it is entirely and utterly exfoliated. delaminated. naked.
the slender tree stands alone in the marshland, like a graceful ballerina in allongé. barely a side branch, it is stunning against a blue blue sky.
and, yet, in all its raw nakedness, its vulnerability, it stands proudly, stalwart, determined. it is still alive.
we stand next to our canvases, in front of microphones, in recording studios, on wooden stages, at qwerty keyboards, poised in front of 88 keys, with ballet shoes or tap shoes or jazz shoes, behind the cine-camera, in front of the cine-camera, at the potter’s wheel, baton in hand, holding sculpting tools or playscripts, focusing lens and aperture, holding written words in our fingers.
we are naked trees in the marsh. we stand – vulnerable to the elements – unprotected. we brave lack. we brave abundance. we withstand the inbetween.
we are exfoliated every single time we put it out there. we are artists.
green sounds different than red which sounds different than blue. green looks different than red which looks different than blue. green feels different than red which feels different than blue. so a color field of all three would seem to emit, depict, emote a wide spectrum.
i’m pretty sure that mark rothko and i would have been friends. his goal: “to capture the essence of basic human emotions on the canvas and then evoke those emotions from his viewers.” (masterclass.com) my goal: to capture the essence of basic human emotions on the piano and then evoke those emotions from my listeners. instruments – the canvas, the piano – that tap in. yes. friends.
in my mind’s eye, i can see a tour. all over the country to different art museums that house a mark rothko or two. a big yamaha concert grand on the wooden floor, placed in front of the giant color field painting, paused in silence, waiting. abstract expressionism on the canvas. and then, the translation – abstract expressionism on the piano. action. color field. repeat.
i’m pondering this painting green, red, blue. in thinking and feeling green, i ponder what i’ve already composed that sounds, feels, looks green. in thinking red, i ponder what i’ve already composed that sounds, feels, looks red. in thinking blue – specifically blue-around-the-edges in this case – i ponder what i’ve already composed that sounds, feels, looks blue.
in a push of creative courage, i can see this tour. in a room void of people or full of people, i imagine me and the painting and a piano. high ceilings, the swoosh of the sustain pedal brushes against the walls and swirls around. no other sound. yet. and then.
i’ll play for you i’ll play for you i’ll play for you
and you will hear green and red and blue as you will see green and red and blue. and maybe, if you are open to it, you will feel green and red and blue. and mark and i will have done our job.
it’s the work of all artists – really, everywhere: play for you.
the first time i walked by i was a misunderstander, a glancer, a critic.
i thought – and spoke aloud – that it seemed elementary to display canvasses with the primary colors…large canvasses at that, lots of wall space, valuable real estate for an art museum.
it only seems right that ellsworth kelly, in a conversation with john cage (i mean, who gets to talk to john cage!!) said, “i am not interested in painting as it has been accepted for so long – to hang on the walls of houses as pictures. To hell with pictures – they should be the wall.” and so, ellsworth created big multiple panel paintings – murals – to cover walls. they are stunning and i have been enlightened – by sheer experience of his work. you need just stand there a few extra moments and it hits you. his “austin” temple of light is on our list of places to visit. minimalism. color. breath.
we visited the milwaukee art museum and the two of us, ellsworth, richard diebenkorn and mark rothko all hung out together. their notoriety far surpasses anything we could dream of – yes, yes – by miles and miles. but they love hanging out with people who get it and we were happy for their company.
we talked about art and music and simplicity and air and light. we talked about the ocean park series and rectangular color fields and bigness. we talked about communicating basic human emotions in our work. we talked about journeys and life and times of passage, evolution. we rued the difficulty of transitions and obstacles. and then, though sans museum ticket but clearly listening in, john cage stopped by and reminded us, once again, to “begin anywhere.”
and then it was time for us to leave, to go sip wine at the public market and to talk about the magic of getting it.
we saved an article last sunday: “the best waterfall in every u.s. state”. from alabama to wyoming, we scrolled through to see how many waterfalls we had seen. there were aggressive falls and double falls, falls that trickled from natural springs and, of course, niagara falls. we have missed many. like the articles about the best small towns or best places to retire, it’s all about dreaming. a list of waterfalls.
