I Love Your Stories

“I love your stories Steven. Thanks for them.” 



Reply: ”Every week for over six years now Christine. This kind of consistency in my life is mostly confined to prayer and drinking coffee.”

This brief conversation arrived via Facebook, when Christine McIntyre, a friend I met in Belize, during my trip around the world in 2008 reacted to a posting from my archives that appeared. My blog is getting rather deep, so that now, every so often, I can pull an interesting story from the past and post it on the exact day of the year in the present.

Here are some selections from August postings:

August 19, 2012

Endlessly Changing

 

 

 

 

August 07, 2011

A Leap Of Faith

August 08, 2010

Gifts

August 02, 2009

Woven Together Into Eternity

August 10, 2008

Scratch Under The Surface

August 26, 2007

Rainbow Of Chaos

Summer's Fare

Late summer is always a colorful time at local farmers markets. At our farmers market here in Santa Fe, New Mexico, USA, open Tuesday and Saturday mornings, the place bustles with vendors and buyers. Of course, people come primarily to buy the fresh produce, but also the wholesome ambience with music, and flowers, and smells of roasting food contributes to the happiness. Here in Northern New Mexico, there is a tradition of roasting green chilis over flames—and the smell is fabulous.

I am an artist, so relishing the incredible colors and shapes of produce is a treat. Recently I made a still-life painting from items I bought at the market.

Lately, I have been bringing home an armful of fresh food and making flavorful soups that lasts for days.

Crashed

And they write innumerable books; being too vain and distracted for silence: seeking every one after his own elevation, and dodging his emptiness.

T.S. Eliot (American, September 26, 1888 – January 4, 1965)

 

It took me by surprise when I crashed yesterday evening and a feeling of total inertia struck. All my inspiration vanished, and as I sat on the couch with my wife nearby I could not clearly remember a time when I had felt this way. I thought of things to do but lacked motivation. It all felt empty. 

 

I told Lori how I felt and then got up and turned all the lights off so that we just sat in darkness, not touching. I stretched out and sank into nothingness. Then I began feeling like I was gently being carried on a river and it was peaceful. At some point my wife started a conversation, but all I craved was silence and nothingness.

Today, I am back to my old self, with my normal cares, tasks and ever present agenda. And now I know why people die without sleep.

We cannot let another person into our hearts or minds unless we empty ourselves. We can truly listen to him or truly hear her only out of emptiness.

M.Scott Peck (American, May 23, 1936 – September 25, 2005)

 

I think about that 'empty' space a lot. That emptiness is what allows for something to actually evolve in a natural way. I've had to learn that over the years - because one of the traps of being an artist is to always want to be creating, always wanting to produce.

Meredith Monk (American, born November 20, 1942)

The Human Family

Each year in Santa Fe, New Mexico, USA, during the month of July, the Folk Art Market unfolds to great fanfare. Heidi Of The Mountains and I always go, and visit all the booths, enjoying the fabulous crafts from all over the globe. The artisans dress in their native garb, and seem just as excited as the big crowds of people that come to admire their work.

We always spend money, and usually, more than we intended.

I especially enjoy the grand show of humanity and the flavorful atmosphere. This year, I became nostalgic for my former days of world travel. Seeing the Tuareg silver jewelry reminded me of Morocco, the emerald cotton shirts with simple designs of Thailand, and the fellow from Egypt with his artwork made me remember how welcome I felt there.

This annual market is an example of our glorious world and its human family. In the words of Baha'u'llah, “The earth is one country, and mankind its citizens.”

Creative Spirit

Mayan Woman in Belize, photo on canvas, 18"x24"

Nexus, Acrylic on canvas, 12 x 12 inches

Koi, mixed-media, 20"x42"

Since I have a creative spirit, I thrive on surprise. So when a friend of mine made the decision to add to his art collection and buy a wide variety of my art in various styles, I felt overjoyed. I could not have predicted that this person would collect six pieces—five last week, and is considering more. What gratifies me most is that he has explored my world, and chosen to be as broad in his collecting as I am in my creating.

