Word Art: Abstract #3

This is the third in a series of experiments with doing Word Art in abstract patterns with, well, rather abstract words to go with them.

Abstract #3

Abstract #3

Waves of shining silver water caress a blue sand beach as you stand facing the horizon.

The sun is high and bright in a sky with the palest cast of pink.

You step into the water and feel your feet sink into the soft sand.

You kick clouds up as you progress.

The waves are light and offer no resistance so you continue forward until the waters close over your head.

As the waters embrace your body, you find that breathing is not necessary.

Sunlight shimmers overhead, fractured in a dancing web of light by the surface of the water above you.

Your feet find stone, ragged but level enough to tread upon.

A school of fish the color and translucency of amethyst rush past like a startled flock of pigeons.

The ragged stone progresses to tile and you find a road that leads deeper into the waters.

The road ends in a broad plaza surrounding a building of blue stone with a tall entryway flanked by columns.

You see no windows, but as you pass between the columns into the interior, you see that glassless skylights have been cut in the pointed roof.

It is a single room within.

Black and white mosaic tiles cover the floor.

At the far end of the room is an arched alcove enclosing a statue of a robed woman with blindfolded face and hands outstretched, hands that bear eyes upon the palms that face you.

“Speak!” a voice commands, and while the statue remains motionless, the voice clearly rings from it.

You say nothing, as words require breath, and you have taken none in these depths.

“Speak!” the voice cries out once more.

You remain where you stand in silence.

“Speak!” comes the third shout and this time you hold up your hands, palms faced forward in the manner of the statue and gently incline your head in a slow, deliberate nod.

“Well said!” the voice replies and you allow your hands to fall and turn to exit the way you came.

The road you arrived on no longer leads directly back towards the point of beginning, but now forks into two.

The mosaic floor now extends to where you stand and continues down each pathway.

The black and white tiles all pattern themselves to pure black down in one direction and pure white down the other.

The road of black tile is flanked by smooth white columns and the road of white tile has a pair of gleaming black columns in the same way.

You follow each path with your eye, trying to discern where they lead and while you can’t be absolutely sure, it seems to you that both roads curve in such a way that they eventually lead to the same spot.

Did I mention I’ve been reading a lot of Jung lately?  Can ya tell?

I neglected to take a photograph of the framed result because I promptly took it down to WonderRoot to donate to the art auction at their Bomb the Moon event.  I may have to go down just so I can get a picture of it.

Prints of this work are not available.

The original is not for sale.

 

Word Art: Wishing Stars

There’s far too many lucky stars to count

–The Tender Idols, “Six Minute Feeling”

When I finally settled on pricing my art at the rate of five dollars per square inch, I decided I needed some form of one-square-inch art so just about anybody could afford at least something of mine.  I came up with the idea of doing wee magnets of Word Art with very short pieces on them.  I did the first batch of them at the Upper West Side Folk Art Market and dutifully transcribed all the original words into my iPhone so I could hang on to them:

wishingstars

Wishing Stars

Wish #1

This star is a wish for freedom to be whoever you really are. It is a wish that you may live without a sense of not being the way you should. It is a wish for you to love freely what or who you love and never feel the need to apologize for it

Wish #2

This star is a wish that the cracked places will find healing. It is a wish that your heart will expand in a way to your utter surprise. It is a wish for beauty, grace and for life in all its perplexing ways.

Wish #3

This star is a wish that you will always carry peace within your heart. This is a wish for serenity that knows beyond any knowing to breathe and let things be what they are. This is a wish for the wisdom to recall that all storms will pass and the rain exhausts itself into sunlight.

Wish #4

This star is a wish that the bright light of your inspiration will shine brightly for the world to see. It is a wish that your light will be seen as clearly as possible without filters to obscure the true colors and the true brilliance of it.

Wish #5

This star is a wish for you to know laughter, for you to take all things lightly. It is a wish no matter how critical the situation can become, it does not ever become serious. It is, in a way, a wish that you may see things from the outside and laugh now.

Wish #6

This star is a wish for a rich life full of all the marvels and wonders that this world has to offer to every one of us. It is a wish for you to lack for nothing in life that you have true need of and to embrace gratitude.

Wish #7

This star is a wish that your life may be filled with surprises of the happy kind. It is a wish that you will be gifted with presents you didn’t even know that you wanted until you received them. It is a wish for happy random perfection. It is a wish that apparent chaos may resolve itself into fractal beauty and perfection.

Moon

Sentinel of the night sky, perpetual in change and strangely constant for even as change will come over the face the same face is turned to us each night and only the shadow will shift. We are similar.

Actually, I did the moon first.  I’ve only done it once and I’m not even sure if I’ll do it again or just leave it on my fridge as a reminder of how this all started.

