Keirartworks's Blog

hmmm. hmmm? Observations, actions and connection points through art.

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Hamilton Residency 10: Manifesto.

Lightning: it is wise not to make a target of yourself.

Enlightenment: what you feel as you walk away, unharmed, if you successfully apply this to any dangerous situation.


My Manifesto, then, as informed by the following list of encounters, ideas and experiences, as far as I can name them in the moment:

J.F. Martel, Guy Laramee, Brian Eno, Kate Raworth, Rebecca Solnit, Greta Thurnburg, Werner Herzog, my Masters study of Community Music, Rutger Bregman, hundreds of conversations and encounters with the valued people in my world, Nora Bateson and warm data, Donna Haraway and ‘making kin’, Carl Jung’s Red Book, Wassail! 2018, my nine portrait collaborators, the Cotton Factory Artist’s residency, Hamilton, Emerald Street, Georgian Bay, the Great Lakes, trust, love, betrayal, trauma, and four decades of good and bad artistic choices

To all artists, in all media and discipline, everywhere:

Do not ever paint, write, act, dance, direct or sing  for money.

Get paid, yes. But the primary objective of your work can not be financial compensation. In fact financial compensation is the least significant objective in making art.

(Read J.F. Martel’s Reclaiming Art in the Age of Artifice (2015). He’s right.)

Never starve for the sake of your ‘art’. That’s an old trap of an idea, and it never applied to you. Starving’s a waste of your time; figure out how to live and thrive, so you can work. Keep a weather eye on your ego; you need less than you think.

Werner Herzog put it this way:

“If your project has real substance, ultimately the money will follow you like a common cur in the street with its tail between its legs.”


Do your work out of love and respect for your human self, and all other human & non-human selves who struggle, fail, make wrong choices, and right ones. Paint for the dangerously passive-aggressive narcissist in his fortress of victimhood; for the seventh generation Welsh sheep farmer who calls out Peta on social media for denouncing the use of wool.

Sing for the young girls and boys with multicoloured hair who are entering a life in which their bodies are commodity, where there is no such thing as physical, emotional or psychological safety.

It is all “We”. You are not separate from any of this; it is your job to include, to speak for.


Artists are the ‘voice’ of a natural ‘We’, which includes all living species.

Write, for the clearcut trees, the hurricanes and the fires, the floods and the traumatic, catastrophic changes in this world. Paint for all refugees, of all species.

Act, compose, direct, for the bully boys and their muzzled wives who get elected so they can take an axe to our carefully crafted, compassionate safety nets. This too, is human, they are also “We.”.

Make art that supports indigenous voices that speak for and to the land – people all over this planet who claim their integrity and walk their talk, through centuries of genocide.  Learn how to be a good ally, on your own steam, without entitlement.


Go direct. Look beneath the surface of things, then widen your gaze to see the larger context.

Take a straight, objective look at power and its misuse, at how abusive behaviour always always always originates in deep private, personal insecurity, unhealed trauma, fear. Paint the humanness of that. Hold difficult space for change.

Mind your tongue and use your ears – the ones in your soul as well as the ones on your head. Use your anger to find and name the difficult beauty in all that you see. Paint that.

Learn to walk away when nothing more can be done; always forgive as you do this.


Stand in your truth, then express that truth, through action, through art. Understand that your truth is not a weapon, it’s a shield – for you and for those in your care.

A corollary:  Some people do not have a truth to stand in. Accept this. Forgive their choices, support them as they search. Do not let them borrow your integrity and claim it as their own – that is not a kindness.


Do all of this, but also: connect, find relevance. Find ways for people to discover themselves in what you do, what you make, how you choose, what you choose. Articulate with clarity why any of it is important. Art is relational, connective: provoke and make space for honest discussion.

A corollary: divisive, abusive work is not art, it is propaganda. Do not indulge in easy smallness, or the exclusion of anyone.


As Rutger Bregman, Ocasio-Cortez, Greta Thunberg, Rebecca Solnit and a growing ocean of people have realized, the “Us” of this world is endangered.

So. Find what you value, build ways to name and present the difficult beauty that We are.  Do this with love, and with hope, inclusively.

Make your work count.


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There and back again

It’s been such a long long time since I’ve allowed myself to feel the wonder of my own buoyancy.

A field of oats on off the sideroad where I drank my morning coffee

A field of oats on off the sideroad where I drank my morning coffee while my excellent bandmates slept..

Sing a B-flat major chord to the sun as it dips below the western horizon.  Play and snap and thunder through two sets of Charlie Glasspool’s excellent music with four excellent and complex human beings. Floating propelled on a big white boat that can open itself to kiss Tobermory and then South Bay Mouth, sharing people back and forth like fluid full of stories, food, art, and music.

Travel in Good Spirits, says the Chi-Cheemaun.  And we did.  There, and back again.

and another oat field, blue and shifting in the morning breeze, to the right.

…and another oat field, blue and shifting in the morning breeze, to the right.  At some point I forgot I was drinking coffee, and I drank the blue green of these fields instead.

Mostly my rehearsals are efficient things, scheduled between other things that need attention.  Like ritualized steps through the weeks they land precisely where they were planned – morsels of joy and the rich job of listening closely to make the right sound at the right time.  Twelve pieces learned and somewhat polished in two hours for a gig the next day.  Beginnings and endings.  Sheet music road maps are explored and memorized, fingerings and bowings, dynamics marked in (or chord progressions, lead lines, rhythmic textures , vocal harmony parts where and when).  Later you pull these out and play with an mp3 to embed them, and on the way to the gig play the mp3s over and over & think your way through your part…  I had three rehearsals like that this week – each of them highly rewarding of course, but quickly finished and on to the next thing.

Docking sign at Tobermory.  I liked the paint cracks from weather

Docking sign at Tobermory. I liked the paint cracks from weather

Sometimes it’s about more than getting the notes right, but there’s no time to explore the bigger philosophy, to feel and hear the deeper currents and learn to ride them with integrity, with sensitivity.  Rehearsal is over too quickly, too efficiently, and I carry a residue of missed opportunity through the day…

On rare occasions, though, there is time and a shared inclination to go deeper.  There was this week with us as we sang our way to the boat, on the boat, and back again into the next day.


We stepped off the schedule planet, my friends and I, and onto planet possibility for an intense two days.  I can’t (and wouldn’t) speak for them, but I certainly know I am changed by it.  I feel like a child who has discovered a myriad of new ways to play with old toys.  Songs and solutions pop into my head while driving, while reading, immediately upon waking.  I can handle and deal with about twice the detail load, and I still have plenty time for wonder.

She opens herself ni the approach to Tobermory

She opens herself in the approach to Tobermory

What a simple thing, to change so much.

Stop, and play with like-minded people in a place of possibility for long enough to make it count.  And it will count.


Thanks you guys.  More, please.