reverse threading

the path back is the path forward

Tag Archives: relics


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bins and boxes. [kerri’s blog on two artists tuesday]

the list keeps getting longer. more items to offer to others, more to sell, more to simply dispose of.

i have been the recipient of many hand-me-downs. now, mind you, we use – or repurpose – many of these hand-me-downs….remember, we are the people with the almond 1970s sears kenmore range in our kitchen. still.

because i love numbers, i recently realized that when you add the ages of our three vehicles up right now – this year – in the year 2025 – they add up to 100 years. now, that’s pretty doggone amazing. granted, our little vw bug is included, but if you take that one out, the other two still add up to a whopping 46 years. eh. i digress.

i keep referring back to my sentimental-people-trying-to-divest-of-their-stufffff book. it’s essential self-help material, particularly at a time when we are truly paring down. it helps to read that you don’t have to keep a gift forever – you are not indebted to the gifter in a forever way. and, even if you give some gift away, the sentiment remains. common sense stuff, but not when you are lost in the memories and angst of what to do with the antique relics in a bin or a box.

and so – the box with decorator hanging plates.

i am most definitely not a hanging-plate girl. though they are beautiful, their self-actualization of hanging-on-the-wall will never occur because of me.

we photographed them all the other day, carefully placing them on a black cloth on the table, taking care to avoid glare, turning them over for markings on the back, photographing any written certificates of authenticity that accompany them.

we got through the marketed plates and i have no reticence about listing those for sale – granted, at a low selling price, for the time of hanging-plate-popularity is well past. then we got to the family-handed-down ones. the ones with initials on the back or years (like 1917 or 1930). the ones with sticky notes that my sweet momma wrote, describing the origin of the plate or how it had been passed down. ugh. these are the ones that invoke guilt.

there is one that i will keep. it’s hand-painted, floral, dated 1930, with a hand-threaded wire for hanging, leaving the delicious mystery of who initially placed it there. other plates, however, would only be stored – and that is what i am trying to avoid: long-term storage. and so, i suspect i will offer them to others, perhaps sell the ones that are not family-member-painted or have distinct family connections. it’s a bit stressful. but i keep reminding myself…they are plates, for goodness sake. it isn’t actual DNA strands i am giving away or selling. sheesh. (back to the book!!!! stat!!!)

and then i’ll be moving on to the punchbowl and the old spinning wheel, a plethora of milk glass vases, too many hobnail pieces to ever use, 1970s-1990s sewing patterns.

the thing about all this going-through that is helpful? the fact that i don’t think much about the state of THINGS while i open bins and boxes and sort and photograph and ponder what to do.

the history of these objects – such treasured items in their day and even now – is forefront in my mind.

it is often the handwritten note by my mom that is more difficult than the object itself. everyone has their own line – i’ll never forget when a sibling threw away years and years of my momma’s calendars. as a calendar-girl, i was devastated to hear this. i would so prefer to read my sweet mom’s calendars and notes she jotted on them than have any piece of furniture or jewelry or painted plate. like i said, we all have different value sets.

and so i puzzle how to properly respect these artifacts i am unearthing – particularly some more obviously family-connected – but dates like 1917 on the back of a plate – a scalloped limoges porcelain plate handpainted in soft blue and green hues – forget-me-nots – in the same year as the united states entered the First World War – in order that the world would be made safe for democracy – these dates, the history of such pieces fast-forwards my thinking to today, catapults me back into what is happening now. i cannot help but travel through the history of this country as i unwrap that which is in the plastic bin.

THE BOOK reminds me that no longer having an object does not disconnect one from its meaning, its emotional value, its gifter or pass-it-down-er. all of that – the true worth – is still valid, still present. nevertheless, i take my time and consider carefully the options of parting with something.

which makes me think: what if this country would stand by its values, its rights and freedoms, its constitution with the same level of respectful restraint? what if this country – and its leaders – would consider carefully the options of parting with the very somethings that have made it a republic, a democracy? what if this country would value handing down to our children and their children and so forth the best of what we can all be?

what will the trinkets and artifacts of this very era conjure up in future generations as they open the bins and boxes left for them?

