we drew heavy curtains to sleep in the land of the midnight sun. my grandmother mama dear and i were in the arctic circle in finland and, much to the fascination of my eight year old mind, the sun refused to set. i remember a twilight like no other – a time of in-between that just lasted and lasted, not day, not night. it was stunning and magical and wreaked havoc on circadian rhythms, necessitating new practices.
EARTH INTERRUPTED VII makes me think of that twilight, that time in the river of not-this-not-that. a time of waiting, it appears that the telescope zeroed in on earth detects an interruption, a wafting darkness. in this time of pandemic, it would seem a portrait of covid-19.
but, as in all other times of darkness, there exists a glow of light. the blackness is dissipating, the shape of the earth is visible, the twilight is vibrant. this painting offers radiant hope.
just like pulling back the curtains in lapland, the sun will rise and we will have awakened from the strange twilight. we will have lost much to the dark. we will have learned new ways, employed new rituals. we will be tired and wary, cautious yet sure. we will have crossed the river of the midnight sun into a new day.
there are moments when everything seems like a big deal. our own planet earth is up close and personal, every concern a meteor about to threaten our very existence. the sum of the individual pieces too much to bear. we wonder, wonder, “what is going on?!”
and then there are moments when perspective reigns. when we can step back, see the bigger picture and realize that everyone has their brown paper bags full of baggage, of difficulties, of things to sort, to keep, to ruthlessly throw away. the moments when you stare up at the night sky into the milky way and feel ever-so-small, knowing that you are alive and this very moment will not pass again.
EARTH INTERRUPTED. pieces of everyone’s brown bags, torn, scattered and intermingled. no longer baggage-holding. an earth close-up and glowing. full of the hope of it all fitting together: people, issues, problems, loves, wishes, peace.
“the river is moving is moving and i am still i am still. the challenge of the seeker is not to be separate from that you seek. and sometimes as kdot said you have to stand still stand still and let what you seek catch up to you.”
stand still stand still. difficult. every single cell vibrates with the anticipation of movement movement. every single atom. every single frequency. every single. but to stand still. in it all. and wait. we are here. we are the past. we are the future. it is all the same. we stand in it. some of it fades away and some of it catches up. all while we stand. and tremble in not-knowing. and quiver with suspense.
the woods along the trails by the des plaines river have been burned. the fires, intentionally lit to restore native life to the forest floor, to burn out the invasive species that have harmed the vegetation. already, post-burn, we can see green amid the blackened mulch. already, there is newness of life. the toxic has been deliberately remediated and goodness will prevail. it will take some time, but it will eventually tip the balance and the woods will be better for it.
this is simple. it is all around us. the necessity for an intentional burn. we wake up to a new day, a new sun, a new chance. in this time of re-birth and restoration, we are amazingly gifted. with grace.
i cannot help but think of the world despairingly coming together to lift up notre dame as it was on fire. not at all intentional, not necessary, absolutely devastating to that beautiful and majestic cathedral, yet somehow it brings together a global community of people who recognize its importance, its value, its history, its soul. and it will prevail. in a divisive world, grace.
less is often more. it is in that spirit i recorded this track of amazing grace.
download ALWAYS WITH US VOLUME 2 on iTUNES or CDBaby
there are small pieces, corners, smidges of david’s paintings that stand out for me. a slice of color or pattern, the morsel, like THE SHADOW OF DIVISION, catches my eye. no less than the painting in its entirety, just differently.
earth interrupted IV and the words he penned on the canvas: let what you seek catch up to you…stand still, stand still… earth, suspended in the midst of a color palette.
the people of this good earth – ever-seekers…surrounded by color…choices…in a moving river…vulnerable…standing still…rotating, rotating. are we mindful?
this good earth – this fragile fragmented globe…its colors…its rivers…its steadiness…its rotation…its vulnerability. are we mindful?
the little mermaid music swirls in my head, “under the sea, under the sea…” i can’t help it. the gorgeous brushstrokes of blues and greens and deep reds inspire thoughts of beautiful oceans full of color and hues that are untouchable by dictionaries far and wide. this morsel, from the painting EARTH INTERRUPTED VII, i titled AQUA AGUA MIT ROUGE, a name derived from several languages (english, spanish, german, french), a nod to the inability of words to describe it.
this morsel is somewhere underneath this beautiful painting – within the depths of EARTH INTERRUPTED VII – not visible, but part of the underpainting, a layer of, well, the earth. how much more perfect could that be?
i love david’s newest painting, earth interrupted VII. it’s vibrant and alive and textural and full of questions. i have found a free whisper of a tall black-ink crane in the middle of this morsel, a non-intentional coming together of brush strokes, a simple treasure in a small piece of a large painting. it is unlikely you could see it if you stood back to look at this stunning painting, but as a symbol of longevity, balance, wisdom and good fortune, i can’t imagine a better totem for our earth, a better embedded wish, this fortuitous crane.
along with the portable record player we take out on the deck, we have the you-remember-the-case-with-the-handle box of 45’s. with titles like sugar sugar and IOU and julie do you love me and….the side A of these records are the likely hits. but if you turn it over and play side B you can often be surprised by a song you like even more than the touted “side A” song.
when david brought up this canvas to photograph the painting on the front side, i was reminded of what we had seen when 20 so generously gave d a slew of his dad’s canvases. on the side B, his artist dad (richard “duke” kruse) had written, “welcome to the 21st century” on the back of the canvas he had so meticulously stretched. we laughed when we first saw it, but it remains a mystery as to why he wrote it; we can only guess…maybe he was bemoaning the loss of something of the 20th century; maybe he was truly welcoming the next. either way, we get it. we are both 20th century artists.
as a painter, david uses actual brushes to apply actual paint to actual canvas, a process that doesn’t necessarily need explanation, but, in the 21st century art world, isn’t necessarily always the trend. with computer design and sketchpads -aka graphics tablets- the feel of bristles can become foreign to a contemporary artist. what about the smell of the paint? the light from the window on the canvas? the spatter of acrylic matte medium on your clothes? the wooden brush handle in your hand?
as a composer, i use paper and pencils and erasers and a piano. i have a couple of keyboards that have traveled all over with me, but the piano that takes up an entire room in our house is my tool of choice. it is stunning how much time it took me to write a full score way back in college compared to the ease of scoring on the computer. if i made a mistake on the score, i had to -with my pencil and then calligraphy pen- redo the whole page. then i had to write out all the parts individually. the 21st century has advanced the ability to have a computer generate all the individual parts off one score that is online. pretty amazing and time-saving stuff. not to mention the “playing” factor. the computer program will “play” the part you write; you don’t have to. but what about all the pencil eraser dust that falls on the keys of the piano? what about the scraps of paper spread out all over the top? what about the feel of the action below your hands, the response, the whooshing sound of the pedal?
acoustic vs plugged-in, analog vs digital. kind of old-fashioned. that’s probably why i like to sit in one of the rocking chairs in david’s studio and just watch. and why he will come into my studio and just listen. we don’t need a lot of fancy stuff. he just wants to hang his paintings and i just want to sit at a piano on a stage with a single mic. pretty 20th century.
reverse threading 