After "Black, White and Red"... I had to wash up.
This is a picture from the kitchen counter.
It may be the better creative effort.
Tuesday, February 26, 2008
Monday, February 25, 2008
Asemic Journal Now Online
Tim Gaze is publishing a new journal called Asemic Movement. He was kind enough to include some of my work in Volume 1. However, personally, I have enjoyed the content of Voulme 2 more. It shows the asemic works of six artists as show cased at the Hahndorf Academy in Australia.
Follow this link to Vugg Books, scroll down to Tim Gaze and click on Asemic Movement, volume 1 or volume 2. They are large PDFs and take awhile to download.
Be patient.
I have tried to find a link just to intoduce Tim, but have failed. I did come up with an interview he did which involves poetry and calligraphy. So that will have to do.
Saturday, February 16, 2008
Shadows Cast by the Moon
Enlightenment is like the moon reflected on the water.
The moon does not get wet, nor is the water broken.
Dōgen
But, I live in the South and in the winter it is the sun that shines bright yet coldly.
As I watch the magnolia shadows play upon the porcelin of my bathtub and tiles,
it’s as if I can feel Silence stirring,
feel the pressure of a shadow.
My intellect whispers to me, “You can’t,”
even as my senses insist, “Oh!”
The argument is settled as I recall the words,
“the moon does not get wet, nor the water broken.”
Joan Relke, an artist in Australia, recently wrote to me about Lady Li of Shu (Sichuan). Lady Li is credited with creating the tradition of bamdoo brush painting by tracing on her paper window with a brush the shadows cast by the moon and bamboo.
Or, as described in the 17th century poem, Painting Bamboo:
New bamboo has emerged from the low hedge;
Tall and erect, it seems spun from kingfisher feather.
When a shining moon rises over the east porch,
Traceries of bamboo shadow cover the ground.
I run pineblack on a bronze inkstone
And wet the brush to capture its inner meaning.
For unspoiled modesty it is by all means admirable,
But I love most its resolve: to be steadfast, faithful.
Women Writers of Traditional China: An Anthology of Poetry and Criticism p.410
Saturday, January 5, 2008
The Walker
It's a new year and new resolution on trying to keep this gallery up to date.
Here is "just about" my first picture of 2008.
Ink on scanner image. Approximately 7.5 X 9.5" matted for framing in a 14 X 18" frame.
$115 includes shipping. Write me for details.
Wednesday, June 6, 2007
Dark Magnolia - Today's Painting
Summer in Georgia and my magnolia is in bloom. ...a rather dark representation with asemic calligraphy.
Ink on scanner image. Approximately 7.5 X 9.5" matted for framing in a 14 X 18" frame.
$115 includes shipping.
Write me for details.
I can take PayPal... and am shamefully slow in getting my ETSY store open. But, it's summer in Georgia now.
------ SOLD, thank you ----------
Monday, May 28, 2007
A Word (on my art)
E. E. Cummings, enamored of the Imagists while at Harvard in the early 1910s, later said he should have "lived in China where a poet is also a painter."
At the fancy Atlanta gallery they didn’t know quite what to call my “paintings.”
The owner said, “No one is doing this.”
What I was doing was intuitive calligraphy painted directly onto photographs I had printed on watercolor paper. It was “intuitive” as it stemmed from my Taoist practice of “reading energy.” I focused upon photo images and then gave expression to their energy via spontaneous Qigong (or guided movements as it’s called in my meditation tradition).
I called it “calligraphy” because my other inspiration is the Buddhist tradition, spiritual calligraphy.
But, thanks to Tim Gaze in Australia, I have been introduced to “asemic calligraphy” and its roots in art. From Gaze I also learned of Irma Blank, an artist who has illustrated the work of Gertrude Stein. This was a complete circle for me, as Stein was my first discovery of a “sacred language” outside the Vedic and Hebrew traditions.