At my first art show, I swapped a wishing star with Chris Hubbard for a lucky star from his booth.  Somebody else bought another.  Then I came to the question of how to replenish my stock.  I decided to allow myself to repeat myself a bit and re-do some previous wishes.  Then I discovered how much easier said than done that was.

The first few stars had been tossed off rapidly–sketch in the stars and come up with words.  Then trying to repeat what I’d done left me wondering how in the heck did I do that in the first place.  It didn’t help that I’d been quietly raising my standards so that stars I would have used before started to appear too shabby for public consumption.  Finally, I hit a wall and could barely even make myself make them anymore.

Eventually, I nudged myself past my reluctance and starting refining my methods so the results both looked better and were easier to do.  (Templates are a beautiful thing, y’all.)  I tweaked my process a bit more as I sat in my booth at the Art-B-Que and while I didn’t sell much in the way of magnets, I did wonders in producing the things.

Word Art: Abstract #1

This was a first attempt at what I plan to be a series of pieces that are abstract shapes with words that aren’t completely required to make sense.

Abstract #1
Abstract #1

Wake up to an iridescent sky and razor angular clouds burning in the blood rose glow of a sun that dangles on the horizon but doesn’t move for hours.

Walk outside to perfumed air, sweetened like sugar, brushing against the skin like a flirtatious lover.

All the birds have learned a new set of songs that remind you of the music you heard on the radio from the backseat of the car as a child.

You walk past a man wearing a crisp lavender suit.

He flips a shiny silver coin in his left hand and asks you in a smooth voice if you want to play a game.

His face is trustworthy in its featurelessness, but the coin has a sinister glint when it catches the light and you think it better to continue along the way.

Instead, you find a shiny red ball that seems to change color each time your foot connects with it, and you kick it through the spectrum down a mosaic street of cracked and crazed tiles.

You step aside for a singular vehicle passing through—a brocade tent mounted on wooden carriage wheels, drawn by a pair of blonde ostriches.

A glossy blue dog trots up to where you left the ball and sniffs at it.

As you come closer, the blue dog picks up the ball in its mouth and runs off with it.

The world blurs as you give chase, feet pounding and lungs aching by the time you catch up.

The dog rests at the foot of a large and gnarled tree with feather-white leaves.

It drops the ball at your feet and fixes you with a look of head-cocked curiosity, as if to ask “Why do you strive so hard to retain that which you’d only just acquired by accident?”

A leaf falls lightly from the tree and lands on your forehead to melt into your skin like a snowflake.

“When do we wake up?” you ask the dog.

“Wake?” it asks (this time aloud) “What makes you think we’re asleep now?”

Originally, I tried a jagged edge and red and black ink, but the words that came (I drafted them in a notebook first) were ugly and dystopian and I didn’t like them.  Merely changing one of the potential ink colors to purple was enough to shift my thinking to something more pleasant and after a botched first attempt, I shifted to curves instead of diagonals and did the tricky work of breaking the color exactly at the line even if a word intersected.  The result is something that looks halfway decent from a distance and hopefully intrigues on closer examination.

I’m running out of frames to play with, so a trip to the thrift shop may be in order.  I hope I’ll be able to get more done soon.

Prints of this work are available here.

The original has been sold.

 

Word Art: Breaking Awake

I had it in my head that I would do something simple and easy to add to my collection of Word Art.  Two colors bisected by a narrowing crack between them.  Something about the breakings of things.  Should have been able to knock it out in one evening.

Didn’t.

My inspiration ground to a halt in mid-sentence.  And there is perhaps some significance in the fact that the point I stopped at How can any of us hope before setting aside the pen and leaving the work undone for days which became weeks and weeks which became months.

My time filled up with other matters.  Matters of survival, to some degree, but also matters that were less challenging than buckling down and making myself finish this thing.  I couldn’t even seem to make myself start on something else until it was completed, perhaps for fear that I’d wind up just as stuck partway through.

One fine Saturday afternoon, I crouched down on my bedroom floor, yanked out my art supplies, pulled out the notebook I’ve been drafting things in and forced myself to at least get a few more words down.  I ended the incomplete sentence, hammered out another and then had to get ready to leave.  But I’d done something.

One week ago, resuming my post at the Glenwood, listening to the Taylor Kennedy Group, I drank a glass of wine and word by word, line by line, filled the page to the end.

I nearly always title things once I’ve finished them, rather than beforehand, since I don’t always know how the words are going to turn out.  The words “Breaking Awake” came to me as I prepared to write the title down and thus it has become.

Breaking Awake

Breaking Awake

Nothing ever remains unbroken.

The earth or the air or time itself will shift and what lies in the wake of that shift has no choice other than to bend or break.

And no matter how pliable you make something, materiality itself is rigid enough to snap under just the right kind of stress.

Even the bonds of water molecules will separate into droplets or steam.

