Time and Space

Sunset at Polihale Beach, Kauai, Hawaii

When I was a little boy, living in my childhood dreamworld of imagination and wonder, life resembled a beneficent sea surrounding me on my blissful island home. I lived in the suburbs of Chicago, Illinois, and I remember that in my contentment of the fullness of space and consciousness, the future seemed far beyond the horizon and out of sight. I did not have sufficient experience of time and space, so I could not project ahead. When I was about six years old, in 1958, I knew that the year 1960 was coming, but it seemed an eternity would have to pass before arriving there. In other words, the distance of two years seemed an eternity.
Fifty three years have passed since 1960 has come and gone, and it could be the blink of an eye. When my wife and I argue about something and perhaps the matter is blown out of proportion, she has taken to philosophy to remedy the emotions. She says, “In the grand scheme of things, this is not a big issue.” I understand the sentiment, and agree immediately that the bigger picture of life holds the solution to everything.

Lovebirds

This afternoon I finished an oil painting on panel, and stood back to see if I liked it. The subject appealed to me—two cockatoo birds, sharing a nut between their beaks. The painting came out well enough and I considered it a success. I measure my portraits a success if in the end, the subject seems to speak in some way . . . as if imparting a message. The birds seem alive, and joyful in their camaraderie.
Often when I finish a painting I photograph it and post it to my Facebook page. I posted this picture, and right away, Colleen, my cousin's wife in Atlanta messaged me asking the price. We chatted this way, and she bought the artwork immediately. So, between the time I posted the picture and the time it sold, maybe five minutes elapsed. Colleen said the work had special meaning for her because she had been a zoo docent for 4 years and knew the birds.
My cousin Greg died a few years ago and left Colleen bereft. I call the painting “Lovebirds.” That is what Greg and Colleen were . . . and now, when Colleen sees the painting in her home, she can be reminded of her eternal union with Greg.

Constraint

I love the possibilities of living without constraint. Of course, this is impossible, and society requires that its citizens be constrained. In some cases, constraint is advantageous, e.g. when we constrain our eating to only include healthy food and limit its consumption. There are many examples of constraint acting to safeguard what is good.

Yet I have always had trouble with aspects of constraint such as reticence, guardedness, formality, self-consciousness, awkwardness, and obstruction. Deep down, I refuse to be choked off, and from an early age resisted wearing a tie—feeling uncomfortable with any constraint around my neck.

When I was in art college, I made a logo that symbolized myself. It came from my unconscious and arrived quite easily. It is a box, with two half circles bursting out and up . . . as if acknowledging the structure and support, yet being free.

I Only Feel Elation

I call my wife Heidi Of The Mountains. When we first began spending devoted time together about four years ago, we liked to hike in the mountains, and she enjoyed it so much that when I looked at her with her blonde hair as she hiked, I called her Heidi Of The Mountains. The name stuck, and at times, she has insisted that is what I must call her—Heidi. It is the only way I refer to her online.
A few days ago, we awoke to a fresh blanket of snow, with flakes continuing to fall from the gray sky above. Not to be stopped, we took our dog and snow shoes and drove along the blanketed road toward the Santa Fe Ski Basin, into the mountains. We parked at a trail head, and were completely alone. Our dog Gracie, immediately began frolicking, thrilled to be in the winter wonderland. Indeed, we all felt happy and lunged merrily into the magical woods. The snow continued falling and the temperatures were below freezing, but we were bundled in winter clothes, together by ourselves in the wilderness, and in silence among the snow-laden trees of the forest.
Following a barely traceable trail, deeper and deeper we went . . . the snow falling gently, everything shrouded in white, and serene. The only sound was our feet crunching in the snow, and our voices as we talked or laughed. Occasionally we would stop just to listen to the silence. Nothing, broke the impasse, not wind in the trees or bird song. Gracie would stop too, and listen.

At one point, Heidi Of The Moutains said, “My hands are cold, are yours?” I replied, “I don't know, because I am so entranced and happy, I only feel elation!”

A Greater Reality

What is distance? It is a system of measurement determined by space and time. Arbitrary units are devised, e.g. minutes, hours, inches, feet, miles, meters etc., to allow for a common agreement and understanding among human beings. These units of thought govern our physical lives and are the basis of our cooperation and communication.

But what about dreams? Dreams exist in other worlds beyond time and space. Cultures that value dream consciousness are most often dominated by those that place greater value with “facts.”

