Lily and I combined a Sufi Chant with an Arapahoe Ghost Dance song as musical score for a video of Old Hand sailing Port Madison.
Tag: art
Artwork in progress-a look back
Here’s an installation photo from my show. It’s good to get it done. Now I can move on to other things. Like gardening, chopping wood, and writing blog posts again.
Putting up a show is always a double-edged thing. There’s the excitement and sense of accomplishment, but it’s also something of a let down in the end. It’s a summation, of sorts, a statement of where I’ve arrived at this point in time, life and career. It’s strange to think I did my first oil painting 50 years ago. I thought of showing this painting too, but couldn’t hang it without a little more work on it. Would this be cheating?
Putting it all together
I’ve been cloistered in the studio, getting ready for my April art exhibit. Its been a challenge to bring all these images and colors into some coherent form. Having an art show forces you to bring work to, as Marcel Duchamp called it, “a state of definite incompletion.”
A way to get them up on the wall is necessary. I’m attaching hooks and wires, trying think of titles, and bringing some paintings back from the edge of oblivion . To do this you sometimes you have to be radical. Painting is a complicated business, and to narrow the focus can be, paradoxically, liberating. After putting this painting aside for a time, I covered the whole thing with a coat of indian red. It was the ground color I began with and I return to it in order to unify the disparate elements again. I then used my favorite tool, the paint rag, to reveal the under lying color. This gave everything a reddish tinge and shadows turned from cool blues and violets to warm red.
For a long time I’ve been interested in the Temenos, the enclosed, sacred space set off from worldly concerns.
The figures in this picture suggest gnomon. This is a greek word meaning both a column on a sundial indicating time of day, as well as one who knows. The gnomen are guardians of the spellbinding circle where we safely confront the unconscious and undertake the magic of creative work.
Soul Hydrography- The Elwha Dam and Seattle Seawall
Soul Hydrography is the study of how waterways, rivers and currents reflect the spiritual state of humanity. Our psychic energy flows with the drainage’s along which we establish our precarious settlements, into mythologies of the parched landlubber, and hies with the stream of time back to the infinite. I have no actual experience in this field, unless an adolescent kookdom in Surf City counts for training.
We are pulled into the undertow of mythic floods or swept into a sea of trouble . The primal chaos that threatens to engulf us is the same prima materia from which our civilization arose.
The removal of the Elwha River Dam and the rebuilding of the Seattle Seawall are two projects that reveal something of the secret history of the Northwest and the contradictory impulses we share-namely, the primal drive to hold or release, to build and destroy, or open and close. Like the breath, these complementary movements alternate through cycles of history. 
The Elwha dam nearly decimated one of the world’s largest salmon runs, destroying the livelihood of the Clallum tribe as well as the settlers who lived along the river. While it generated electric power for Port Angeles, it deprived the area of another form of energy not measured by kilowatt-hours. It created a major blockage of the communities’ vital force-its chi. 
The deteriorating Seattle seawall is symptomatic not only of infrastructure divestment, but is also an example of soul hydrography. In a heartbeat, the waters can engulf the high temples of power so serenely reflected on the surface of Elliot Bay.
William Blake called the 5 senses “the chief inlets of the soul in this age” (A happy turn of phrase for our theme.) Today, few consider that there might be other inlets, and forget lessons from former ages. Though decay of the materialist bulwark against the soul’s depths causes unease, we seem ever more walled off from the possibility of accord with unconscious dictates. These energies lie a thousand fathoms deep right off Seattle’s doorstep.
Emanuel Swedenborg’s reading of Genesis accounts the Ark as a vessel bearing remnants of the Ancient church. The waters Noah navigated drowned the remaining populace-the Nephilim- in materialism and greed. In Swedenborg’s esoteric reading of scripture, Nephilim denotes those whose inherent goodness and charity became immersed in selfish desires. Noah safeguarded secrets that held the key to gnosis, a mode of perception that maintained the spiritual life of man and, therefore, humanity itself. Though Swedenborg’s biblical interpretation addressed an inner history, involving preservation of an Arcana entirely different from chronological narrative, there are correspondences with the ecological disaster we face today. See Henry Corbin’s fascinating book, Swedenborg and Esoteric Islam.