Sicilian Coast, oil on linen, 36"x48"

As my friend adds to his art collection, his home grows in stature, ensuring a pleasurable and sophisticated atmosphere.

The Red Scarf, oil on linen, 18"x24"

Remember The Love

Fourteen years ago, my daughter Naomi died at the the age of nineteen. She fought two hard years against cancer, and held to her hope and faith until the end. Four days before she died, we flew home to Santa Fe, New Mexico from San Francisco, California, on a private jet—an air ambulance, because commercial travel was too risky. We wanted her home to die.

Once home, waiting for the inevitable, Naomi remained calm . . . even when she looked up at me from where she sat on a couch reading and gazing steadily into my eyes, said, “Dad, I am concerned.”

Naomi had kept a diary since she was twelve years old, and continued writing until the end. The morning of the day before she died she scribbled down in weak handwriting on a crumpled piece of paper: Dream of a blissful cruise, I don't remember much of it. I just remember glimpses of it. I am happy, and I can eat a lot. Because the cancer had made her feel so sick, she had been forcing herself to eat.

The same afternoon, a friend came over, and while he massaged her back, she managed to ask after him and his family, and then say, “I love my body, it has been so good to me.”

The next morning she was drifting in and out of consciousness and gasping for air. A doctor arrived and said her heart was beating violently because her lungs were collapsing with pneumonia and not giving oxygen. “It will give out soon” he said.

Naomi died in the afternoon, and a gentle breeze blew in, clouds came and a light rain came to end a drought we had been experiencing. The sun shone through the clouds and a rainbow formed over our house where her body rested in her bedroom.

Since her death, I have asked God that Naomi be my spiritual ally—a guiding light. She has visited my body and taken away ills. I have felt washed by her presence and since her death have only been sick a couple of times. Her spirit always gives me encouragement, and when times are tough, she whispers in my ear, It's not so bad; keep smiling and remember the love.

A Mystery

I must admit to being a bit startled when I found myself sitting in a theater and the audience all carried programs with a simple cover—only a single image—one that I had made and then forgotten.

My wife and I were given complimentary tickets for an intimate performance of a little-known play: Miss Jairus, A Mystery in Four Tableuax by Michelde Ghelderode (3 April 1898, Ixelles – 1962, Brussels). The play opens with a scene of a distraught father outside the room where his 16 year-old daughter is on the verge of death. Immediately, I came under a spell . . . because at one time I was in the same situation when my own daughter Naomi fell ill and died—and now here I was watching my own life being acted out. 

As the moments unfolded, I began to see that the hand of fate had put me in the audience, with one of my images on the cover of the program.

 The grand scheme had begun earlier, when David Olson, director of Theaterwork had begun preparations for production of a mystical play and while he was in an eclectic resale shop in Santa Fe, had spotted a piece of artwork that had resonated with him. He thought it was apropos for the play he was directing, so he bought it and then tracked me down for permission to use it for the cover of his program. When he spoke with me, at first I did not know what image he was describing; “A woman dressed in cloth, walking with the moon behind her head.” He brought the painting to my gallery and I immediately recognized it as a piece from my past, and the "moon" was actually a halo. In the brochure, and on an easel in the lobby, the piece is now called, “Moon Halo”.

Here is brief description of the play, taken from The Harvard Crimson, by Joel Cohen, October 19, 1964:
De Ghelderode sets Miss Jairus, in the house of a merchant in medieval Bruges. As the merchant Jairus and three old hags who are professional mourners keep a drunken vigil over his dead daughter, the daughter's fiancé suddenly brings in a sorcerer who has been confounding the local clerics and physicians. The fiancé, Jacquelin, cannot stand to lose Miss Jairus and demands that the sorcerer awake her.

When the sorcerer does, Blandine objects to being awakened; she no longer knows her mother, father, or fiancé. Neither truly alive nor truly dead, she begins the long, sleepless wait for another death.

