reverse threading

the path back is the path forward


Leave a comment

touchstones. [d.r. thursday]

yoga series: iconic (54 x 54, mixed media)

in the beginning i knew very little. we wrote every day but only talked twice. i read his newsletters and appreciated his perspective on things. i had seen only one tiny photo of him online but we shared pictures of our coffee mugs perched in different places in our homes or on our travels. and i had studied his paintings.

you can learn a lot about a person immersing in their art. whether it’s prose or song, paint or instrumental musings, the clues are there.

i am not a fan of thomas kinkade. his paintings are tight and controlled and, for me (but not for the one in twenty homes in the US that hangs one his prints), somewhat trite and contrived. i know that “tommy k” (as scordskiii and i nicknamed him) was (and his paintings still are) inordinately successful, serene, idyllic images of cottages and streams, gardens and gates. his galleries are all over the world. the “painter of light” (as he trademarked himself in a smart marketing ploy) was not necessarily the same as his paintings. i met him one evening at QVC when i was on air during a year-long or so promotion of my music. waiting to go on-stage and on-camera, yamaha CFIIIS at the ready, i met him in the hallways between dressing rooms. he was not a light and airy friendly guy that evening. i don’t know if he was having a bad day, but really everyone at these studios was normally refreshingly jovial. except for him. this did not really bother me, however, as, though i could see “success” written all over him, having tommy k greet me and have conversation was not important. dick clark, of american bandstand fame, on the other hand, was a gem. he and his wife were lovely and generous folks and it was delightful to meet them and chat in the hallways. but i digress.

when david mentioned he was a painter i did not know what to think, what kind of paintings to imagine that he painted. our developing friendship was candid and didn’t include fluffing up the other so my curiosity about the form of his art needed sating. i visited the website he had at the time. and i was stunned. one of his newest works back then – thereafter named iconic – was graceful and beautiful and full of respect for the body woman. i dove deeper into the site. each painting i studied engaged me – the color, the white space (so to speak), the balance, the composition, the texture. i was joyous. there was no need for fluff. i loved his work.

downstairs where, prior to a real painting studio’s emergence, i had thrown paint on a few large canvasses to hang about the house, sits his easel. there are paintings stacked and rolled in various places, in and amongst the boxes and boxes of cds that find themselves housed down there.

some of these – paintings and cds – are truly relics, artifacts of our art, dating back decades, skipping stones through periods of our lives.

some of these are touchstones, moments of new form, of changing form, of solidity in an uncertain world.

some of these, the relics, the artifacts, the touchstones are cairns, pointing the way to the future, suggesting we follow both paths we know and paths we do not know. art is like that.

*****

read DAVID’S thoughts this D.R. THURSDAY

visit DAVID’S online gallery

visit this painting ICONIC

ICONIC ©️ 2010 david robinson


Leave a comment

the feathers as clues. [two artists tuesday]

perspective copy

i didn’t mean to take this picture.  somehow my phone camera snapped it and i was unaware.  later, when i looked at my photo stream of the day i was surprised to see this.  it took a few minutes to figure out what the picture was of, the way you feel when you look at an ink-blot picture, your eyes focusing on the dark, the light, the foreground, the background, searching-searching for an image to emerge.

i always had trouble with those.  i must have been concentrating too hard to find something there.  i suppose relaxing into it would have produced an image sooner.

the feathers gave it away.  the feathers made it recognizable.  a piece of familiar, the feathers gave it perspective.  the dream-catcher hangs on the switch of the lamp on our kitchen table so it wasn’t as hard as the inkblots after all.

i wonder how many times i have not recognized the ‘real’ image.  how many times i have given little attention to the everyday, glossing over it.  how many times i have passed by light, my eyes focusing on the dark, my attention to the background instead of the inkblot or vice versa, trying too hard to find ‘it’.  passing by the familiar, looking to the distance.  or staring at the familiar with no eye to the distance, the horizon out-there attention-less.  what might i have missed?  what more might i have seen?

i am finding comfort in the familiar right now.  i am recognizing more-and-more that which is basic is that which is familiar is that which is comforting.  like chicken soup and pasta sauce, i find basic and simple consoling, the familiar i see heartening.

might we have different eyes post-this-crisis?  might we all hold simple closer?  might we ford the great-chasms-of-divide in this country with horizontal -not vertical- ladders of understanding like the ladders that traverse deep crevasses in high mountain climbs?  might we be more willing to see economic, educational, opportunity differences?  might we truly address them?  might we see the landscape-that-has-always-been-there differently?  might we realize that which is comforting, familiar to us is the inkblot that so many cannot even begin to see, that so many cannot even imagine?  might we believe that every one is worthy?  might we see universal needs, universal struggles in a more united, focused-energies way?  might we come together, support different perspectives, talk about what is essential, strive for something different?

our universe camera is snapping pictures left and right of this pandemic crisis.  what will we see when we look through the photo stream?  what we will recognize about ourselves, this country?  will we embrace an image of care, of concern, of responsibility for each other, of unity, of equality?  or will we remain blind to the obvious differences we experience as this divisible ‘indivisible one-nation-under-God’ and will the dark inkblot prevail over the light?  we can look for the feathers as clues.

read DAVID’S thoughts this TWO ARTISTS TUESDAY

handshadowstones website box