I love the realm of art, because “facts” can be blurred, twisted, or re-arranged. A blue sky can turn pink, a wristwatch can melt, a person can sport both eyes on one side of a face . . . anything can happen. In poetry too, a tree can grow from inside of a heart, birds can flutter forth from thought, an elephant can appear in a living room . . . limitations are obliterated.

Once I was on a trip with friends. We were going to visit a Navajo man who lived on a reservation in New Mexico. We stopped along the way to visit other friends at their home in a town called Gallup. As I sat in a chair, relaxed and at ease, I fell into a dream state, and suddenly arrived at the Navajo man's home. He was outdoors, building a house, brick by brick, trowel in hand. I awoke from this vision, and a couple hours later, we drove up a long dirt road and when I saw the same Navajo man, it was exactly as I had seen him earlier, in my vision. How was it that in dreaming, I escaped the bounds of time and space and arrived at a greater reality?

First Big Snowfall

Orchids, blooming in a windowsill.

The first big snowfall of this season took us by surprise. We awoke from dreamy sleep, and looked out the window to see the whole lot covered in white . . . and silent. A big cape of white, thrown atop everything—as if to stop the world.

We ventured forth despite the cold and cumbersome streets, slipping our way along to a coffee shop that dared to open. Not as busy this morning. After coffee and the Sunday paper, we trudged for a walk in the old part of town. Our dog, Gracie, liked this new experience very much, leaping about with glee. She comes to us from California, where she never knew what cold is.
I love photographing in snow . . . it is poetic, and shapes become minimal—surfaces serene.

The Storehouse Of My Mind

The storehouse of my mind is bursting and begs to be released. The most fluid, direct, and succinct way to accomplish this is by writing. Writing from memory is typically in the form of memoir. For a good memoir, there needs to be vivid recall, and studies have shown that our memories are more profound when they are accompanied by emotion. In other words, a boring life does not make for a good memoir. My life has been far from boring—especially the year that I gave up home, car, typical security, and traveled solo around the globe . . . feet firmly on the ground. I have begun writing chapters from that year; and chosen to write in the third person.

Here is a sample, taken from a chapter on Belize:

They ambled casually together, past the run-down shops, enjoying one another enough that each day when they happened to meet, they grew friendlier. The black man, Hugh, had buttery cocoa skin and wore his hair in dreadlocks. He wore old jeans, a tank top, and flip-flops on his feet. Outside a cafe one afternoon, the traveler asked Hugh if he would have his picture taken. Hugh posed bashfully, eyes twinkling and lips tightly shut. The traveler had to put down his camera and smile himself before Hugh at last grinned. Then the best picture was taken, with Hugh smiling broadly and showing a gaping hole in his top row of teeth—so that his tongue pushed through the gap.

One afternoon, Hugh took the traveler to his house. They walked out of town, about a half mile along the beach, past some respectable private homes until they reached a curve, and then, looking past a little fresh water stream emptying into the sea, Hugh pointed toward an area where it appeared a jungle had marched to the shoreline. "My place is back there," he said. They walked on and soon could spot a ramshackle hut. “My girlfriend Susie is home . . . we been together awhile . . . she is good!” He said, winking at me with his toothless smile. As we neared the hut, I noticed how primitive it was. “I built it myself” he said, “out of stuff I found.” The traveler peered into the windows lacking glass or even screens and imagined what might happen during a storm. “What about when it rains?” he asked. Hugh grinned and replied right away, “My girlfriend and I fight over the dry spots.”

We came to the front steps and Suzie stepped outside, smiling broadly.
She was plump and homely and had dreadlocks like Hugh. They went inside. There was nothing there but a few kitchen utensils and dilapidated sticks of furniture. They went out back and Hugh showed his primitive operation for collecting juice from harvested Nomi fruit, which he marketed. The traveler suggested photographing Suzie. She perked up to the idea, put down her glass of rum and changed into a hand knit dress in Rastafarian colors, barely covering her torso and ended just above her knees.

For some reason, Hugh decided to leave. He gave a knowing smile, and said he needed to go to the store and get something. Inside with Suzie, she flopped down on a chair, leaned backward with her eyes half open and spread her legs. The episode seemed odd, and he got her to stand up and pose on the front porch for photos. In a reverie, she acted sexy and posed like a model. The air was perfect and the sky clear.