What breaks is never mended to precisely its original state.

It is at best similar, much like what it was, but the world will have shifted around it in such a way that it will not and cannot by quite the same thing.

A crack can only be solidly filled by adding to whatever already was.

This is how we grow, how we expand and it is also how we contract as we refine ourselves, chip away the stone of our lives to unlock the angel inside us.

We must break things in order to live.

We must break from our pasts so that we can embrace the moment as it truly is.

We must break away from paths that will ultimately lead to suffocation.

And yet it is also our nature to mourn when the porcelain of our perfected lives ends up shattered upon the ground.

How can any of us hope to become greater than what we are if we continue to be confined to the boundaries of all that came before, even as such limits have been blurred by time?

All the fractured places in our lives do not require mending before we can progress.

That is a lie that we tell ourselves in order to keep us comfortably within the lines we draw around our lives.

What is true for our bodies is not always true for our souls.

While it is hazardous to walk upon a broken leg, it is not the same risk to love through a broken heart.

A heart is mended by the flow of love into these open spaces.

The mistake (the common, the tragic, the foolish mistake!) is the believe that this healing must only come from outside sources.

The breaks in the heart are filled by what pours out as much as what pours in.

A seed must crack its shell in order to sprout into what it was shaped to become.

So much our hearts, our spirits, our lives.

We do not have to wait for forces of nature to smash things open for us.

(Though they inevitably will if we hold ourselves too rigidly.)

Nor do we need to damage ourselves just to make a clean break of things.

We can tap against the shells we find ourselves in and form those fractures with utmost care.

Everything we think we are can be broken.

It is all in how to choose to fill in or widen those empty lines that shapes us.

And here then is the paradox that takes some lifetimes to ever understand—that when we open ourselves wide enough to take in all the gaps, the unfinished places, the ways we are torn open and left incomplete, when the hollowed spaces in ourselves, in our hearts, in our lives are allowed to remain unfilled, when our flaws, all of our fuck-ups and every imperfection is gently held open, then we find that then, without striving or struggle, we are truly whole.

My only hope is that I will remember these words when I embark on my next piece.  Particularly since it seems to me that the one thing that was holding me back from completing this piece was a nagging urge towards perfectionism.

Prints of this work are available here.

The original is not for sale.

Word Art: Speak

This is one of the first pieces I did, in about the same style as That Which Is Called the Heart and Spiral, which is to say in the style of still figuring out what the heck I was doing.  I made it because I decided that I wanted a background to my Twitter page that didn’t look like anybody else’s.  (Excerpts of it are also visible as the banner on this blog.)  I picked three colors–red, black and blue, to match the colors in the photo I was using at the time–and alternated each sentence.  Since there was no white space to work around, the words went every which way I felt like, though I pointed them in the vague direction of the nature of the Internet and communication.

Speak

Speak

We are here because we want to be heard.

Not just in the external sense, the milling crowds of humanity, but the internal we as well, the multitudes we all contain, despite our best efforts to present a unified front, a single face to the world.

‘My name is Legion—there are so many of us’ pleaded the man possessed, but I suspect that when those tenants were evicted and given new homes, there were still many left so that the place was simply less crowded.

And do not make the error of mistaking our masks for our multitudes.

We pick our faces as we decide upon the outfits that we will match to the surroundings we plan to be in.

Yet here in these electric spaces, we are so perfectly hidden that we can, as paradox as it may seem, reveal ourselves completely.

Sometimes, alas, it is our brutal selves that emerge, the demons we bury under polite facades who run rampant in this space without consequence.

But in spaces where the monsters can be held at bay, our delicate selves can be allowed to emerge, the way raindrops become snowflakes in the heatless air.

Why do some see fit to congratulate themselves for possessing contradictions, as if this makes them strange and complex and something greater than the milling crowd?

One might as well boast about possessing two different eyes as if the rest of the world were one-eyed or blind.

(In the land of the blind, the one-eyed man gets his eye gouged out for being different.)

We are all of us contradictions and far too much misery springs from the drive to be held to one self and deny all others.

No, not in our lovers, in our lives.

Monogamy is really a treaty between two kingdoms.

The greater the intersections between their citizens, the more tightly bound the nations become.

Is this what they mean by the two becoming one?

The crowds of our inner multitudes flowing into a larger crowd that seems to be one mass from a distance?

What a seething crowd we’d be if every single one of us let our crowds unfurl.

And so we are in this space, our citizens demanding their voices and quietly listening to others.

Sometimes we speak the language of sensibility.

Other times, flickers of madness are given an instant to shine with the intensity and brevity of lightning.

For some of us the glow is constant and we avert our eyes at the burning of it.

And I pity the ones who never allow that light to be seen, lest it illuminate too much and draw too much attention.

