Monday, September 29, 2008

Found the Oracle


This one is called "Found the Oracle." I gave it this title in response to my interest in traveling to Siwa in Egypt (which never happened) to at least go to the site where an Oracle was supposed to have resided (or might that be presided?).
__________________
Peters Valley show this past weekend-quite rainy yesterday.
My favorite part of the show was the audio track: various musicians played on a stage right next to a non-profit that was interested in finding homes for their stray dogs and cats. The cats were of course quite annoyed, but I think that the dogs enjoyed it-or they simply were indifferent. Really funny to hear outbursts of loud (and sometimes angry) barking throughout the musical numbers. The performers probably didn't appreciate where the dogs were placed, but I pictured a nightclub venue with the usual rude peripheral din coming from a totally canine audience. The only part that baffled me was just how they wrap their paws around those beer bottle necks. Arf.

Thursday, September 25, 2008

perseverance or boredom?


The past few days have found me having some difficulty in being in the studio and getting back to some sort of routine. Don't think that my trip to New Mexico brought this forward, as I think it was brewing before I left.

Lately, I've not been too satisfied with my work-I get that bad feeling that I'm repeating myself, with slight variations thrown in in order to keep things "fresh"-but the "fresh" part doesn't seem to be working for me.

I know this side of myself-the boredom that sets in, when I'm too long on any one subject. I've always wondered this-by repeating the motion, do we (I ) get anywhere closer to the bone? Does this persistance pay off or merely produce increasingly cheaper copies of what has come before? What role does repetition/security in my work have for me?

Although I want the bread I eat to be consistant as per its label (I'd replace brands or grains if I wanted a change), I don't see this as a good characteristic of an artist's output. The major contradiction to this thought is of course that the folks who want your work don't want to see it change-at least until they are done and bored with you and the thrill you offered them has gone elsewhere-to newer, shinier stars...aren't we all like that as humans-sure, we all have different "rates" at which we get bored, but eventually for all of us, it's time to change the channel.

On the other side of this coin is the idea of sticking to a subject to explore every possible nook and cranny. By today's definition, this is a passe way to go about things (given the fact that there is something new thrown at us every fraction of a second, courtesy electronic media and the current culture that the same has given rise to)-but does that make this invalid or just out of "style?" Does this form of chanting bring me to a higher state and allow more doors to open or am I giving myself excuse to churn out more "product?"

Does "turning the page" give me license to escape the hard work/persistance needed to reach a (perceived) higher plateau?

Confusing. In the past, I've always resolved this issue by heading in a new direction. An only child coming from a family that changes things only when forced to, the most unnatural path for me has always been to go onto something new thing, therefore producing a time of personal (but many times liberating) turmoil. But I don't know if this is the best path or not.

I worry that I squander the time left to me. As in painting I've done recently-ok, so it's not good by my own standards and sure, I'm learning something: but is the learning cohesive (I guess to really know that I'd be able to retrospect and analyze my whole life, i.e., dead)?

Is it necessary to make everything count? Should it all be that serious? Simply cobbling things together without any need of practical results means that you are a child, engaged in play. Should not play have some place (at least for us poor stupid artists) after childhood's end?
I know that there is value in this, but, unfortunately, it usually comes along with all the usual adult entrapments.
The photo is from NM-this is a place called "Tinkertown" (how appropriate for me) on the side of the Sandia Mountains. This is a museum/folk art construction created by one man (Ross Ward) while the "rest of you watched TV."

Monday, September 22, 2008

Place

There exists maybe only in my memory a place where time is contained-there is nothing here to be dusted off-every breath still holds great potential and the future is always far off and full of promise. I call this place morning. Here is a memory I have of one of those mornings.

Woken up. It's the middle of the night, when all noises and shapes are softened. When we speak, the words are quieted down and hushed-if only in respect for the neighbors (or whatever ghosts we don;t want to wake). We carry on our mission as noiselessly as possible.

We are going to the shore-the dark, warm Jersey shore to rent a little rowboat and go crabbing-a family tradition in which we all seem to animate, much like a Bosch painting brought to life. We are humble peasants at leisure, gathering delicacies for our table.

There's soft light in the kitchen-today I wonder if it would be possible to find a bulb like the one in my childhood kitchen: one that could mimic the light cast. Of course, the fixture and the glass that produce that light haven't been made for 60 years...When I was even younger, the prominent sound of that light switch (which I couldn't identify from my child's bed) scared me: I wondered just what demon was afoot, gnashing teeth or claws to make that sharp click.
Only years later did I put a stop to that delicious fear with the logic that comes from growing into adulthood.

Sandwiches, juices, carefully wrapped slabs of cake, fruit...all packed in that same low-lit aura...the crickets and night noises all outside, all humming along, knowing or caring nothing of our trip.