Happily, the Elwha dam is gone and the construction of a new seawall is in the works.
Hypergraphia-updated
Writer’s cramp is neither a basic muscle problem, nor the high level disorder of the composition process seen in writer’s block, but somewhere in between.
Alice W. Flaherty, The Midnight Disease
1. I’m on my own for a week. Lily has left for Hawaii, leaving me to do something meaningful with my 7 days as a bachelor. Its time to start a post. Have I lost my ability to write since the last? Did I ever have it? 
2. I’ve been reading my morning pages from 2010-2011. Those who follow of Julie Cameron’s Artist Way books know what I mean. Basically, you write 3 pages every morning whether you feel like it or not . Though I never progressed beyond this to her subsequent exercises, I’ve been doing them now for some 20 years (can it be true?)
After perusal of the pages and notating with the recommended red and green colored pencils, I see certain themes recur in dreams. Usually, I’m lost in some city looking for food and burdened with too much gear. The blockages I face in writing, art and life seem reflected in these endlessly recurring images of abandonment and loss in crowded cities somewhere to the south.
3. I listen to Hawaiian, slack key guitar and imagine what Lily is doing. A cascade of clear, lazy notes falls like rain on banana leaves while puffy clouds are blown across a vivid, blue sky with the tradewinds. Festoons of bright jewels play over the dancing palms Jewels of radiant light festoon the swaying palm trees while Lily does the hula.
4. I read more pages from 2010-11. There are exhortations to myself to get moving-to overcome stasis. to get moving. I throw pages out and keep only the dreams. These are the only things of interest-like the one of the earth gyres that inspired this painting. Only later did I realize it was a tribute to my ex-boss and dear friend Doug, who passed away from cancer 40 years after exposure to Agent Orange during the Viet Nam war.
The image of the twin gyres spiraling like whirlpools on the earth somehow seems related to this dilemma of intention versus receptivity. Or maybe Doug is simply telling me to get off my ass and get to work.
5. I told Lily before she left for Hawaii that its best not to stick to a set itinerary. Better to go with the flow, and adjust to circumstances over which you have no control (like volcanoes.) I might well have been speaking to myself as regards writing. After faced with a week of my own dark thoughts, negativity and acedia (sloth), I’ve decided to surrender to he natural ebb and flow of ideas and, like the ancient poets, call upon the muses for their aid in meeting the self-imposed weekly deadline for my blog post.
6. Today is overcast. The wind blows dark masses of cloud northward past the cell phone tower that looms overhead like an Archon whose only duty is to arrest my flights of prose. Dark clouds fly past the cell tower looming overhead like an Archon whose sole duty is to arrest my flights of prose.
Maybe I’ll go clean the galley on my boat, Old Hand, or lay some dark hue on a fresh canvas and invite the muse into my fortress of solitude on the farm.
7. Why not write something? I resolve to have courage in the face of the blank page. I shall summon fortitude, and let not my hand be stayed by the inarticulate. O Muses, grant me a loftier theme! Inspire my oft-times loopy pen to transcribe thy song. Or at least not let my computer crash.
Window on the Pureland
A few years ago I was engaged in the Buddhist practice of Amitabha visualization. Amitabha is the western Buddha of infinite light. It is taught that if we practice his mantra and visualize Amitabha’s Pureland as made up of insubstantial, jewels of luminous light, we can visit his peaceful Pureland in our dreams. This is of immense benefit for readying us for a peaceful death and helps us navigate the dangerous pathways of the bardo.
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It is also said that, ultimately, this very samsaric realm we inhabit is no different from the blessed Pureland.
Once, as I slept in my studio on a Spring night, I dreamed I flew over a desert landscape chanting the Tibetan version of Amitabha’s mantra: Om ami dewa hri. I flew over a bombed out village and saw scenes of bloody violence and suffering. I thought: Strange, the mantra doesn’t seem to be working. This is no blessed pure land but a vision of pure hell. I chanted the mantra with more intensity: Om ami dewa hri, om ami dewa hri. But all I saw was hellish torment and fighting. All I heard was the sound of screams, gunfire and explosions. Finally, the dream faded and I woke in my studio where all was peaceful and quiet. The only sound was the singing of birds. I lifted myself to see, outside the window, the cherry tree sending forth radiant blossoms in a lovely vision of luminous, rainbow colored jewels of light.