Some of us wave our madness like signal flares, hoping for rescue.

Others neglect it and let it burn out of control.

Still others try to smother it and those stories never end well.

But in this lightning storm, do perhaps some of us see something new in the moment of clarity, something they’d like to see more of?

Would someone light a match or kindle two sticks, to see clearly what was glimpsed in that flash of insight?

Or are they too terrified of what they might see and retreat to the soothing darkness to pretend that such things don’t really exist, for if they did, we’d see them all the time.

Wouldn’t we?

Wouldn’t we, though? (Though that assumes that reality itself is far more enduring than it proves to be in practice.)

And so our fleeting lightning moments are captured in an electric network and preserved for the world to see.

Sometimes, in shame, we unsay those words and hope no one traces the traces they leave behind.

But mostly we say what we mean or think we mean.

Sometimes the wind will carry our words farther than we ever imagined going.

Most times, we dream of a wind that never comes, or try to huff and puff such a wind into being.

But the winds are not summoned by our egos.

They come when we tap into something that flows with the current of things.

Some have mastered this art, others merely imagine themselves to be masters of it.

The closer to the center, the farther out you reach.

With each light we allow the worlds to see, we grant another permission to shine.

Do not light the brightness of another’s light diminish your own.

Instead, learn to shine that much more brightly.

Spotlights are temperamental things that don’t always linger as long as we’d like.

This is why we must bring our own brightness and let that light our way.

Because we do all shine on, “like the moon and the stars and the sun.”

And so by the glow of screens and cell phones, we shine on in our six billion crazy ways.

How much brighter we’d be if we let all our lights emerge.

But, ah, how hard is brilliance to maintain in this world.

The spotlight can be as much a bane as a blessing.

Some days we crave the cool darkness.

Sometimes it burns so, to be in the center of our incandescence, and so we shrink from it.

But one can become acclimated to the heat, with time and practice and persistence and courage.

And then one day you wonder why you wasted so much time in the dark.

We are not made unique by what we take from the world, for anything we take can be taken by another.

We are made unique by what we bring to the world, the parts of ourselves that no one else on this Earth can replicate.

And yet so many define themselves by their external trappings, even as they secretly chafe against their restrictions.

It seems so many people fear to go within, fear too look too deeply into themselves for fear of what they may find.

With one hand we pat ourselves on the back for being like no other.

And yet with the other, we reach out hungrily to find another like us so we won’t feel so terribly alone.

And so with the transmission of ones and zeroes comes the transmission of our hopes and dreams and our deepest desires.

And the ears to hear or the eyes to see such things need not be known to us before the connection is made.

We are now linked in ways it would have been impossible to link so effortlessly in times past.

The voices of authority have a harder time drowning out the voices of the subordinate.

Who, then, is really in charge?

What if we all of us were?

What a world it would be if we all claimed our kingdoms, made our alliances and learned the way to peace through plenty?

We live in an age of overwhelming abundance and yet we barely notice when we have more than enough.

How changed the world would be if we made note of this.

And yet the full are afraid to flow over, afraid that what they had would be beyond replenishment if they were to fill the hollow cracked spaces.

The holes in their own souls must be filled first, they decree, not knowing that the solid sorts of things they use are the wrong medicine for that affliction.

A spiritual gap cannot be filled with a material object.

A physical lack cannot be filled with mere words and well wishes.

But the spirit can bend the material when flesh is moved by the soul.

This is what we hope for when we call to the heart—that we will stir music in the soul that will lead to the dance of life.

But our mistake is believing that his somehow exempts us from taking our own actions.

All the chatter in the world has not the power of one single focused action.

(Though words are at least useful in advising us what action to take.)

There are times when it is enough to just be.

Fortunate is your life if you have the latitude and will to have such times.

And there are times when the words end, the sleeves are rolled and the action begins.

In the end, it is perhaps better to act first and then speak than to speak first and then act.

Though even speech before action is better than speech without action.

Few things annoy quite like the one who speaks endlessly of his brilliance and yet never bothers to truly shine.

I dare you to show me your heart.

Show me in words, show me in deeds, choose your weapons with care but show me your heart.

I dare you.

We all dare you, though some people who issue that dare don’t really mean it.

They just want you to do it first so they don’t have to.

Perhaps that’s why when we strip our souls naked some people retreat and scream and call the authorities.

Not because what you did was in any way wrong.

Not even because they were horrified and repulsed by what they saw when you exposed yourself.

They fled and demanded that a stop be put to it because they were terrified that they would be expected to follow your example.

They were afraid that they would be next.

Perhaps this is why some of those who hide behind masks are at their most vicious when one is at their most vulnerable.

They hope to shame these naked souls into putting some damn clothes on.

They chill the conversation so they can feel more comfortable in their numerous layers.

