Nature In Balance

Spring is arriving on schedule amidst the world-wide pandemic. In the southern hemisphere autumn is unfolding. For Amy and I, living in Santa Fe, New Mexico, USA, we see flowers and delicate green buds on trees as they begin making leaves again. 

The deadly covid virus is a result of nature out of balance. Like so many others, Amy and I are staying home. Our art gallery has been closed for well over 1 month. We have no social contact since there are official edicts limiting gatherings, and everyone is cautious about the virus spreading.

Amy and I go for a walk alone in our neighborhood once a day. Seeing the tree blooms turning into leaves, I suggested a drive out of town where we might see apple orchards. 

We packed a lunch and drove north toward a little town called Dixon. Passing through the city of Española, Amy remarked that the name means “Those from Spain”. The main road has about seven traffic lights and then the highway resumes across open landscapes. In a short while we were driving in a chasm with the rushing Rio Grande River on our left. The road twisted in the mountain pass with scenic vistas at every turn. Soon we came to the turn off to Dixon. The landscape was not yet green. A few homes stood along the county road but we noticed the fruit trees were either past blooming or not at all. Driving on, we passed a food market and church, then not seeing what we came for, turned around. The Dixon market is a homespun food co-op and Amy wanted to stop there. She put on her mask and went in. “Look for toilet paper!” I said. It is entirely scarce everywhere— all the stores in town are sold out. Soon she came out, no toilet paper in hand but quite happy she had found some bulk beans and other items she could not find in Santa Fe. 

I suggested we go further north, since we were very near a tiny village called Pilar and the entrance to the Rio Grande Gorge. At Pilar, I turned off to an area near the river. The air felt balmy and temperate, with blue sky above—perfect spring weather. We got out to stretch our legs and stand by the flowing water. Amy surmised later that it was there that she lost her hand sewn face mask—it must have fallen to the ground from her lap when she got out of the car.  

I never tire of the Rio Grande Gorge. The vistas are grand. A small road follows the river which has cut a deep groove in the mountain terrain. Rock is exposed and sage brush grows among the hearty little piñon and cedar trees dotting the earth. 

The Rio Grande Gorge State park, extends along the river and we noticed that entrances to campgrounds and picnic areas were closed off, (because of the pandemic). None-the-less, I saw plenty of fishing activity. Folks in waders stood in the middle of the flowing water, fishing for trout. I was surprised to see so many anglers, but surmised they had no work so wished to be outdoors doing something pleasurable and useful. 

We found a spot by the river to sit on boulders and eat lunch to the sound of strong currents of water flowing. I wanted to paint a picture so we climbed back in the car and drove further until I found the scene that appealed to me, (see picture at top). I set up and painted while Amy stayed behind and read. My view was looking north through the gorge. The mountains rose from the river banks on each side and colorful sage and other shrubs speckled the earth. I like painting scenes that include a path that starts in the foreground and then gets smaller and disappears in the middle somewhere. In this case the river extended from my feet and vanished in the gorge with mountains behind in the distance.

After painting, we drove a bit further to the end of the paved road and came to Orilla Verde, a small recreation area that has a trailhead. The elevation along the river is 6,100 feet and the steep canyon rises 800 feet from the river to the Gorge rim. We hiked in the early afternoon sunshine and I took pictures. By now fluffy white clouds were arriving to blow slowly across the stretch of blue overhead. Both of us felt jubilant and Amy said, “We must do this twice a week!” 

Indeed, nature in balance is the best antidote to a pandemic.

True Wisdom

The greatest thing you can do to cultivate true wisdom is to practice the consciousness of the world as a dream.  -Paramahansa Yogananda

In 2008 while I was traveling for one year around the world, life became THE DREAM. It was a subtle shift in my consciousness. As I relaxed into my new role of adventurer and observer, I realized how fluid life is—and how obstinately hard my consciousness had become with years of built up mental formulations. I determined to let go and be in flux. I shook off notions of nationality, race, wealth—all the usual prejudices that are obstacles to oneness. The more I let go, the more I realized the world is phenomenal, fluid—and ever shifting sands.