The Anchor-a cosmology
Here is a painting of the Vickers memorial in Kane cemetery.
An angelic stone figure holding an anchor stands on a pedestal gazing up into the golden light that filters through the maple trees.
The anchor has long been a symbol variously interpreted as faith, hope and soul. But I think there is another level of interpretation. The anchor and movement of chain as the tide rises and falls is a cosmological image. As the tides rises, the circle occupied by the vessel in its revolutions gets smaller until the chain is vertical, and remains, theoretically, in the center. This movement describes a cone shape.
Single Gyre
The geocentric, medieval image of the universe, though out-dated by Copernican discoveries, has its origin in human experience and is set to the measure of man’s ratio. It is a true cosmology because it defines spiritual co-ordinates and gives meaning to a world that, at certain points in history, tends toward a state of dissolution, of entropy. This image of the universe reflects a recurring pattern in civilization’s rise and fall, yearly cycles, and, on the microscopic level, the alternation of breath.
In Dante’s Divine Comedy, the downward vortex where Satan resides at nethermost point of hell, cast down by gravity and the weight of sin, is mirrored in the ascending spiral of Mount Purgatory. In the medieval scheme of salvation, this point is the earthly paradise at the mountain’s summit. Martha Heyneman in her fascinating book, The Breathing Cathedral, likens this spiral to the movement of thread on a spindle. She sites Yeats’ vision of gyres, where the reciprocal upward and downward movement of these vortexes occur simultaneously. This reciprocal movement is like the souls ascent through the heavenly spheres at death and the corresponding descent of Divine Intellect into the manifest world, of the timeless dimension into the field of time. 
In traditional societies, the dead were honored for their humble service, and the relationship between the dead and living was one of mutual reciprocity. We are culturally enriched by such simple gestures of remembrance. The honor conferred upon the dead completes a pact with the living and the departed are helped in their ascent toward knowledge and liberation.
An Artwork in Progress-The Dream Oracle
I begin this post with only the vaguest notion of what it’s about. A feeling, a mood that has to do with twilight is all there is to go on at this point. Sometimes we are simply empty of ideas. Nothing of worth seems to loom on the horizon in the way of inspiration. There is nothing to go on except some vague feeling, and an impulse to create. This fear of abandonment by the creative muse has given me much angst but, over the years, I’ve developed strategies for dealing with this problem. One way is to begin with a color, to paint a canvas with a ground of a single hue and visualize it as I drift off to sleep, asking that an image come to me in dreams. As for the question of to whom I am making this appeal I can only say that it is addressed to Great Spirit, Hypnos, the Household Gods or maybe even my own inner wisdom. The problem of from where dream imagery originates has never been satisfactorily answered. I used this method in the painting Oriens. I asked for a symbolic image for one of my Four Directions series-that of East. When I woke next morning and, disappointed with a lack of response from the dream oracle, I opened the hatch on my boat and saw, rising from the low-lying fog, a vision of a celestial city bathed in the glorious morning light. It was Seattle, a city very much situated in the waking world. What this says about the efficacy of my method I don’t know, except that it inspired me to look at the external world in a fresh way.
Here is a canvas covered with atmospheric veils of blue/violet and red/violet that suggests a seascape on an inland sea. In fact, it looks like Port Madison. I evoke the ineffable feeling of the moment between two lights-that of day and nocturnal luminance that lights the inner workings of soul. When one is illuminated the other falls into shadow.
In my research of Port Madison history, it seemed those who inhabited these shores appeared to me in the violet hour, spectral forms who emerge from the shadows to demand remembrance, nourishment from the life they’ve long left behind. 
These phantoms seem to advance and recede as I work the material.
This image was a rubbing/transfer from a photocopy into my sketchbook. Only after I photographed and enlarged it again was I able to discern the presence of figures who eluded me before. They emerge with the process of working the image with different media. It’s as if the artistic process is a form of conjuration. In contemplation of these sombre hues I call forth the restless shades who reside beyond the dusky veil to take their places in the visible world.
