin to be

Unearthed in windstorm when the stone

Under the sand is polished, blown

To visibly capturing sun’s wild rays

To give bold turquoise stone such blazephotophoto

Nuclear Winter Descends on the Kitchen

I am so not that blogger. You know, the one who makes stupendous, dazzling, dream-fulfilling, frenzied dance inducing deliciousness every time I enter the temple of cookery and take skillet in hand. The artiste-de-cuisine whose documentation of each morsel of impending salivary serenity is preened and primped into further gleaming gloriousness and photographed more glossily than a phalanx of supermodels in swimsuit season. The doyenne of dining, the poet of pumpernickel, the queen of quenelles, writing elated paeans to the plate that stimulate the appetite and soothe the spirit simultaneously, every word a twinkling, perfectly faceted gem of gustatory wisdom and love.photoSee, what my heart is cooking and what my hands and brains are genuinely capable of producing are not necessarily identical in nature, not wholly synchronous. I start out with a perfectly innocent yellow capiscum, intending nothing more sinister than to slice it into tidy segments and give it a friendly saute in a spot of sweet butter, and I think to myself, Why, that’s a mighty pretty bit of golden sunshine! I really ought to take its portrait. And sometimes it cooperates moderately well, and at other times it becomes something of an extended exercise in abstract thinking to even discern that the resulting portraiture is indeed of a sweet pepper, and a rather tasty one. It refuses to be anything other than a poor defenseless bell pepper mauled malevolently by bad knifework and lying listless, awaiting its ultimate destruction in a frying pan. I mean well, really I do.photoThere was, for example, an incident the other day involving an attempt to make (for the first time in a verrrrrry long time, mind you) crepes for supper. I wanted to make them without flour, since I’m making a sincere effort to battle an addiction to wheat and offset the unkindness it seems to do to my stomach. So to the eggs I added only a splash of cream to thin them a bit, a pinch of salt and a touch of vanilla for depth of flavor. So far, so good. But of course, not having made crepes in eons, I made the first one so far too thick that it morphed quickly into a leather-thick omelette of unwieldy proportions and promptly subdivided into continental shapes and semi-detached crevasses when I attempted to force it to wrap around the roast-chicken chunks anyway. The second was more successful, but given that the crepes were already going to be fairly huge and there were only two of us coming to the table, I’d only made enough batter for two crepes, so one remained a geographical disaster area when plated.

It’s hardly the worst sin I’ve committed in the cooking realm, but even the vegetable-mushroom medley in herbed tomato cream sauce being lapped over the top and sprinkled with shredded mozzarella to melt couldn’t exactly disguise the rocky profile of the crude assemblage underneath. Ah, well! It tasted fine enough that (given the huge portions) chopping up the remainder in a little casserole with some added tomatoes and more sprinkled mozz and cheddar to melt in made a perfectly serviceable (and actually, prettier) pseudo-lasagna for brunch the next day. I keep reminding myself that aroma and flavor, not good looks, must always remain the chief arbiters for the biters of the dish.

photoBut I can’t help but judge a dish on its beauty, still, and neither do any others unless they’re genuinely starving. Christmas Day’s standing rib roast of beef (above) was as tender and juicy and flavorful as any I’ve made, and in fact the gravy was a delicious simple reduction of beef juices and Cabernet finished with a bit of butter, but they didn’t impress with their devilishly handsome appearance as much as they might have done if I’d more intelligently plated the meat on top of the sauce, especially in the company of such homely looking side dishes as sweet coleslaw and brown-butter mashed potatoes. Presentation remains elusive, and capturing it on camera even more so. I must continue to learn!

Meanwhile, back at the oven, there are more serious disasters, ones that if compounded one with another and another as they were last week for some infernal reason beyond my ken, verge on apocalyptic. The centerpiece of one such Perfect Storm of kitchen failures was the day in which I managed to mis-set two crucial cooking elements at once. The end result of the first was that the wrongly timed egg boiling created not the expected hard-boiled eggs (a simple enough thing!), not even soft-boiled eggs mind you, but implosive mutant mush that was unsalvageable and decidedly unpalatable and went straight from kettle to compost in a trice. I was relieved that the Dutch oven finishing its long time in the sauna at least held a nice batch of broth that had been simmering overnight–that would cheer me up–relieved, that is, until I discovered that I had apparently jostled the lid out of place the night before and left just enough gap that not only did the liquid all vanish in a beautiful cloud, it left behind such a blackened, smoking pile of bones and charred vegetables and meat bits that I not only had to chisel out what I could and soak the pot for two days, continuing the excavations until I could scrub it back to a recognizable enamel surface, but I could also literally not photograph it at all. It was the perfectly even black of deep outer space, offering not a single change in surface that could reflect the light required by a camera lens for recognition. The smoke released when I opened the pot took days to clear from the house, and the only upside I can think of is that the pot was too tough to die despite its trial by fire.photoSo any time you are feeling a little blue, a little inadequate as a chef or depressed as a foodie, take heart. I have not only managed in spite of myself to keep self and fellow diners alive and un-poisoned for all of these years, even without resorting to the antique cure-all elixir waiting on the apothecary shelf, but have even occasionally risen above my faults and produced some memorably tasty, yes, even prettily presented, treats that people who didn’t even owe me money complimented. I’d show you the best of them and preen a little, but documentation still remains my weakest suit, and of course there’s that perpetual problem where the really good stuff gets eaten before you can say Photo Op! and dash for the camera. Later, perhaps. Dig in!