The ringing of distant bells, the coming of Death, as Lazarus, the whining and howling of mourners and a premonitory dog are all techniques of mystery and horror de Ghelderode has used in other plays. They combine in Miss Jairus with a plot-skeleton which is parable. In the final act, on Easter, as Miss Jairus dies, the townsfolk commemorate the Holy Day by taking the sorcerer to a hill outside the town and crucifying him.

In short, I feel that a conjurer acted behind the scenes to put me in this play, and we witnessed this stunning performance on the eve of Fathers Day.

June Writings, with Pictures

The Zone

June 10, 2012

Deep Into Love

June 26, 2011

People Of Color

June 13, 201

Not Burned By Fire

June 21, 2009

Muy Tranquilo

June 29, 2008

This Is Paris

June 04, 2007

Emblems Of Love

Usually, when I visit my parents in Santa Barbara, California, I also set up my easel and make a painting in their yard. They have cultivated a garden and take care of their corner lot, with its giant pine trees, orange and lemon trees, and tall hedge that guards the perimeter of the property. The last time I spoke with my mother and talked about her beloved rose plants, she said, “Oh yes, they are beginning to bloom. You know Steven, I have eighty rose bushes and they each have at least ten flowers . . . that is 800 flowers!” 

   

I know the yard well—and all the varieties of color and scent of her roses. She has a special relationship with the plant life around her, and holds conversations with the growing things that exist in her surroundings. 

Although my parents are advanced in age and becoming frail, they take deep satisfaction in their surroundings. The bird feeder outside the dining room window is replenished, a man comes regularly to mow the lawn and trim the hedges, and my mother prays every day in thanks for the elements and nature around her.

I know that the jasmine outside their backdoor is now finishing its bloom. Its unmistakable fragrance is etched in my memory.

Hopefully, I can arrive there again in the next few months . . . and make another painting. I always call it “Mother's Backyard” and after I bring it back to Santa Fe, it always sells to someone who finds emblems of love within it.

"Mother's Backyard"   oil on linen,   16 x 20 inches

Boldness, Drama and Controversy

Garry Winogrand, Monkeys

At the San Francisco Museum of Modern Art, as I walked through a special exhibit of the photographs of Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico), I suddenly realized that if the same photos were in my gallery, most of them would go unsold. I knew that they were curiosities and while intriguing to see, people would not buy them. 

Garry Winogrand, Untitled 

My most powerful and original work is the least likely to be bought. 

People enjoy experiencing boldness, drama and controversy in museums, but not in their homes. Only serious art connoisseurs, those who have art running in their veins, understand that great art involves risk taking, and want to be part of it. These collectors do not want to be associated with the mundane, but instead, what is cutting-edge, and advanced. And this is what arrives in museums.

Steven Boone, Paranoia

Impatient Friend

The sight of my sturdy green suitcase, waiting to be filled, resting by my front door, suddenly filled me with gladness. It had been in storage too long and now was like an impatient friend, beckoning to adventure. Just the sight of it reminded me of Paris and Rome, Nairobi, Bangkok, Berlin, Chicago and Auckland, and many places in between. A thrill passed through me. 

 

This trip is not so exotic, but more of a pilgrimage. After my oldest daughter Naomi died in 1999, for many years I would return to San Francisco in the spring to remember her and the life we lived there during the four months prior to her death. Those days were powerful, as we were constant partners, blazing through the days, burning the candle at both ends. Life seemed magnified by death—and so it is when I revisit places we visited during our last months together before she hastened on ahead of me into the next world.

The hotel I stay at in San Francisco, The Seal Rock Inn, is where Naomi and I lived. It is across the street from Sutro Park, where you can stand and see the Golden Gate Bridge. The first year, when I returned alone, a small shrine had been set up in my room as a gift by Cecilia, the manager of the front desk. The staff remembered Naomi. The Seal Rock is a family owned hotel with homespun values, and as I returned year after year, I counted on seeing Kate, an old woman who cleaned rooms. She was slow, but valued and we always had conversations. She read my book, A Heart Traced In Sand, about Naomi and our journey together. The last time I visited, Kate was 70 years old and still rode the bus to work and back home. That was four or five years ago, and now, I wonder, will she be there?