we hike or walk many miles each week, either on the weekend or squeezed into the rest of the sun at the end of the weekday. yesterday and the day before we noticed a tiny waterfall on our trail. it didn’t make it to the list of “the best” but it gave us pause and we stopped to watch and listen. the sound of a trickling stream, the sound of a minute waterfall…both unquestionably sounds of peaceful flow. we drank it in. we stood together in a silent, still dance.
as i looked at the list of waterfalls, it occurred to me that it is not likely i will ever see all of them. there is much on our bucket lists and, though i can appreciate – very much – adding this list into the bucket, i also know that it’s not the award-winning, the listed, that will always touch us.
the best waterfalls – for me – haven’t been the grandiose waterfalls. though i can appreciate their grandeur, it is the waterfall you stumble upon in the woods, the waterfall that shows up just when you needed a waterfall, the waterfall that will never make the list that negative-ions you into a feeling of well-being.
when i was in my thirties and composing i started to dream. in my forties – composing, recording, performing – i was headed to niagara in my dreams. sometimes i’d watch the grammys and wonder. but the smaller waterfalls – despite their beauty, despite their ability to resonate or to bring peace, despite the number of times on “repeat” – will not likely show up at the grammys. nevertheless, they have fault-in-our-stars impact. even to one.
charts – the top 100, say – are compiled by detecting the songs played on a select panel of top40 radio stations. this is not objective, nor is it not machinated. many, many integrated, financial and complex symbiotic relationships go into the positioning of a song, the charting of a song. “the best songs” lists beget “the best songs”.
back in 2002 – waaaay back…up the waterfall, upstream, backaways – one of my songs charted on the secondary adult contemporary radio chart. “slow dance” made it up to #13. i was inordinately thrilled but, like many things, it did not come without a price tag. the radio promoter was steep, not to mention a little slimy. it’s a system and, at least back then, those guys had it wired. it wasn’t long before i realized that the charting did not help. it quickly flowed over the riverstones, past the boulders at the peak of the cliff and dropped – the waterfall never stopping for pause.
i don’t necessarily need to see the “best waterfall in every u.s. state”. instead, i think i’d rather see the ones that will invariably touch me, will give me moments to stop and drink them in. i’d rather see the ones that go mostly undiscovered. for even in their relative obscurity they are a gift and they count.
it’s exactly how i draw horses. back in the day i had a book that taught me how to draw them. i was horse-crazy and i studied this book and practiced over and over. i did not retain much of all that study – or all of the other books i read about horses – but i can still draw a horsehead. so when we flew over this island on our approach to the tampa airport, i was astounded to see the first vestiges of my own drawing. i named it van gogh horse – for obvious reasons. high tide and angle and an active imagination helped, but i sure do think it looks like a horse.
it had been three and a half years since i had flown. we’ve read many articles about aggressive passengers and, i must admit, that doesn’t sound too enticing. i can’t imagine being rude to people who are tending to your needs as you zoom through the sky. not to mention all that recirculated air and the folks in the seat behind us hack-coughing. ahem. so it was a little nerve-wracking.
but it was also magical. you forget. i spent a lot of time looking out the window, mesmerized by the cloud formations and the landscape below, checking the flight plan on my phone to see where we were (technology is pretty amazing!) and taking photographs. i looked – i am sure – like the quintessential tourist-on-the-airplane. but i didn’t care. we have driven everywhere in the last years so it was like a small miracle to jaunt from milwaukee to tampa in two hours and forty minutes.
i remember days i flew often. midwest express airlines and real plates and real silverware and gourmet meals and mimosas in the morning or wine in the afternoon. and, the pièce de résistance…warm chocolate chip cookies. it was an experience – a whole experience. i flew midwest as often as i could, flights to los angeles and nashville and south and out east.
the most memorable experience was the – only – one time the airline lost my luggage. i had concerts and appearances in boston and all my attire was in my suitcase. a midwest express representative – jimbo – who is still my friend on facebook – immediately set to helping me, told me to go buy some necessities, including concert attire, and send midwest the bill. i am mostly a jeans-wearing performer – though there were some exceptions that particular trip – so that kept the costs down a bit, but they covered every last thing i needed. customer service at its best. i called all those items “my midwest express collection” and flew midwest loyally until the airline was no longer.