*****

read DAVID’s thoughts this TWO ARTISTS TUESDAY

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the delicate things. [kerri’s blog on two artists tuesday]

and there are things – here and there – as i continue to muster what i need to go through everything – things i find – things that must be considered delicate, things that must be held gently.

they are not the delicate things that one would label fragile, nor the delicate things that one would think of as valuable. they are the unexpected, the morsels of real life, of real moments, moments felt, moments lived.

there was the torn piece of paper – torn from a decades-old church bulletin – with the first notes of the first piece recorded on my first album.

there was the last physical mother’s day card i received from my girl, before everything went text and digital.

there was the note in little-boy pencil-writing from my boy, filled with hearts.

there’s a small green ceramic compass – just a trinket – i put on my piano.

there is a tiny stick person my big brother made of electrical wire.

there is the (very) ripped sweatshirt jacket i wore driving thousands of miles, criss-crossing the country in busy performing days.

there are the old notebooks. when the kiddos were here, it was my son who first spotted the spiral notebook. it was in a stack of spirals on a shelf in the office upstairs. but this one was sticking out enough he could see his handwritten name on the front cover. he immediately pulled it out to look at it, wondering aloud, “what’s this??” the notebook was empty – all the pages were blank and he asked why we had it in this stack, just as my daughter pulled one out with her name on it. “because we repurpose and there’s still paper in these, so we like to use them so we aren’t wasteful. plus they were yours…it connects me back,” i answered. i would never think of just throwing these out, without using up the paper still in them. it’s a total joy for me to use a notebook that has one of my children’s handwriting on it.

now, there are other things too. there are decorative plates and leaded crystal vessels, vases and wooden carvings, pieces of silverware, scandinavian artifacts, vintage ornaments. i’m guessing some of these items have a little bit of value, maybe – though i don’t imagine a lot. and that’s really ok.

for the things i am finding i hold most gently – the most delicately – are the realest things i come across: the list of homemade candles and tiny cacti i sold door to door when growing up, pulling a wagon behind me around the neighborhood, an early entrepreneur at ten or so. the handwritten notes from my mom or dad, pompom-ing me. the drawings and writings of the girl and the boy. the rocks – so many rocks – i come across, knowing that i chose each one for a reason, for a place, for certain minutes i spent. the earliest lyrics i wrote, the poems from my tree, the bits and pieces of me from a very long time ago, on a different trajectory, giddy and cells-vibrating, in a world i wholeheartedly trusted.

there are many, many things in our house – just like in your house. we try to surround ourselves with the stuff that makes us feel comfort, that makes us happy, that brings us a bit of peace.

in this part of our lives, we are finding that those things are not valuable antiques, newly-purchased tchotchkes or expensive collectibles, top-of-the-line anything. they are the things with story, the things we can carry without burdensome weight, the things that connect us – our dots – back and forward. they are the things that distinguish us from all the rest – our morsels – these relics. they are the delicate things, for without them, we would not be who we were or who we are.

*****

read DAVID’s thoughts this TWO ARTISTS TUESDAY

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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


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what is really real? [flawed wednesday]

back in the day, my sister drove a dodge charger. it was a pretty sporty car then, the 1974 model, and, as a driver on long island’s expressways, she was up to the task. she is still much a new york driver, conversation while driving in the car punctuated with relevant muscle-car-language. it was always an adventure being in the car with her. i am eleven years younger so i learned road-talk sitting in her passenger seat.

when the commercial came on for the dodge challenger i had to laugh. they have been pretty similar vehicles through the years. and the commercial made me think of my sister. until i saw the little boy driving it like a road-maniac. right smack dab in the middle of all the fancy muscling around, the commercial pauses and the little boy turns and says, “our lawyers just want you to know that this isn’t real.”

duh. it’s a commercial. is anything real?

the disclaimer at the end of pharmaceutical company ads listing possible side effects – though it is announced that it is not an all-inclusive list – is always bracing…especially the “do not use this drug (fill in the blank) if you are allergic to it or the ingredients in it…” seriously? what is real?

in our litigious country it is remarkable that you don’t have to sign a waiver no matter what you do. so many potential lawsuits, so little time. everything everywhere is closer than it appears in the mirror.

i had to text my sister and ask her what year her charger was. i remember clearly how much she loved that car – i remember it as butter yellow with a white vinyl top. when she texted me back i found out that she had purchased that very car because a playpen fit in the trunk. it was after her daughter was born so playpens and toting baby stuff was real for her. muscling on highways not so much.