The car (a beast from the 50's) loaded. The soft light cut off-a lone streetlight or the moon giving shape to the otherwise black night-eveything still covered over in softness. Closing, locking the door, the soft light coming along with us for the trip-we leave nothing behind-the house remains, going backl to bed, sleeping alongside its neighbors.

Crickets even louder, muffled again only by the car door softly shut, another click. Turning the key. Slowly out the driveway and on down the street. Sneaking away like thieves in the night.

The parkway tolls interrupt our otherwise steady speed. I am hynotized by the steady stream of lights we pass under-a bit surprised that there are others, anonymous, also headed towards the shore-do we know them?

The street lights behind us, I count ridges in the road by the slight bumping of the tires-I can't hear crickets, but I know that they have followed us-our headlights seem to be the only lights on the road-far off to the left and the right are little pinpricks of bright...streetlights for sleeping people...the dashboard constant with its mystical colored glow.

One time on this same journey, after leaving the black river of the parkway, we passed a building-a bar and grill-totally engulfed in flame in the early dawn. The firemen had given up on trying to save it and were there simply to make sure that the fire didn't spread. Drinking coffee.

We move even closer to the shore, passing signs for towns I knew to be on the ocean. Soon, I got a glimpse of what I've been waiting for-the ocean, reflecting whatever it can, challenged by the dark night.

There is now a hint of dawn in the sky, more of a feeling than a reality. We park and stow the beast, dragging bags and boxes and reassembling them on a shoreline under a string of lights (xmas tree lot style). There is a cluster of empty boats that hugs the shore, one of which I'm sure is ours for the day.

A guy comes out of a shack and my father and he murmur suspiciously (be quiet, don't wake the neighbors) while I investigate the shoreline and its string of seaweed and wrack-dead fish, old shells, bits and pieces, souvenirs of the ocean. The draw and surge of the tide, here quite weak, is mesmerizing. I need to touch the water-either hand or shoe-some part of me needs contact-unexplainable, but nonetheless important to me. Strong arms heave me up over the wale of the rowboat and I'm in, the shimmy and floating only strange for a moment or two.

Soon we're out on the bay (count ten strokes of the oars) and on the water deep and mysterious. Objects thrown in (like a piece of donut) hurry downward away from me, rhythmically swaying in the current, as if testing their very gravity, before being lost forever. It's morning and the sun is gaining strength.

Thursday, September 18, 2008

Back...continued


We also visited the Chimayo sanctuary, which is the site of religious pilgrimages-It seems as though a cross was found buried here and a church (of adobe) was built...the dirt from the spot where the crucifix was found is considered holy and pilgrims make their way here.
I looked forward to seeing/experiencing this place, but I felt nothing during my visit-s'pose that's because I'm a non-believer.

Ojo Caliente hot springs was another stop-for $16, you can partake in their mineral-tainted springs-choose from an iron, soda or other sorts of hot baths-pretty enjoyable, although you could do a real study on the people that come here...maybe I'm just being cynical. I met a guy there who must have been 70-he had very long hair in a dreadlock style-totally white-he came off like an Indian mystic and perhaps he was...the funniest part of this was my bathing suit-it retains air so that when you plunge into water, it bubbles up-go too fast and the whole thing sounds like you have just let go of the biggest fart the world has known...I entered several pools and it seemed to me as if the folks who were there before me left rather quickly thereafter-was it something I ate?

We also stopped at Cordova-home of families of woodcarvers. We stopped in a gallery and an individual's home-can't say that we were too impressed with the work, but the idea behind the whole thing was great...they use a lot of Cottonwood out there-I wanted someone to point the tree'bush out to me, but I never got to see it. The town was really great-winding dirt roads with many houses cobbling together with little bits of nothing-it was easy for me to be a spectator as Cara did all of the driving-I had to restrain myself from asking her to go down this road or that, but I really did want to see just what was around the bend.

Tinkertown was a tourist destination within the Sandia mountain ski access road. This was a folk art environment and a museum assembled by a man (Ross Ward) who "did all this while you were watching TV." Gotta love that byline! Much of the environment was collected and a lot of it he carved, but you have to see the whole effect: http://www.tinkertown.com/ . The site is, unfortunately, not very expansive and doesn't give you the scope of the place. I'll leave you with the idea that it is worth a visit.