How much harder it would be for them should the atmosphere warm, that they would be left sweating and chafing and yet refusing to expose their skins, their flaws, their scars to the rest of us.

So they swath themselves in wool and tweed and decry our lack of modesty in this our modern age.

We are under no obligation to listen to them.

There are ways to warm ourselves in this still cold world.

Unlike a body, a soul can be both armored and naked, exposed yet invulnerable, unstoppable.

Stand firmly in your sense of self and no one can topple you from your position.

Be flexible enough to move as the occasion requires, and dance to the rhythms of your heart, and the blows will never be close enough to land.

No one is ever free from being criticized by someone out there.

Act, and you will be told by someone that you took the wrong action.

Do nothing, and another will shame you for your apathy.

Therefore, the only voice you can truly rely on is your own.

But how can you be sure the voice you hear in your head is truly your own?

The entire process of learning to function in our society requires that we admit the thoughts of others into our head.

If we are to speak and be heard, we must make room in our heads for words we didn’t invent ourselves.

The heart speaks its own language, and the art of translation is one of the most important skills to master.

But far too many people are told that the translation is incorrect.

Or, in other cases, we deliberately mistranslate, lest the words spoken scandalize everyone within earshot.

We learn the right things to say, even when the right thing to say is so distant from the truth as to be unrecognizable.

And the more the heart is mistranslated and misunderstood, the more reluctant it becomes to even try to be heard in the first place.

This is why silence is a precious commodity, for when we allow it to surround us and just for once let it stand unbroken, the murmur of the heart, the secret language of the self unseen, can be heard.

And this, in turn, is why silence frightens some people, for they are determined to drown out those sounds with the noise of daily living, lest they hear the sounds the heart is making, not the thump of the physical organ but the disappointed sighs of a misunderstood voice.

What does your heart say?

Do you even understand its vocabulary, or have you only been nodding and pretending to understand?

Only you can provide a sufficiently accurate translation.

And yet by seeing the translations of others, we slowly learn how to translate our own.

Do all hearts speak a common language?

I am not certain of that.

Perhaps each heart speaks a unique dialect that can be traced to a common tongue.

(The tongue, perhaps, that spoke the world into its being.)

I still hold out the hope that more of us will learn to listen to our hearts and make the effort to translate what it says into words and deeds that can shape the world into something greater.

And perhaps the key to this is not to wait until the cacophony of false voices, of mistranslations, of The Right Things To Say finally dies down. Perhaps we need to retreat to silence long enough to hear what our hearts have to say and then emerge from that silence to speak what our hearts have told us, speak our truth until all our voices combine and the noise is drowned out by our chorus.

And here is where we can begin it.

It’s too crude a piece for me to want to sell or even scan, but I keep it precariously fastened to the side of my filing cabinet with magnets for now as a reminder of how far I’ve come.

Prints of this work are not available.

The original is not for sale.

Word Art: Alien Life

Lake Sirmon is one of the reasons I am irretrievably barred from saying I have not had an interesting life.  We met at an art show that my friend Steve took me to.  It was supposed to be the grand opening of her new art gallery and studio space.  Unfortunately, an ice storm hit the area and made the opening a little less than grand.  Nevertheless, we braved the slick roads and I fell in love with one of the masks that Lake had made–a half-mask covered in red glitter with beads and red and black plumes.  Steve still owed me money (I have a tendency to fall for men in less-than-stable financial situations, but I always get it in writing when I help them out) and the mask in question was about the price of his final payment, so he bought me the mask and we called it even.

Because of Lake, I have posed for photographs in the ruins of an abandoned steel mill, wielded a wand as the Art For A Buck Fairy, covered myself in lipstick and body paint while completely nude in front of an audience and helped paint a hearse to turn it into a multicolored work of automotive art.  Lake proved to me beyond all doubt that you don’t need to be a rich person to live a rich life.

Lake has a thing for aliens.  She’s made art of spaceships, dressed up as an alien, put on an “Alien Luau” and collects the odd bits of ephemera depicting aliens that have made it to the thrift shops.  One of her artworks comes with a story about a girl from an isolated planet who builds a spaceship to explore the universe with.

It was at Lake’s house that my art career began.  I knew I had until June to come up with a birthday present for her.  True to form, I was ridiculously late, but I wanted this piece to be worth it.

Alien Life

Alien Life

We have always looked up at the stars and wondered if anybody up there was looking back.

As, over time, we reduced what was unknown through adding to what was known (and as we realized how vast indeed was the unknown) we cast our various fears and our hopes into that void and asked ourselves what kinds of beings would arise from it.

Perhaps it says something about ourselves in what things that we expect will come.

We have told tales of being invaded by those who would take what we have and make use of it.

(Perhaps we secretly fear that all the things we did to others will one day be in turn done to us?)