my first car was my volkswagen. it was a 1971 super beetle and i adored it. my dog came with me everywhere and sat in the well. i toted my little niece all around, windows down and singing songs on our way to the beach or to feed the ducks or to play in the park. it was not a muscle car, it had zilcho storage capacity and it was not featured in cool cream puff commercials then or now. but it was real and it was a steadfast little bug.

pre-pandemic we loved to explore antique shoppes. we would stumble upon so many relics, so many memories, so many we-had-this moments. often, we would find things we still have, which made us laugh aloud that our possessions – the ones not obvious vintage treasures – were considered antiques. the mixing bowls, the salt and pepper shakers, the corningware, the irish coffee mugs. wandering through the aisles of antique shoppes, i have been known to exclaim, “people shouldn’t be able to purchase new glassware or mugs or plates or china! it should be a requirement to purchase from a secondhand store or an antique shoppe!” i am overwhelmed sometimes by the vast amount of wasted products, the vast amount of new choices, the vast amount of value people place in the stuff they have. what is really necessary? what is really real?

as the proud owners of stoneware i bought for 25¢ a piece at a wholesale show, passed-down corningware, a stove/oven circa 1980, a scion xb with 247,000 miles, an old 1998 ford f150 pickup truck and, yes, a 1971 vw bug, we are not the audience for the new dodge challenger commercial we saw.

because the little kid was right. it’s not real.

*****

read DAVID’S thoughts this FLAWED WEDNESDAY


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relics. [two artists tuesday]

stop sign quarter

we stopped there every time we rode our bikes past on the way to the beach or the harbor.  north shore outdoor recreation center & school of skindiving was a shop downtown east northport, a couple blocks from the railroad tracks and across the street from the old auto parts store.  our high school biology teacher jim owned it and we’d stop in and visit, looking around at gear and flirting with the just-slightly-older-than-us-guys who worked there.

when i was 17 i started working there after school and on weekends.  i’d do office work, the newsletter, and sell scuba, archery and other outdoor-related sporting equipment.  the fill tank, a pool of water in which oxygen tanks are immersed in order to fill them for use while diving, was just outside the office and i can’t tell you how many times i ended up sitting in it.  until i got smart and carried extra clothes to work with me in the car,  i had to drive home to change, sopping wet and glorying in it.   i was the only girl there and these boys were brutal teasers.

the basement of the shop was formidable, dungeon-like; at the top of the stairs were a sliding chain lock and the light switch.  the gestetner machine (a copy machine that invariably spewed purple stuff all over you during use) was in that basement which meant i spent some good time down there wrangling this obstinate office contraption.  from way down in the depths of this concrete cavern, i could hear the chain sliding and the click of the light switch, leaving me in the dark to feel my way back up the steps and stand at the door, pounding to be released from yet another prank.  yes, brutal stuff.

crunch was in charge which left jimmy and ollie and i under his thumb.  much more a rule-follower, crunch was a task-master and was the one who turned down the blasting stereo of ‘heart’ singing ‘barracuda’ in the workroom.  he wagged his fingers at us to sweep or organize regulators, but he was right-in-there, shortchanging me with the growing-boy deli orders they sent me on, leaving notes on my little vw about town-noon-whistle-blowing-timeliness, not setting me free from the front sidewalk window when i, during christmas-eve-day last-minute-shopping-hours, dressed as an elf and, coerced to fix something in our christmas display, was locked in, forcing me to grin and bear it and stand with plastic-santa, waving at people walking by and the crowd that gathered at the auto parts store.  but we all did good work together, the dives were organized, people had the right gear and the shop was a place customers loved to come and linger in.

an older italian couple lived above the shop and luigi was not as loud as his wife.  without the benefit of air conditioning, the windows and lack of thick insulation in the walls made it easy for us to hear her rapid-fire italian admonishments of her husband, always punctuated by a shrill “luigi!”  in our first-hand innocence of marriage-challenges we’d voice, “poor luigi.”  i don’t think i ever knew his wife’s name.  i wonder about their lives.  where did they go?  their rows weren’t nearly as loud as ‘barracuda’ or the sounds of boisterous laughter coming from the back storage/workroom of the shop.  they were simply a part of the story, a part of the history of that place, a sound-artifact i can still hear.

