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Cabin Stories 4: weather

The tarps work well. Easy to pull out and put away, which is required since sometimes rain comes unexpectedly at 3am. I am quietly and ridiculously proud of this.

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It occurs to me that I haven’t been myself for some years now. That the strong, creative me, fully open to possibles and wonder is only just now beginning to stand up, be seen and look around again, in these past few weeks of Cabin.  She sings, draws and writes every day now.

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There was a glimpse of this me in 2014, but it was chewed up and diverted by small town commercial gallery egos (abetted by my own stubborn naiveté about the way things work in that world), by painful/ joyful diversions into and out of romantic love and by the increasingly heavy requirements of paying for culturally prescribed things. Things that, from here, I’m not sure I needed.

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Many of the things I did need then I don’t need, now. In retrospect, the psychological distance between those needs then and these now is a lot like the distance from the top of the dover cliffs to the rocks below them.

Down is where you look when fear runs in your veins. Down to the meeting place between Forever Sea and Rocky Shore (while your friend the little white dog tugs at your leg to pull you back from the edge).

And then if you look up, where fear has no place, you can see your old, embedded practicalities for what they are: just a few small options among a big-sky-full of others.

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As I surrender to the last hours of Day 29 after The Leap of Faith, I can see what I could not have imagined before I found my courage. 

My ‘friend the dog’ is the cat who joins me to watch the sun set each night. The place where rocky shore meets the endless water has expression as vast and diverse as any behavioural spectrum, but this inspires fascination, not fear. On every level I know I am stronger. 

When the beauty around me reaches impossibly generous levels of gentleness, I stop drawing/writing/reading/singing, and just witness.

Gratitude.

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There is strong emotional weather, to be sure. Beauty without shadow is nothing you can build a good path from. I welcome it – there’s always room for change. Change is all around, here – dancing with life. 

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During and while all of the storms pass over and through, the spiders spin, the birds forage, The butterflies do their impossible, the waves sculpt the shore, and the trees drink both sun and rain, stretch themselves steadily upward and down. 

The clear sky remains the same, regardless of weather, full of options. I trust the sky.

I’ve landed well.

 

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Coming to

I’m in my socks on a quiet street in the old section of town, pulling goutweed out of the garden.  It’s early on an idyllic spring morning, full of bees and growth, flowers and a gentle cool breeze.  A starling, harsh and insistent, comments on my weeding.  I explain that in the ecosystem of my tiny garden many things grow, and that the manifest destiny that is Goutweed’s nature would change all of it into a monoculture. This is why I must, however reluctantly (I’m not feeling reluctant at all, not even shocked that this is so), do my best to kill or maim Goutweed.  I tell him I prefer his sweet starling voice to this rasp.

my lawn.
my lawn.

Muttering about invasive plants and the more tender, solitary ones I seek to protect, I feel myself ease into the beginning of this three-day inner working space.

The mornings early articles were about artists – Kahlo, O’Keefe, Yayoi Kusama – specifically, their struggle to give artistic voice to the particular forms of madness they’d discovered in themselves.  Our relationship with others; our relationship with our own minds – maybe the greatest challenge in being human?

I found myself writing about strict ordering of colour, the music and the muscle of line, the often oppressive heaviness of form.  This was somehow inside of thoughts about the utter sanctity of solitude, the necessity of it.  It’s here I build fortitude, here where I can examine and own my relationship with crow-darkness; my internal, eternal desires (lust even?); my old, creakingly reliable rigidity.

Scratching the surface, but then this is day one of three.

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The goutweed surrenders to my will, stem by stem, and as I stoop mutter pull I hear the sound a badly injured animal would make if I were in the bush.  It’s coming from a largish man in spring coat and backpack. He’s standing at the end of the street, not five houses away.

He and I are the only ones visible. I instinctively give him space, content in my goutweed campaign, not looking, but listening. He moans again.  Mutters (to himself),  You shouldn’t have done that.  It wasn’t right and it’s not okay.  You’re not okay, you need help.  You need to get some help.

I know he knows I’m listening.  In fact, he called me to listen, with his moans.

I think to myself that this is a shared moment of something unnameable but infinite.  I think that every human everywhere works this way, all the time, every day.  We do our best to make friends with our madness.

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My talkative neighbour has seen me – as I hear the creak of his side door I hear myself too, muttering not now not now…  But there he is, coffee in hand, ready to chat.