In the 70’s I had read Allegra Stewart’s book, “Gertrude Stein and the Present.” Here I discovered that by emphasizing sounds and rhythms rather than semantics, grammar and syntax Stein captured “moments of consciousness” independent of time and memory. She tapped the archetypal. For example, in Tender Buttons she created a series of still lifes designed to suggest not the object but its essence and aura. Stein was seeking a "way of naming things that would not invent names, but mean names without naming them."
Now, curiously, via Gaze and Irma Blank, I am brought to illustrations of Stein’s The World is Round, a story in which an insecure nine years old girl, Rose, becomes a hero. Here I find, “A rose, is a rose, is a rose.” But, Rose herself prefers blue: blue eyes, blue chair, blue mountain. And, suddenly it’s feeling fairly Zen to me.
Chapter 26: Rose Does Something
So Rose did not sing but she had to do something.
And what did she do well she began to smile she was climbing all the while climbing not like a stair but climbing a little higher everywhere and then she saw a lovely tree and she thought yes it is round but all around I am going to cut Rose is a Rose is a Rose and so it is there and not anywhere can I hear anything which will give me a scare.
And she thought she would cut it higher, she would stand on her blue chair and as high as she could reach she would cut it there.
Is this a children’s story or a Zen koan? I see a rustic blue chair with a ladder back reaching to the sky.
I hear the simple and straight forward almost babble as it wanders on and on and all around. Semantics are there but syntax is a bit askew and with that we are cut loose a bit to drift - either up or in I am not sure.
But, it does inspire doodle, the intuitive calligraphic.
And I am not the only person doing this.
At the fancy Atlanta gallery they didn’t know quite what to call my “paintings.”
The owner said, “No one is doing this.”
What I was doing was intuitive calligraphy painted directly onto photographs I had printed on watercolor paper. It was “intuitive” as it stemmed from my Taoist practice of “reading energy.” I focused upon photo images and then gave expression to their energy via spontaneous Qigong (or guided movements as it’s called in my meditation tradition).
I called it “calligraphy” because my other inspiration is the Buddhist tradition, spiritual calligraphy.
But, thanks to Tim Gaze in Australia, I have been introduced to “asemic calligraphy” and its roots in art. From Gaze I also learned of Irma Blank, an artist who has illustrated the work of Gertrude Stein. This was a complete circle for me, as Stein was my first discovery of a “sacred language” outside the Vedic and Hebrew traditions.
In the 70’s I had read Allegra Stewart’s book, “Gertrude Stein and the Present.” Here I discovered that by emphasizing sounds and rhythms rather than semantics, grammar and syntax Stein captured “moments of consciousness” independent of time and memory. She tapped the archetypal. For example, in Tender Buttons she created a series of still lifes designed to suggest not the object but its essence and aura. Stein was seeking a "way of naming things that would not invent names, but mean names without naming them."
Now, curiously, via Gaze and Irma Blank, I am brought to illustrations of Stein’s The World is Round, a story in which an insecure nine years old girl, Rose, becomes a hero. Here I find, “A rose, is a rose, is a rose.” But, Rose herself prefers blue: blue eyes, blue chair, blue mountain. And, suddenly it’s feeling fairly Zen to me.
Chapter 26: Rose Does Something
So Rose did not sing but she had to do something.
And what did she do well she began to smile she was climbing all the while climbing not like a stair but climbing a little higher everywhere and then she saw a lovely tree and she thought yes it is round but all around I am going to cut Rose is a Rose is a Rose and so it is there and not anywhere can I hear anything which will give me a scare.
And she thought she would cut it higher, she would stand on her blue chair and as high as she could reach she would cut it there.
Is this a children’s story or a Zen koan? I see a rustic blue chair with a ladder back reaching to the sky.
I hear the simple and straight forward almost babble as it wanders on and on and all around. Semantics are there but syntax is a bit askew and with that we are cut loose a bit to drift - either up or in I am not sure.
But, it does inspire doodle, the intuitive calligraphic.
And I am not the only person doing this.
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