in a memory-filled moment with the smell of baking chocolate chips in my mind’s eye, i googled the milwaukee-based airline and was jazzed to see it is hoping to make a comeback one of these days. i wish them well. here is the best news:
“the airline plans to bring back the cookies if it starts flying again.” (milwaukeemag.com)
i know that can take some time and some luck. but warm chocolate chip cookies fresh out of the airline’s tiny kitchen could encourage me to start flying more again. i mean, people can’t be ornery with cookies.
if i had to draw an airplane experience – even though i am clearly not gifted at drawing – i would draw people in cushy two-across-seats, trays down, real plates and silverware, coffee cups and mimosas, warm chocolate chip cookies, linen napkins. smiles and horses out the window.
and nature studied jackson and drip-technique-painted the leaf on the trail. strategically placing small muddy potholes, it invited hikers and dogs and horses to step in. just as strategically, it placed the leaf nearby, deep brown in leftover autumn paint. soon, creamy splotches and drips and spatterings pollocked the leaf, ever-changed. i couldn’t help but notice as we walked. i felt some slight validation for the paint-spattered-paintings on our walls, the ones where i stood back and threw paint and threw paint and threw paint until i knew it was done.
i was tempted to pick up the leaf, to carry it home with us. i kind of wish i had. i wonder if anyone else noticed it, really noticed it as we did. and then i realize, that it is in our noticing – even just us – that it became a complete work and that it had a place in the world and that it wouldn’t be forgotten.
it was a good reminder for me, and i remind myself to tell d as well, to remind him. the size of the audience never matters, the number of viewers or listeners. even in one person’s experience of any work of art there is meaning.
“if you asked me what i came into this world to do, i will tell you i came to live out loud.” (émile zola)
took everything off every surface. dusted everything. put some things away. moved things around. got rid of excess. hung a favorite print. and – with great care – gently vacuumed the inside of my really beautiful piano, for full-stick is an invitation to dust.
i stood back, stood in the doorway, looking in.
the room was breathing. deep breaths.
i was breathing. immersed.
there is still more to go through. there is more to file away. there is former work-trauma to discard and there are calendars of choir music and ukulele band books and handbell arrangements and contemporary solos to box up. the first pass didn’t get all those and now, two years later, i am still a little paralyzed by all of it. that’s why it all needs to go. this process is taking longer than i would have anticipated. “mind, body, spirit,” she said. “it’s not likely others will understand all the layers. they will expect you to just move on, to get over it. they will not grok the wounds; it is all fraught.”
but there were staff lines in the sky. and the universe prompt is haunting me a little.
it’s always had a purpose – my studio – a direct line from standing or sitting in there to actual work. i’ve not just noodled or played because i was just playing. i’ve stood in there to write – to flesh out an album, to practice, to plan – the arc of music for a concert or for a church calendar, to teach – so many students through the years. it hasn’t been a place i go to without purpose, without an end-product, without a result i could see. as an adult, my studio has represented the potential for income; it has been a professional place. now there are questions. many of them. like living in a blank staff, i live – lost – in the questions.
i played my piano. a few carols.
there is one more day this year. and then 2023.
and i won’t carry carols into the new year. it will be time for something else, something less dusty.
there’s some way to go. it’s not as simple as it sounds.
the staff lines in the sky hold no clues, have no notes.
maybe – instead of reading that as tacet – silent – i might – and “might” is the operative word here – read that as a composition without designated key, without predetermined time signature, without definitive expression markings, sans any direction or boundary.
the pragmatic side of my brain says, “of course. this is logical,” while the other side is grasping onto the silky threads of hopeful and wishing to call mr. rogers – does the other side have cell service, i wonder.
it’s in looking back that it is easier to see the gradient shading of end and beginning, one into the other. it is easier to recognize the softer side of transition or, at the very least, the survivability of it all.
sam sifton wrote, “everything is going to be all right.” i believe he was talking about food and preparation for the thanksgiving meal. that is his wheelhouse. i prefer to generalize his words – they were sent to me by a dear friend and i am going to apply them to life and hold him to it.
and so we walk. and we look for signs. the smallest of goodnesses. tiny reminders of value. the way the sun punctuates our walk, the way blue sky makes us feel.