If the sound of waves outside my door kept me from falling asleep, I laughed at how accustomed I had become to silence at bedtime. If I found myself in a crowd of strangers in Africa, and I was the only white person, I delighted how the kaleidoscope of human colors before my eyes shifted radically to ebony. Deep in the blackness I went "clubbing" with new acquaintances in Nairobi; dancing all night. Some people must have thought they were dreaming to see me, just as I knew I was in THE DREAM experiencing the night, the African milieu, music and being lost in it.

In Rome, I missed a long distance flight because I was confused by the 24 hour clock. My plane was scheduled to leave at 01:30. I arrived just after noon, and at the ticket counter was told the flight had left 12 hours earlier at 1:30 AM. I was shocked and breathless for a few moments, but realized how THE DREAM had unfolded with a major surprise. I became observer and even laughed at how I stumbled and hurt myself.

During youth, occasionally my young mind would wander into zones that made me question “reality.” Then youthful angst would set in, and fear of being mentally ill would arrive. After all, aren’t we supposed to be on firm footing in the world, knowing from where we come and where we are going?

When, in the spring of 1997, I found myself in a cancer clinic with my oldest daughter, Naomi, who was seventeen, the surroundings seemed foreign, nightmarish. We did not belong there and I was confused. After waiting, a doctor came to us and announced with considerable concern that Naomi had a very large tumor in her hip and it was malignant. The cancer most likely had spread to her lungs and maybe brain. I sensed being in a dream. Reality had shifted so radically that I clearly perceived we were in an unreal world because in essence, we were okay, safe, protected in SPIRIT; even eternal. But death was all over us. What was real?
Six years previous to that episode, while on a family vacation in Oregon, I had a powerful dream that shook me to the core. When I woke I was devastated. The vision was full of mesmerizing and beautiful imagery, spiritual throughout, but I woke with a start when an arrow, sent by a spirit being, pierced the heart of a child next to me. The imagery and symbolism had been profoundly spiritual up to that point. What had happened?
The day at the cancer clinic, standing next to my child when the doctor gave his report I felt an arrow pierce my heart. How are the worlds bound together? What is “reality”? (For more about Naomi and I on our spiritual journey, see my award -winning book A Heart Traced In Sand)

After my extensive traveling I retained a sense of THE DREAM but it tapered off. Perhaps I needed flux. I needed uncertainty, mystery, enough constant change to keep me off balance. I began missing it enough that I have tried to cultivate the sense permanently.

Walk A New Path

Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create what you will. -George Bernard Shaw

The best art allows us to see with our own eyes, but brings us into revelation. Our vision and perception gains strength. A chord is touched inside of us so that we say, “Aha.”

When it goes public, a piece of art is owned by all, so to speak, and open to a myriad of interpretations. From that time forward it is objective and subjective both. The risk an artist takes is that he may value his work highly, but the public does not.

When a new movement in art comes along, it often is met with resistance and some ridicule. It asks the viewer to take a different path from the norm, and often, the viewer says, “You foolish artist, I know what good art is. You can't fool me! The tried and true is apparent to all, so why should I go down this suspicious path with you?” In modern times, this is what happened to the first impressionists, and much later, also the abstract expressionists. First ridicule and resistance, and then through persistence, passion and devotion, a warming occurred with people. In these cases, it took years along with the slow gaining of important allies in the art business, and then the public was swayed. Now there is adulation. Just look at Van Gogh's life.

The same happens in social movements such as women's suffrage, native people's rights, race equality etc. Also, the world's great religions were often met with fierce resistance when they first appeared.

I have started creating art that is a departure from my past. It just seems to be the time, and I have the passion and will to walk a new path. I have not lost anything, I can always go back. Recently, I have been constructing my paintings as much as painting them. They begin with an idea that is fed from my unconscious and I go from there. There are two now, with more coming. The finished peieces are in the public realm since people have seen them—mostly online. I am not showing them in a gallery at this time. Being public they are both objective and subjective now.

As an example of how this type of art can evoke a wide range of subjective responses, I will tell of the interpretations from different people as they viewed my last piece. The main parts are: two dolls—one standing and one falling, a niche where one doll stands and one has fallen from, a window, an open book turned to a chapter titled, “On Love”, and a hand seeming to come from thin air and holding the book open.

A close friend of mine was the first to see it complete, and as we discussed it she formulated a story that the two dolls were actually the same person. She is both standing and also toppled over and entering the realm of the book; falling into the story of love while the Hand of God holds the book open.