In other stories, they come in the guises of our highest selves, being the beings we wish that we could turn into ourselves.

We wish that we could fly and so we gave them flight.

We wish that we could be rational, and so we give them logic.

We wish the rules for life would be clear, and so we give them purpose.

Some people are convinced beings from distant planets have already come to this place, even as the traces left behind are transient and uncertain.

(Should you suggest that past stories of humans were have been captured and released by the fae are really stories of those who have been captured and released by extraterrestrials, my question would be how can we indeed be certain that the abductors are not, in fact, the Fair Folk in suitable disguises?)

Other people make claims that the pyramids and other exceptional achievements of times past were in fact works of visitors from other worlds.

I find that this comes across as a bit of a slight to humanity.

We are, as a whole, far more remarkable than we give ourselves credit for.

And I also suspect that we all feel a bit like an alien from time, as we behold the peculiar customs of these human creatures and wonder why they act that way.

Anybody who explores the inner and outer spaces of the realms of creativity will find this to be especially true.

So perhaps the eyes that stare back from the skies are our own.

Lake loved it when I gave it to her and I’m honored to have my work added to her art collection.

Printout of this work (3 MB .jpg file) available here.  Please read the license details.

The original has been given to Lake Sirmon.

Word Art: The Flow of Change

I’m not sure which rabbit hole of links I tumbled down to land on the virtual doorstep of Pace and Kyeli, but I can certainly say that I’m glad I did.  It was refreshing to see such enthusiasm, optimism, sensitivity and encouragement in the cynical wilds of the blogosphere.  I added their blog to my RSS feeds, looked forward to each new chapter of The Usual Error and signed up for the Freak Revolution (which is now the Connection Revolution.)

When they announced a scholarship contest for their upcoming World Changing Writing Workshop, I decided this would be an excellent motivator to finish a Word Art piece I’d started but had gotten stalled on, which was also on the topic of change.  Even if I didn’t win, I’ve have some art to show for it.  As it progressed, I was less and less happy with how it was coming together visually, so I scrapped the initial design and carried the words over to a revised piece, with a better shape and a more harmonious color scheme.

The Flow of Change

The Flow of Change

The one who promises you absolute certainty is not to be trusted.

In a world that shifts and changes so, such a promise is impossible for one to even try to keep.

That which endures only endures by being mutable.

This is as true of abstract notions as concrete ones.

All that is built will be rebuilt as time wears it away.

What we think we know is perpetually subject to change.

Or at least it should be.

If it is not, it will eventually be smashed by reality as it settles into its latest form.

We know change to be inevitable.

But we cannot be assured that such change will always be for the best.

That is only the case if one makes a definite effort.

Change is a force, like water, like lightning, like rain, like the wind.

And like the water, like the lightning, like the rain, like the wind, we have been able to deflect it, shape it and even create it as necessary, in order to make that which we have need of.

The mistake is in assuming that once a change has been made, things can never regress to their previous state.

Change is a fluid that will pour into whatever container is provided for it.

Like water, like the Tao, it flows to the lowest point.

Like fire, like Spirit, it is indifferent to what it consumes and transforms in the way that it refuses to make exceptions.

Like all of these, it can be put to use, but only when you grasp the nature of it for what it is instead of what which you wish it to be.

Everything is in flux.

Nothing can ever happen in such a way that it cannot, however eventually, unhappen.

And knowing all of these things, you must now ask of yourself–”How can I shape these forces that flow through all of us? How can we direct change so that the greatest number of people can benefit from it?”

For if you seek to only do what will benefit yourself and no other, it will only cause the slightest of ripples in the world.

But if what you do changes the worlds of one another for better, the force becomes amplified and these ripples become waves.

What you want for yourself should be what you want for the world.

Seek peace so that others may know peace.

Seek joy so that others may know joy.

Seek love so that all may know love.

Change is powerful and for many it is frightening.

Our cravings for novelty are counterbalanced by our cravings for stability.

We know that what change leaves behind is not always improvement over what was before, and thus we are wary of untried changes.

Therefore the one who speaks of change is most persuasive when there is proof that it will work, when there are examples to point to and say: “This was done in a different way than the always. And yet it works, and works beautifully. Why, then, do we cling to the means and methods that are less effective?”

Be bold with your own life.

It is not a path, not a trajectory.

It is, in truth, a laboratory, wherein each new day, each moment, can be an experiment.

You are not bound to what has gone before.

You are only truly bound to what you choose to do in the moment as it stands before you, whether it is to sustain or to transform.

About halfway through making this piece, I came to a decision about it, but I kept that decision to myself until after the winners of the contest had been announced.  Once the winners were announced (I placed as a runner-up, which was an honor in itself) I asked Kyeli for a mailing address, so I could present the original to her and Pace as a belated wedding present.