and we look up. the tops of the trees look different than the trunks. not stalwart and thick and steady, those branches much more fragile. yet there they are, existing in the wind and storm and warm days, rooted, all the way down.
but this is redundant. and i have spoken of the tide washing out and then back in before. the tide turning. i have metaphorized change and loss, in efforts to – maybe – temper them. but, in truth, they are raw and lay on the beach of our hearts in all the elements of our lives.
i wrote – a while back – to one of my nieces the words of my sweet momma “growing old is not for wimps”. she wrote back, “living is not for wimps.” so true. just when you think you have a little bit of it figured out…whammo! it seems that the universe may think that arrogant.
and so, we will try not to be assuming. either way. not assuming good, not assuming bad. no assumptions. just walking.
“you must begin by knowing you have already arrived. your true nature lives as perfect as an unwritten number, everywhere at once across space and time.” (richard bach – jonathan livingston seagull)
i followed the seagulls on my ten-speed. to the beach, always the beach. later, i followed them in my little blue volkswagen, their screeches out my open window, their soaring showing me the way. and i felt kin to richard bach, his writings about freedom and passion and dreaming and the meaning of life. we met at the beach – crab meadow – and talked telepathically. well, i talked. i don’t know if he was listening. he was on the west coast and i was on the east, though i suppose jonathan livingston may have been able to deliver any message of gratitude i had.
and so we arrived at the fat seagull. it is beyond me why we had never discovered this bar and grill tucked into the downtown of manitowoc. it’s a cheers! kind of place, people who know each other gathered at the bar and around tables, eating, drinking pints, playing games, talking. in the way of wisconsin pubs, there is a vast menu and we order a thursday special to split. the bartender tells us that the two wine glasses they had were broken so he gives us diminutive stemware and charges us less. we choose the bottle still corked, wondering who last drank out of the open bottle and how long ago that might have been. we are kind of strangers in a strange land…17 draft beers and traditional old-fashioneds surround us and our tiny wines.
we listen to live music and gaze around – at people, at the bar, the old wood floor, the ceiling. it is a study in perfection. we feel alive – out and about – a two hour drive each way – food we didn’t prepare – wine we didn’t pour. we talk about how it feels. we laugh and dance. we don’t realize it’s raining out; it had been a beautifully sunny day. we are glad to be there.
we end this week in uncertainty. we reach backwards, examining all we have done – so far – in life and work, what we have accomplished, what we have not. sixty-something is not youth, nor is it aged. it is somewhere in-between, located wherever we are. we bring all we know – and all we do not know – with us. we try to trust that we have arrived, that we are on the tarmac – or – in the terminal, that we – too – despite our lack of certainty – have flown, screeching and soaring.
“instead of being enfeebled by age, the elder had been empowered by it; he could outfly any gull in the flock, and he had learned skills that the others were only gradually coming to know.”
we stood in the grocery store in brevard, right by the display. the food lion price for the charming smushy-flat white pumpkin was $8.99. it called to me, “you need me! bring me home!” but i got hung up on the price tag and we didn’t buy it.
we’ve had a pumpkin or two most years, often a pie pumpkin that we place on this funny wrought iron stand with arms, making it look like a pumpkinperson. we’ve gotten gourds – interesting shapes that tickle us. but not yet a white pumpkin, even though i really love how they look.
budgets are sometimes fun-oppressors. but any artist can tell you they are necessary. and any artist can tell you that there’s been at least one time that an $8.99 pumpkin – even one that might do the dishes and sorts socks – has not made the cut.
there is a sweet apple orchard out in the county. there is wine-tasting and a distillery at aeppeltreow, so there are spirits and spirited fun. there are a zillion apples and there are pumpkins and gourds and apple cider donuts. two years ago we picked out our tiny patch o’ pumpkins from their flatbeds and gardens of choices. coming home with a pear-shaped gourd and a couple smaller that were wart-laden we felt rich.
we bought pumpkins in aspen that same year and carved jack-o-lanterns at our airbnb with our daughter, leaving our artwork and extra candles behind for the next guests.
last year we featured our aging pear-shaped gourd in our sunroom, put out some orange happy lights and indulged in apple cider donuts at the orchard. despite the gluten they were worth it.
i think this year we will get a white pumpkin. and maybe two orange ones. three in all. just three.
reverse threading 