And Now Let Us Pause for a Commercial Break, or at Least Some Blessed Radio Silence

photoIf You Must be Tedious,

at Least be Mellifluous about It

In the immortal poet’s phrase,

No matter if the topic strays

From strictly epic or romantic

Off to something dull, pedantic

Or illogical, it sounds

Quite lovely in the swooping rounds

And swinging curvature of thought

The poet’s pretty words have got,

So if you must tell boring tales,

At least make sure that each regales

Us with its language so we won’t

Care if you say great things, or don’t.photo

Zero in, Zero out: I’m Done Thinking, Now

Vast emptiness and silence and that sucking black-hole sound,

Sheer nihilistic nothingness and open space abound,

But nothing has prepared me yet to deal with absent thought

So far as getting something Meaningful from it; I’ve not.

So, Nothing, nothing, nothing: that’s all I have to say.

If you want more, you’ll have to come back on another day.

I’ve spent my great invention quite completely and prefer

To take a break, relax, sit back, and hope you will concur.photo

Art in a Tuxedo: Why Black and White is the Perpetual Classic

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No matter how old-fashioned the content or style, black and white imagery still has things to say . . .

You know that I’m wild about color. I’m a sucker for the extravagant and flashy and juicy and yes, even subtle, stuff you can do when you play with colors of any kind. But despite my persistent dalliances with exotic color, I always come home eventually to good old black and white. Unlike other relationships, though, this is not an instance of messing about with the dangerous and glamorous side and then coming home to what’s staid and safe and un-challenging. No, indeed.

For black-and-white work has its own tricks and secrets and deliciousness. There’s a good reason that all of the areas of design that feed on trendiness–fashion, architecture, print media, interior and industrial design, and all of their kin–go through cycles of obsession with black and white treatments of their star features. Why are the halls of power and wealth still ruled by black-limo-riding people buttoned down in their black suits and little black dresses? Not so much to show conformity and adherence to the rules as to assert ascendancy over them, a touch of indifference to them, and personal peacock significance that transcends them to the degree that they become merely the frame for one’s individual importance.

It’s no surprise to those who design anything, art or otherwise, that black and white work brings its own set of problems, and shares many others with color work. You still have to think about content (pictorial and psychological) and how you want to convey the right message or storyline with those. You still need to deal with space, volume, proportion, texture, shape, line, style, character, and all of the other ephemera that determine how–or whether–your message is getting across. But like that problem of playing or singing so-called simple music, where the performer’s every note, every interpretive move, is laid bare by the familiar and seemingly uncomplicated structure of the piece and thus lies open to the criticism of the least educated or experienced listener, black and white imagery can appear to be the path of least resistance, the easiest mode, for accomplishing any design goal and is therefore frequently scrutinized with a different and less discerning eye. The truth of the matter is that any technical or theoretical approach in any medium is as easy or hard as any other and depends more on how far the artist is willing and able to push to achieve her ends. If people look at my work with the attitude that it looks terribly hard to have made, that doesn’t change the reality of my process or the end product any more than if they look at it and sneer that their fourth-grader could do much better. Both are probably right some of the time!

All the same, there are some sophisticated possibilities in black and white alone that don’t need the interjections of color commentary to keep things interesting, either on the production end of the equation or in the concrete result and our responses to it.

Black and white stuff has come to have connotations in our western culture having to do with things like formality, businesslike attitude, clean simplicity, and expertise, depending on the context and mode of its use. Beyond that, it has the ability to stand out, in this age of constant bombardment with imagery, information and busyness, as a sort of unexpected moment of visual respite that calls to us. And as a compositional tool, it just plain never goes out of fashion. Getting the right contrast in values, intensity of edge and surface, and delicacy of line is a demanding and rewarding process that will never be boring. A fabulous black and white picture carries a cachet that sets it apart from anything that can be achieved with color, no matter how brilliant and fantastical the color may be.

graphite drawing

Old as it is, black and white imagery will always stay on the cutting edge . . .