Hugh did not come back before the Traveler left. That afternoon, he burned a cd with the pictures of Suzie. The next day he went back to Hugh’s but the place was empty. Looking around at the shack one last time, he placed the cd on the kitchen table and left.

The Passage Of Time

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When the days grow cold in Santa Fe, at least once a year, Heidi Of The Mountains decides that we will go visit her parents in their second home in Sun City, Arizona. They spend time there when the temperatures are perfect, which is usually between late October and end of April. At other times, it can be blistering hot and nobody goes outdoors. 

On our way from New Mexico, we take highways that go near the Grand Canyon, and this time we stopped there on our wedding anniversary. It is only three hours from Phoenix, but the elevation is higher and the temperatures are much lower—below freezing at night now. It is such an inspiring place—an open book on the passage of earthly time. We rented bikes and rode along trails that border the rim, stopping often at lookouts that offered breathtaking views.

Sun City is a retirement community that is within the Phoenix metropolitan area. It is very clean and quiet, with trim houses of five different designs lining the mostly empty streets. The minimum age to own a home is 55. Children are rarely seen, and for that matter the place seems rather empty, with life limited to the golf courses and shopping areas. Furthermore, it is entirely homogenous, since it is essentially white retirees, and mostly second homes—poor people are not around. 

 A wealthy community of old people with no diversity feels odd to me. On the other hand, it is entirely safe and folks passing by in their golf carts always wave hello. Yet the safety is bought, and comes from being insulated from outside society.

Fascination In Life

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My first blog post was seven years ago . . . on October 7. Since then, I have posted 384 times, almost every week without fail. It surprises me to have been consistent . . . since I have posted throughout the seasons and from over twenty different countries.

At times, the challenge has been to find a topic to write about. When traveling, this is not a problem, but through the years, occasionally nothing comes up during the week, and then, I must be philosophical, or simply observe nature, the elements, and emotions.

I find fascination in life, and in my own life which has had it's share of ups and downs. I came from a big, complicated family, lived like a hippie early, became religious, went to art school, had a mental breakdown, traveled across the USA, settled in the southwest, started businesses, married three times, had children, been successful as an artist, had a child die, written books and magazine articles, sojourned around the world and taken 50,000 photographs . . . and kept a weekly blog going for seven years now . . . and counting. 

The archive is on this page.

A Tinge Of Sad Feeling

There is something about the dying of summer bloom and leaves falling from trees—scurrying to oblivion in cold autumn wind. . . that brings a tinge of sad feeling. Oh, beautiful colors bring delight to the eyes, and often, after a cold night, the air warms to perfection, but there is no holding on; winter comes and with it cold death. 

The beauty to all this is renewal. We know that life comes back again in the spring and with it a new face of youth. And this is the stuff of poetry and art: the wheel of life, death, and resurrection. The eternal working of the Creator in His Cosmos.

Autumn Song
Dante Gabriel Rossetti (1883)


Know’st thou not at the fall of the leaf
How the heart feels a languid grief
   Laid on it for a covering,
   And how sleep seems a goodly thing
In Autumn at the fall of the leaf?

And how the swift beat of the brain
Falters because it is in vain,
   In Autumn at the fall of the leaf
   Knowest thou not? and how the chief
Of joys seems—not to suffer pain?

Know’st thou not at the fall of the leaf
How the soul feels like a dried sheaf
   Bound up at length for harvesting,
   And how death seems a comely thing
In Autumn at the fall of the leaf?

An Urge

"Feeling The Pinch," oil on board, 12 x 16 inches, by Steven Boone

Sometimes an urge arises inside of me to shake things up—like an earthquake that rumbles forth and topples the established order of things. Only what is true and strong survives. This rumbling has been going on inside of me for years and is seen in my art; with its variations in style that often appear to not have correlations. Revolution keeps me on my toes and far from complacency. 

This weekend marks the beginning of a show I will share with another artist—Dirk Kortz. The exhibit is titled Twisted Portraits. We are both including portraits that have an oddness inherent in them. Something unsettled. It could be a grimacing face, or a hand reaching into the picture, smearing paint, or even a face dangling from a clothesline. I expect that these paintings won't sell easily . . . for they are disturbing. Life too is unsettling . . . and art must reflect life.

"Untitled," six 8 x 10 inch panels, oil on canvas, by Dirk Kortz