Khaos

The ancient Greeks believed Chaos was the first thing to exist from which the primordial deities came; including Gaia, the ancestral mother of all life, Eros, a god involved in the birth of the cosmos, and Tartarus, both a deity and a place in the underworld—also the unbounded first-existing entity from which the Light and the cosmos are born.

The word khaos means "gap" or "chasm" being the space between heaven and earth.

Chaos has always been a partner to me in life. During early childhood, it was a natural part of magical life and development. Yet like everyone else, I was trained away from it in favor of order. Then it felt like waging war between good and evil.

When this happened a deep division came into my life. From then on I felt as though walking a tightrope. To fall was to descend into the chasm of chaos.

I remember being with other teenagers and driving out on the town one night. When the music was being changed between channels, static came on and I said "leave it there." Everyone laughed but I preferred it for awhile;  the little interval of chaos.

Shortly thereafter, I became afraid of dark forces in the universe and in myself, and turned against chaos. I suffered. Part of the equation of existence is that in life, mistakes happen, surprises occur, plans are upset, the unexpected happens. Chaos is in everything to some degree.


The "chasm" between heaven and earth is a fertile place. I believe, as did the Greeks, it is where creativity begins.

I have become stubborn about leaving space for it.

In my artwork, some of the best results come when there are "happy accidents". The mind comes to an impasse and sort of collapses into "unknowing" . . .  a place is messed or destroyed on the canvas yet in the destruction the hint of something with great beauty and clarity arises like a phoenix. It could only come about through destruction.

When I am out on the streets photographing, I often stop to study and take pictures of random textures and forms that seemingly come from chaos. Sometimes they are quite beautiful—the scrapings across metal, leaves floating in streams, random blazing clouds at sunset, or many other chance interchanges that leave marks upon nature.

I have learned in myself too, to make room for surprise. It is necessary.

Know Thyself

Know Thyself. 
- Socrates

True loss is for him whose days have been spent in utter ignorance of his self. -Baha'u'llah


I went to see my long time psychologist recently. We have met off and on for many years. It has been the nature of my adult life to be in many predicaments leading to moments of truth. I am a risk taker. I have always learned by doing and experiencing consequences. My father thrived on problem solving his entire life, and I have that tendency too.

The therapist I see is renowned, an author and lecturer. In the past he has traded with me for art.

When I arrived for the recent session, I took a few minutes sitting quietly in a waiting room. I reflected on what I wanted to say, glanced at recent journal passages, prayed that the discussions would be enlightened and bring the highest good. Then I thought of what to talk about. Essentially, I try to be on the path of "heart"; strong and open, feeling truth and mystery, having equanimity and fullness. Knowing joy and pain and being fluid in both.
I chose to talk about feeling stuck in some ways . . . and decided to mention a couple dreams I had had about a year ago that seemed to explain much but I could not decipher all the symbols within them.

Comfortably seated in the office, the two of us made great headway with the dreams in our hour of conversation. He knows me so well, I could refer to childhood memories he knew about. With his help and adept questioning, I gained new inspirations and insights that are helping to unlock closed passages that are essential for me to travel in.

As I drove home, reflecting on realizations, I saw people walking about, and noticed how they held themselves and how they dressed. I could "see" the psychological being that formed the outer picture.  Then I felt compassion because it is not easy being human and everyone tries.


Observe all men; thy self most. - Benjamin Franklin

Charity is in the heart of man, and righteousness in the path of men. Pity the man who has lost his path and does not follow it and who has lost his heart and does not know how to recover it. When people's dogs and chicks are lost they go out and look for them and yet the people who have lost their hearts do not go out and look for them. The principle of self-cultivation consists in nothing but trying to look for the lost heart. - Mencius (4th century B.C.)

Some people say they haven't yet found themselves. But the self is not something one finds; it is something one creates.- Thomas Szasz

Young People

A parade of young people have been entering my gallery and making an impression on me. Most often, their parents have been with them. The Boone Gallery is situated in the heart of Santa Fe, on the historic plaza. Across from my gallery is the city visitor center.

In the last week each day I experienced a memorable event involving youth. First, a woman came in with her little boy who was bursting with happy liveliness. He wore big glasses that seemed might fall from his face at any moment. As he bopped around the room from painting to painting she explained that he was artistically precocious and the family came to Santa Fe from Illinois partly because of all the art to be seen. As I stood next to her she pulled out her smartphone and scrolled through images, finding a photo of one of her son's drawings. It was remarkable for it's detail of an old fort on a hill, with a perfectly drawn American flag on a tall pole, fluttering in a breeze. I was impressed. With pride she said, "That's amazing for a five year old! I mean, the other kids are making stick figures!" By now the boy was next to us and he quickly corrected his mother, "I am six years old!" She smiled, "You were five when you made this." The boy went to the couch and sat down, rocking as he looked around, then jumping up again. I handed him a folding glossy card with images of my paintings. They thanked me and walked away. A few minutes later, the lad ran back to me holding the card. "Mr. Boone, you are the best artist!" Now it was I saying thank you . . .