Startled by the interruption we run with our minds, the largish man and I, to seek solitude again, where the fragile thought-threads can be followed, observed, even understood a little.

You just missed me!  I say to coffee-cup-neighbor.  Too bad!  I need to go in now and get back to my work.  He says ya sure that’s ok. Inside, I can feel the door as I close it.

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I feel happiness.

 

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Colour Pages #2: Green, like breathing

Aggression is the other side of green.

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As a 14-year-old downhill racer I was trained to attack the hill, to ski not just on top of it, but in it. At the same age I was also developing my approach to cello. My first teacher – a passionate violinist who adored Kreisler, who played always from inside the music – would beseech me to ‘stop playing like a girl’.  He deliberately invoked my rage- so I roared.

Bless him.  I might have remained a mouse, hyper aware of my environment and expert at invisibility, had he not prodded the carnivore in me.

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So Mouse found her power.  From there I developed card games in which I could dominate, energetic ways to push and pull inside a debate with family, and learned to love the exhilaration that came with playing the bass line in string trios, duets, and as principal cellist in two orchestras.  For a deeply introspective kid it was a wobbly but decent way to explore my urge to join.

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Later this approach became more sophisticated with my Uni friends and their fine fine clever minds. Even though my intuitive self felt heavy inside the quick of their conversation I could pull and move the feeling in the room with my cello ‘sensibilities’ – anchoring where I chose, releasing when I chose, pulling and pushing the ‘dance’ of it all – though I was not conscious of my manipulations.  I didn’t know I was flexing my silent ‘roar’. I remember inflicting wounds, and feeling bewildered from inside my own invisibility.

I had an understanding that it was proper to be ‘mouse’ when not playing music.

You could call that naive, and it was.  In retrospect I could also call my naiveté an abuse of personal power, since I was – unconsciously – manipulating the human ecosystem without regard for the effects of my ‘flexing’.

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We all have this story, or a version of it; we travel into our powerful selves only by increments, we learn temperance through experience.  I tell mine here not as a confessional but because it’s a way to feel what green is.

I offer the idea that green is the colour of naiveté, of newness and innocence.  It grows into the colour of strength when tempered with awareness, and nourished by tenderness.  I think we breathe green like forests do, and like leaves do, to filter toxins from the air and drink the sunlight- to feel the deep joy of spirit at peace.

taken September 27th, 5pm.

I offer too that green is the breath that supports the roar of red.

moss like this reminds me of lungs

Some painting notes, then – a technical application of Green in 2-D  painting.

Both green and red are essential in my practise of painting.  I tend to overlap yellows and blues on the page or canvas to make my greens, but the result is the similar, somatically. If I need to I use Hooker’s, Sap, or olive greens, but I avoid opaque greens completely.  (Too many institutions were painted this flat, bad-tasting colour in the ’50s.  I do wonder why.)

Here is a little green artists’ pigment history  – (for more link to this excellent page here).  It’s interesting that for me Emerald Green acts more like crimson on a canvas if used in it’s pure form – and the pigment used by Van Gogh and Cezanne was extremely toxic.  A ‘not-green’, if it’s also rat poison.

Sap Green
Derived from the unripe berries of the Buckthorn shrub. It is highly fugitive, as is a sister-pigment, Iris Green which comes from the sap of the Iris Flower. During the Middle Ages, Sap Green was reduced to a heavy syrup and sold in liquid form. Today’s synthetic Sap Greens are lakes obtained from coal tar.

Emerald Green
Also known as Schweinfurt Green, Parrot Green, Imperial Green, Vienna Green, and Mitis Green, this beautiful but poisonous of pigments was also marketed under the name Paris Green as a rat poison. As a paint-pigment, it was prone to fading in sunlight (an effect which could be reduced in oil paintings by isolating the pigment in between coats of varnish) and also reacted chemically with other colours. For instance, it could not be combined with sulfur-containing colours, like cadmium yellow, vermilion or ultramarine blue, as the mixture resulted in a deep brown colour. However, it had a brilliance unlike any other copper green known to modern chemistry. It is said that Emerald Green was the favourite pigment of the Post-Impressionist Paul Cezanne. In some of his watercolours, thin washes containing the colour have browned, but thicker applications have remained bright green. Van Gogh was another avid user. Modern imitations include “Emerald Green” or “Permanent Green”.