during one of his college classes, crunch, who ended up one of my very best friends, for a psych class project, decided to glue a a few coins onto the sidewalk out front and hide in the tent displayed in the front window, capturing passersby reactions to money-for-free.  they always went for the quarter and it was predictable how earnestly they would try to pry this off this sidewalk, invariably stopping to rub at their fingertips, digging in backpacks or purses for pens or keys to pry with.  nevertheless, the superglue held and the coins remained on the sidewalk for a long time to come.  i don’t know when they finally disappeared.

for those of us who actually think coins count as money, it’s natural to stop and pick up coins when you see them, the whole find-a-penny-pick-it-up-thing.  the little jar at home fills up and is, surprisingly, a good sum of money when it’s up to the tippy-top.  so when we passed the two pennies in the UPS parking lot, david bent down to pick them up.  one heads-up, one tails-up.  i immediately yelled, “no!  don’t touch them!”  it was the very beginning of the pandemic and touching ANYthing without sanitizer nearby was a formidable act.  it was too late; david had picked them up.  so he brought them over to the sidewalk by the UPS store and laid them on the window ledge.  i wonder if they are still there.

the quarter was on the trail when we were hiking last week.  it made me stop; it’s a quarter, after all!  i looked at david, pondered, then shrugged, and, against every reflex, left it there and hiked on.  the not-picking-up-free-money-guilt set in but not enough to break the don’t-touch-it-pandemic-rule.  i wonder if it is still there.

in this time of so-much-change and the use of so-much-technology, i find myself thinking of those times, over four decades ago now, when things seemed simpler.  coins counted, ink-laden-copy-machines slowed us down.  i think about the relics that were left behind.

and i wonder, forty years from now, when i am 101, what will those relics from this time, this time of pandemic sweeping our world, look like?  what will they be?

read DAVID’S thoughts this TWO ARTISTS TUESDAY

old suitcases website box

 

 


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eileen’s gloves. [two artists tuesday]

eileen's gloves

i remember i wore gloves the day i flew to finland with my grandmother mama dear.  i was eight and i wore my sunday finest.  i even wore a hat with my fancy dress, because that is how you flew – all dressed up.  it was 1967 and we were departing for ten weeks together in scandinavia.

i remember lawn chairs in the front yard, my grandparents watching me hula hoop and skateboards with my brother and sister down the driveway.   playing croquet with an old wooden set on the front lawn, kickball in the street, s-p-u-d across the neighbors’ yards and chasing fireflies clutching jars with punched-hole-lids so we could capture, watch and release them.

i remember riding bikes all over long island with my best friend susan.  we’d tell my sweet momma we’d be home for dinner and off we’d go.  just two girls on bikes, riding miles to the beach or a state or county park or each other’s houses, or just anywhere, with stops at carvel or friendly’s or mcdonald’s.  no cellphones, no gps, no worries, no fear.

i remember in the mid and late 90s flying midwest express, often.  the airline served actual meals on real plates with real cutlery, with champagne or mimosas or glasses of wine, depending on the time of day.  they made warm chocolate chip cookies and brought them after the meal with hot cups of good coffee in real stoneware mugs.  i dressed appropriately – in clothing that said i respected this lovely flight and those around me, the attendants working hard to make the experience pleasant.

i remember the day i flew to meet david’s family in 2013 the flight attendant asked me if i wanted to purchase water.  water!  no tiny bag of pretzels, no meal, no freebies, not even water.  i had jeans and flipflops on, many people around me in their sweats.

time had passed.

the relics of a simpler time gone by remain.  while helping 20 prepare his momma’s house for an estate sale, i opened a drawer next to the bed.  in it were gloves – mostly white, but a pair or two of black or brown.  there were short gloves and long gloves, cotton gloves and soft leather gloves.  gloves with bows and gloves with seed pearls.  gloves carefully placed together with their mates, clean and ready for wearing.

i wonder when the last time was that eileen wore these.  for that time has passed.  and we can only now vaguely remember it –  a time when people celebrated occasions with stockings and heels and gloves to the elbow, customer-appreciation-gratis mimosas on airplane flights and kickball in the street.

read DAVID’S thoughts this TWO ARTISTS TUESDAY

BROWSE NOW:

preadventure painting sale box

bistrochairs website box