I’ve been told it now hangs behind Pace’s desk for inspiration, which is kind of fun to think about–that I am able to inspire those who have in turn inspired me.

Printout of this work (10 MB .jpg file) available here.  Please read the license details.

The original has been given to Pace and Kyeli Smith.

Word Art: Seven Ways to Sneak Past the Lizard Brain

Whenever possible, I set aside my birthday as a day to go out, explore, ramble and indulge myself a bit.  June 14, 2010 was no exception.  I spent the day visiting Centennial Olympic Park and the Georgia Aquarium and that evening I went to a restaurant in Virginia Highlands for Linchpin day.

Linchpin day was, in short, a gathering of folks inspired by the Seth Godin book Linchpin: Are You Indispensible?, which I hadn’t even read yet but was looking forward to doing so.  I had a marvelous time meeting with people who were enthusiastic about the idea that work could be about passion, about connection, about making a difference in the world and that your job didn’t have to be some horrible hellish thing you put yourself through so you can pay for a secure place to sleep and watch television in.

While gathering information about the meetup, I also found out that a group of people were putting together a magazine to commemorate Linchpin day and to make sure that contributors would ‘ship’ as quickly as possible, they placed a 48-hour deadline just after the meetings, so people would get their ideas and impressions in right away instead of dithering.

So the next day, I bought a copy of Linchpin, read the whole thing, got out my materials and made some art.

Seven Ways to Sneak Past the Lizard Brain

1.  Tell the lizard brain you’re only going to work on The Big, Scary Thing What That Needs To Be Done for only five minutes.  Do so.  When the five minutes are up, do just five more.  Repeat until momentum causes you to lose track of time.

2.  Picture the awful things that the demon in your head goes on about being said by somebody you would dearly love to piss off.  (You might do best to invent someone, so your contempt doesn’t carry over to a live human being.)  Imagine him like the villain at the end of some comedy, at the moment he has been proven powerless and is stomping and flailing and trying to reassert his vanished authority.

3.  Do the lousiest, crummiest first draft of The Big Scary Thing What That Needs To Be Done that you can possibly come up with.  Get from Point A to Point B and fix the result.  There’s no way to sharpen a blade before it’s been forged.

4.  Procrastinate your self-indulgence.  Sure, you’ll go and check on how the Internet is doing.  Eventually.  Just five more minutes on The Big Scary Thing What That Needs To Be Done, that’s all . . .

5.  If you have the flexibility to do this, give yourself two options: you will work on The Big Scary Thing What That Needs To Be Done, or you will do nothing at all–no books, no Internet, no phone, nothing.  Sooner or later, your lizard brain will get bored enough to roll over and let you work.

6.  Imagine that somebody is anticipating The Big Scary Thing What That Needs To Be Done and looking forward to the day that your creation meets the world.  Even if the only somebody is you, it is more than enough and you shouldn’t ever deprive yourself or any other.

7.  Always remember that the amount of energy you put into worrying about something does not count as effort expended towards solving the problem . . .

(For those of you scratching your heads and wondering what a ‘lizard brain’ is, I’ll just quote a bit from the book itself to explain:  “The lizard brain only wants to eat and be safe . . . The lizard brain cares what everyone else thinks, because status in the tribe is essential to its survival . . . The lizard brain is the reason you’re afraid, the reason you don’t do all the art you can, the reason you don’t ship when you can.”)

The reason the word “Done” is in bold?  Because I screwed it up the first time I wrote it and correcting it resulted in it resembling boldface.  So I kept it for all subsequent iterations.  This was very much a making-it-up-as-I-went-along kind of work, which meant I reached into my handy bag of Stuff I Say To Myself An Awful Lot (particularly the last line) in order to get the page filled.  But it seemed like the kind of advice that others might benefit from, so there you are.

I sent it in to the magazine and wasn’t sure if they’d even make use of it, or if it would just wind up on the website edition, but much to my amazement when I got my copy, there I was on page 33.  Then I looked in the back and saw that my website was there on the contributors list and thought, hmm, I should probably update or something . . .

Printout of this work (3.1 MB .jpg file) available here.  Please read the license details.

The original is not for sale.

Word Art: How to Kill Demons

When I’d finished up Exile and The Intruders had finished their set, I packed up and said goodnight to the lads and showed them my work in a kind of “look what I did while you were playing!” way.  I didn’t expect any of them would even attempt to read it.  One of the guitarists did, however.  Or, rather, he asked me to read part of it to him.  I think I read him the last couple of lines, blushed a bit at being exposed like that, and gave him one of my hand-written bizniz cards so he could see the rest of the work I’d done at that point, if he was interested.

I thought nothing of it until the next time I saw The Intruders play and that same guitarist chided me for not having updated my blog lately.  I was boggled that he’d even bothered to read it.  He asked me if I’d done any new work of late and I told him I was working on a new piece and hoped to have it up soon.