An artwork in progress-Port Madison Reverie
Reflections of brilliant red kayaks fall vertically into the mud off Reah’s dock . The gray water stretches toward steep soundings off Jefferson Head and a fitful northerly brightens the harbor entrance with catspaws . An ancient tug nudges a barge off Meig’s old mill site, while the sqwak of a blue heron echoes from tall cedars veiled in ghostly fog. The fog creates vast space by removing nearby objects beyond this present time to maroon me with only my dark thoughts. A little mystery by way of atmospheric perspective.
Strange to think how the population of this quiet port dwarfed Seattle in the mid 19th Century, when Meig’s mill belched acrid smoke into the northwest gloom and the west shore shipyard built lumber schooners for the coast trade. Then, the steam side wheeler’s whistle sounded along these shores. Venerable tugs like the Politkovsky, brought passengers, mail and logs to the hearty inhabitants of a thriving boomtown built with the lumber milled for distant ports. The long history of this now peaceful anchorage holds some dirty secrets- like when Meigs suddenly fired all Chinese workers or used trickery to monopolize the mosquito fleet, the main form of transport on Bainbridge Island.
I’ve taken a break from painting to work at Thatcher Farm. My art work has long tended toward abstraction (the term is used loosely since my work is figurative) and I needed connection with our ancestral earth to ground my mercurial mind. Speaking of Mercury, it seems significant that Thatcher farm was the main switchboard for Island communications for much of the 20th Century.
So now I’m sending out a communique into an ever expanding cyber network where few have time for an old sailor’s questionable yarn. Among crockery shards I disinter rusty hinges for a gate that opens into another time. How many have turned this soil over the centuries, have pulled crabgrass, hacked blackberry vines into submission and bent hoe blades on this weathered rock? I till midden heaps of kitchen ware and toss rocks into a plastic bucket with a loud, dull thunk!.
Under golden maples that sway over the harbor entrance, a cemetery holds the remains of Port Madison’s founders. Here I came upon a stone bearing this simple elegy:
…Gallieau, 1905-2005, Lost at Sea
What an epic sea romance is encapsulated in this terse inscription! Would that my own humble literary efforts were enlivened by such economy and expressiveness. I see Gallieau as a Conradian swab on a lumber schooner bound for Frisco after the big quake, or an ancient mariner going down for the last time off Foulweather Bluff in a squall. May he rest in peace.
An Artwork in Progress-The Post Deluvian Perspective
Here is another go at an old unresolved work. As this blog is about the art process, I include it despite its cloying sappiness. It was inspired by a story from the same manuscript in which Gawain’s story is told. It is called The Pearl. By a stream, the poet falls asleep and dreams of a maid who leads him to wondrous visions of salvation. Nearly 20 years ago I decided to memorize it and can recall some of it still.
From the memory practice unfolded a long period of work with lucid dreams, of bringing conscious intent to bear on the spontaneous flow of dream imagery by doing walking meditation and mantra within the dream itself. The dream mantra invokes the aid of compassionate deities as we wander alone through the hazardous pathways of the dream bardo. According to Tibetan Buddhists, This prepares us for the bardo after death.
In the poet’s dream, the unconscious is pushed into conscious awareness like oceanic tides flooding upriver. This inundation has been long expressed in flood myths. Its flow forms an imaginal landscape and the sudden release of its energy forces a breakthrough of vivid imagery. This can form a tsunami if not channeled through the creative process. It demands integration with our logical mind. It becomes necessary to reconcile the irreconcilable, to balance contrary states into a healthy, creative relationship. This is the artistic process.
This harmony is represented in Alchemical imagery as the mystic marriage. Sufi’s have a phrase, ishq’ allah mabudlilah, which means something like: Love, lover and beloved are One. This sacred phrase speaks of how we are continuous with all we behold, and that knowledge of this truth transforms us through knowing it. It is the Gnostic vision. The subject/object dichotomy is illumined by a larger, more inclusive totality that embraces paradox.
The Golden Mean expresses this truth and is the proportion closest to the original unity from which multiplicity arises.
A View from the Wheelhouse 