Another person said that at first glance it made her feel like someone is trying to hold onto LOVE.

Someone else wrote on Facebook: “People told me to be 'perfect'. Perfect like a doll... Then, some people gave me books leading to imperfect worlds... I took your hand so that I could grow into something I would never have imagined...”

Another Facebook friend wrote: “This is a dream world, and perhaps it has a touch of adobe wall of Santa Fe and old walls of places you've traveled. There is hope and life coming through the top window, so close yet set apart from the innocent girl, the fairy tale girl, with the perfect outfit, part of whom has lost control and fallen,(or perhaps some inner part of the dream has fallen) almost, perhaps it will be a surprise to her, into a book, which seems to be orderly - can't see the title. She doesn't know it but part of her falls into some type of order that this hand, old as the wall, ancient like the soul, has touched. The figure at the top might be mourning for loss, while the hand feels the order of that book, not reading it or holding it, but feeling it. It is a left hand of the intuitive, inner self. Some dream perhaps fallen yet into a book. The hatted doll is in a bit of a precarious position but so close to the window of hope. Perhaps she represents external fantasies (letting go. Just a few thoughts. She is hatted like the men you painted, but here is a feminine aspect, perhaps an inner child waiting to be helped down or through that window. the book is quite balanced...I mean the two pages, like yin and yang. Perhaps the hand knows in this book is the balance. If I want to trip on it, it could be a person, with the doll at the head, the doll and the hand the arms and the book the feet. The head then would have part in life and hope and part in image, possibly fantasy or a young female sense, the hands part letting go and part holding on to the feet holding to balance, truth. But I wouldn't want to project onto it...(ha, ha, smile).”

And now, I confess that my original conception was for the two dolls to represent a sort of fate for two different people. One who would stand firm in life, bearing witness to the window of life and the Book of Love held by the hand of destiny (or God), and the other who falls.

I like all the descriptions and they all work! Art is objective and subjective. That is the fun.

The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider's web. -Pablo Picasso

Logic will get you from A to B. Imagination will take you everywhere. -Albert Einstein

Whirling Streets

I traveled almost half way around the world to return home to Santa Fe, New Mexico, USA, from Vietnam. The trip took about 24 hours—Saigon to Tokyo to Salt Lake City and then to Santa Fe. I am appreciating the clean air, majestic spaces, relative quiet, and urbane modernity of home. Yet, I miss my friends in the Far East and being in the flux of Asian life.
All humanity is coexisting simultaneously on this planet. Every human activity is occurring at the same moment somewhere: sleeping, eating, working, charity, thievery, sex, birth, death, laughter, argument, et al. Humans are a family, but have great variation in customs, language and ethnicity. Wherever I go, the warmth of a smile and loving look is universally recognized and welcome.
At times I have felt lost and bewildered, almost insane in unfamiliar surroundings. But then, I choose to enjoy the mind-bending experience of seeing life as child; vulnerable, and with innocent, fresh eyes. For example, last Sunday afternoon in Saigon, I took a long walk through the whirling streets and arrived at the city zoo. It is humble by many standards, and does not have the assortment of animals or facilities of many other zoos. I paid my entrance fee, began walking along shady pathways and came to elephants. A small crowd was gathered, and occasionally an animal extended its trunk to grab a sugar cane someone had offered. I took pictures, trying to capture both human and elephant together. Slowly, I wandered around, viewing exhibits. Seeing the hippopotamus reminded me of when I saw them in the wild on Safari in Tanzania last year. I came to a bandstand area where a crowd was gathered watching circus performers. A man onstage climbed on top of an assortment of cylinders and teetered precariously, then an assistant handed him a small sword which he held in his mouth, then took a longer sword and balanced that on the tip of the small one. Next, a beautiful young woman in a tight red costume walked a tightrope, standing on her head, doing splits, and eventually placing a ladder on the rope, climbed up two rungs, then did the sword trick with two swords balanced tip to tip from her mouth. Music played, children ran around in glee, and every time someone spoke, I could not understand a word. As I left the zoo, I had the distinct feeling of being lost in another world, but not caring. The elements played on my mind like a dream and moments flowed in a stream of consciousness that left me dizzy and euphoric.