“What’s it called?” he asked.

“How to Kill Demons,” I replied.

How to Kill Demons

How to Kill Demons

Light a bonfire inside your heart.

Set the scene where you will.

I recommend the edge of the ocean.

It should be night.

Place your animus, in whatever form he takes,

next to you, as a guide.

Allow the flames to rise.

Stand close enough to the light

to cast a shadow behind.

The demon resides somewhere in the chest.

Sometimes the heart,

sometimes the solar plexus,

or somewhere in between.

A knot of burning, screaming ache.

You will know it when you feel it.

Sink your fingers into your chest

and wrap your hands around this pain.

There will be no blood or tearing.

Your animus will aid you, as necessary.

Grasp it firmly.

Pull it out, steadily and certainly.

Do not allow yourself to falter.

The demon will emerge in your hands.

It will come in any number of forms.

It may have claws,

it may have wings.

It will inevitably have fangs

still bloodied from

gnawing on your insides.

It may scream, in hopes of frightening.

It may insult, or try to bully.

It may even try to plead with you.

Do not, under any circumstances, listen to it.

Retain your grasp as you hold it over the first.

It may struggle, try to claw or bite you.

It will not succeed unless you allow it to.

Drop it into the fire.

Let the flames catch it.

It will scream more loudly.

It will curse you with greater viciousness,

or it will plead more desperately.

Again, do not listen.

It will burn.

The bonfire flames will transform it

into heat and light.

Warm yourself.

Allow your animus to embrace you.

Leave the fire to continue to burn.

It does not need to ever be extinguished.

This, like Blue Blazing, was an attempt to render poetry into Word Art.  Instead of setting precise boundaries and making it fit, I decided to figure out the size of the paper after I had written it.

To this end, I took one of the 8 1/2″ by 11″ sheets of paper and set an upper margin of a couple of inches and side margins that left a three-inch space to work within.  I wrote, alternating sides with each line, until I’d come to the end of the poem and then decided what standard photo frame size I could fit the result in.  I settled on a 4″ by 6″ frame and cut off the excess paper.

The poem itself is, in its strange way, a true story.  It was a visualization I came up with while away in a little place by the ocean, doing the usual vacation things and coping with the death throes of an intimate relationship.  The images came to me in that certain daydream state as I lay on the bed and I guided them, the way one does in meditation and lucid dreams.  I was able to release a great deal of pain and self-loathing with this and I still make use of the technique from time to time.  If you think it might work for you, by all means, give it a try.

Prints of this work are available here.

The original has been destroyed.

Word Art: A Brief Message to the Class of 2010

At 2011 Bolton Road, in the northwest part of Atlanta, there is a relatively new commercial building that lacks tenants in its upper floor.  The owner is amenable to letting artists use the space while nobody else is, and thus I’m now participating in my second art show there.  The first show was the Upper West Side Folk Art Market, where I made my first sale in the midst of a snowstorm.  The second is the Upper West Side Fringe Festival (which is still open from noon to six through May 21, 2010, if you’d like to drop by) which was where, indirectly, I made my first commission.

Since the space is intended as commercial space rather than a gallery, the lighting is not exactly amenable to an art show.  My brother graciously donated some lighting equipment that he’d had in storage and I spent the Monday before the show unpacking these large boxes and cataloging everything.  While I was there I met Ernest, my first proper art patron, and his sister, Margaret.  Margaret was impressed with my work and when I mentioned I did custom work as well, she offered to commission a piece as a gift for her niece, Ernest’s daughter Candace.  Ernest showed me the pictures he carried in his wallet of Candace–a pretty girl with a radiant smile, dressed in graduation robes.  We decided on the size (the equivalent of Fire Meets Water–seven square inches) and Margaret specified that she wanted the white space to be “2010” and the color to be burgundy, to match Candace’s class colors.

I pondered what to write for a day or two, drafted a few notions in my notebook and then began:

A Brief Message to the Class of 2010

A Brief Message to the Class of 2010

You have emerged from the classroom into the world.

Whatever you choose to do from this point forward, even if you re-read these words years from now, know that the best life is the life of one who never stops learning.

These new ways to learn might not test you in a paper way, but you will still be made to prove what has been taught to you.

But if the proof does not come all at once you will know where to look to find out.

You were born in the 20th century but you come of age in the 21st.

How blessed you are, to witness and to shape amazing time such as this!

As you can see, so many things were at one time thought impossible and are now surrounding us.

Remember this–with courage and persistence “Impossible” becomes “not just yet” becomes “very soon” becomes “now.”

I presented the result at the opening of Fringe Fest and both Margaret and Ernest were quite pleased.  I hope Candace will like it.

Prints of this work are available here.

The original has been purchased.