On our way to Bandelier state park, we went to White Rock and got our first view of the Rio Grande from above. Later in the trip, when we were going across a barren stretch of highway, I looked down and screamed, "expletive deleted!-expletive deleted!-expletive deleted!"...ok, that's not what I said. But many, many feet below us (as in, those people look like ants-except, there were no people) lay the twisting and turbulent Rio Grande. We pulled off to the shoulder (and off the bridge)-I summoned up my courage and walked back over the bridge-which was windy as hell and vibrated like a plucked string whenever a heavy truck rolled by-some guy said "I bet there's a lot of baseball caps down there"-yup. What a view. Both of us shot a wooden crutch that lay many feet below us-the temptation to throw something over was strong-signs warned that this was punishable by law and that there were rafters on the river-you coulda fooled me, but then again, my eyesight ain't so good and the river was a long way down.

Bandelier was a full day in the sun, but truly worth it. Petroglyphs, caves, ruins of adobe structures... we did not climb ot one of the biggest caves, where assemblies took place. I'm sorry that we missed it, but by then, we were more than tuckered out. On driving back, we went through Los Alamos-a non-descript suburban mountain town with laboratories as opposed to small factories...stopped into the science museum (briefly as it was late and they closed half an hour after we arrived) and then home to Santa Fe.

The towns of Nambe (reservation), Pojoaque, Tesuque, Las Truchas, Cochiti had great names, but we spent no time in any of them-just sped past them. Route 66 seemed the same way-almost non-descript, except for a part in Albuquerque, which had the old Adobe-style motels, formed into a tight square or rectangle...one of these motels claimed to be the oldest, still operating since the 30's-but this place, sadly, was recently boarded up and chain link fencing was drawn around its perimeter.

The photo: one of the petroglyphs we saw at Petroglyph Monument, where Cara saw a roadrunner and I did not!


Tuesday, September 16, 2008

Back


I'm back from my trip to New Mexico-all that I've heard about being able to touch the sky out there is true...the vistas out there give credibility to all the stories I've heard about raising spiritual awareness, seeing UFOs, having a richer psychedelic experience-but to a sober, untainted (well, at least untainted by chemicals) mind, the experience of being out there is truly humbling...and touching the sky did seem a very real possibility.

Cara and I visited the Sandia mountains (via cablecar), Bandelier National Monument, Petroglyph National Park, Tent Rock National Park, not to mention Taos (thought this town quite schlocky), Santa Fe (fake in the sense that everything catered to the upscale tourist), Albuquerque, Madrid (almost a repeat of Santa Fe, but dustier-there were actually people that lived here-this place reminded me of Woodstock, NY from a long time ago), Cerillos (ok, we never got out of the car, but this place will stay forever in my memory-imagine dirt roads with tumbleweeds blowing through the place-everything there seemed closed down-a proverbial ghost town-very poetic...a place that if revisited would probably trade its uniqueness I found there for a coarser reality-one establishment that stands out, especially because it was "open"-there was a light inside...was Mary's Bar-wooden, tumbledown, authentic)...We drove through Los Alamos and I can't say that it left me with a strong impression at all (not that you asked!).

Tent Rock monument stands out as one of my favorites...on leaving, we met the fellow in the photograph, who, much like the defiant skunk, seemed to think that he (or she) owned the road and challenged our Hyundai for dominance. We had gone to Petra in Jordan 2 years ago and Tent Rock reminded me of the place-ancient oceans and rivers had cut through the rock here, leaving a tortured and twisted path, not to mention the "tent rocks," which are boulders that, being harder than the ground underneath them, perch precariously on top of pyramids of earth until they eventually topple.

Seeing the ancient Indian paintings on rock was inspiring -somehow, I felt in my element-that I was among not only artists, but the artists that I most revere-ones who just grab whatever is available and, for no good reason, start working spontaneously. I know that it's not how today's Indians like to think of their ancestor's paintings, but these inscriptions reminded me of graffitti-although, if there was anything that had the content that you might find on today's public bathroom walls, it totally escaped me. The paintings were mysterious and (perhaps) personal-but all that I saw was painted so that it could be seen by eyes other than the maker.
Hurt my foot on one of the trails, so I've been hobbling around. For the first time, I've been using a cane-amazing how much more respect you get from folks-this was not unappreciated by yours truly. My whole life has been switched around by the pain I feel in my foot-which not only has slowed me down, but has caused me to think more economically with my movements...
Can anyone out there recommend an Arthur C. Clarke read (besides 2001)? I want to buy his book of essays and reread Childhood's End, but I was wondering what else could be equivalent to those books mentioned.
More later-time to hobble over to the coffee.

Wednesday, September 3, 2008

A little older, a little more confused


there aren't a lot more
corners to break off
the plastic has been off the box
for a while now

territory that is unknown to me
diminishes daily

I've gone from wise ass
to older and wiser

Now
I can trust feelings
that don't use concrete
and reasoning
that breathes

animals
really do cut to the chase
Taking no prisoners is for fools
too stupid
to understand
their own set of bellows
and just how feeble
Hummers are
without tires
or gasoline.
This sculpture is called "Martin."