The next day, a man came in with a boy about the same age as the first, and gently explained that he wanted his son to be able to see an artist working. This lad was much quieter, but very observant. They only stayed a few minutes. The father gratefully thanked me for being open to their intrusion, and they left, the boy wide-eyed and not saying a word.

Then came a father with his teen-aged daughter. He explained that his daughter was interested in art. He observed that my paintings were thick with paint and wondered how I made them. As they stood next to me, I opened my palette box and used my palette knife to mix colors together. The girl stood watching, transfixed. I said, "Most artists use the palette knife to mix colors and get new tones or colors. Then they put it aside to use brushes to apply paint in thin layers. I use the knife to paint." The little lesson lit them up and they walked out satisfied.

Several other stories unfolded. A young woman, 24 years old, came in while my assistant Therese was working. She loved a mixed-media piece called "Tango Passion". It is a rather large photograph of mine from from a tango club in Buenos Aires, Argentina. I printed on canvas and stretched it over stretcher bars. It depicts two dancers in intimate embrace on stage, smoke swirling around them in red lights. She felt it would be great in a home she was moving into soon. She takes tango lessons and explained she worked two jobs and might not be able to afford it. Then she left, promising to be back soon. She never arrived on the day she promised, and I thought it was a missed opportunity. The next day, Therese stopped in for a brief few minutes, and by coincidence at the same time, the young woman returned. She said she wanted to buy the art if she could make payments. I agreed. She said that her mother and grandmother were dancers.

Another day, two young women came in and I was immediately struck by their friendship and that one was white and the other very black. They looked around, obviously just for enjoyment, and one joked, asking did I ever "get stoned" and paint. I responded that I had not used drugs since I was about her age. "Spirit fills me up. I do not need to use anything to get high." She immediately was impressed with the answer and apologized, also saying that the colors and vibrancy might make people wonder what state of mind I had been in when they were created. Then she explained that the two of them were with a church mission that was getting young people off the streets and helping them straighten out. She pointed to a logo on the front of the tee shirts they were wearing. I reached behind my desk and gave them both a copy of my book, A Heart Traced In Sand, Reflections on a Daughter's Struggle for Life. "This is a book I wrote about my daughter who died of cancer when she was nineteen. I used many of her own diary writings." As we talked about tests and sufferings that we must face in life, the black girl looked in my eyes with a big tear falling down her cheek. "Why does life have to be so hard sometimes?" I assured her that though it is hard, there is something in us that can endure even the most severe trials.  "God never abandons us. Tests come to make us stronger." When the girls left, I felt deeply connected and sensed them for a long time afterward. One of them marched by my window later, smiling and lifting my book to wave to me.

Lastly, three generations of a family came in as I was arranging prints in my flat files. The old man was struck by one piece in particular. It's a big reproduction of a photograph called Kashmiri Children. I explained that I was in a Himalayan village in Kashmir, India,  making a landscape painting when many of the young people came around to watch me. I made a painting, but even better, took some remarkable photographs that afternoon, including the one he admired. He introduced himself and his daughter and mentioned they were in town for a family reunion. I showed him a large print of the picture on museum paper that he could buy.  "I want to bring my wife back." He promised to come back that afternoon or the next morning.
They left and I did not see him again so thought it was only a fluke. The next afternoon, the old man's daughter came back. "Did my father return?" I said no. "I want to buy that print for him . . . for Father's Day". Then she looked around and said she hoped he would not walk in while she was with me. "We will keep it a surprise," I said. "If he comes back, I will say it sold." She bought the print and payed to have it shipped to her father's house. "You will be able to enjoy it when you go visit him," I said.

How appropriate the string of youth events includes the sale of an artwork featuring young people.

Art Is Never Finished

“Art is never finished, only abandoned.” -Leonardo da Vinci

During the course of creating art, a time comes when the work nears completion. Artists’ often think, “Is it finished?” Many have experienced the culmination of their efforts and yet wonder, can it be better? On occasion, an artist eventually sees his work hanging in a gallery or a home, finds it not quite satisfactory and changes it.

Just like a person might not see a flaw in themselves that another easily sees, an artist when they are making art, becomes one with it so that they are “in” it. It is only when stepping away that objectivity arrives.

We can feel an art work is finished when there is no more space to cover or stone to carve. But that is not really it, for art is malleable . . . (excepting sculpture). Some artists like to leave “mistakes” in the work to show the process. There are indigenous artisans who purposefully leave something undone—to show humility and that only God is perfect.

For me, I have come to believe that my portraits are done when the subject is able to “speak”. If my landscapes invite the viewer to enter in their realm and abide there in wonder, perhaps then they are complete.

As I write, I feel Leonardo is correct- Art is never finished, only abandoned.

My Whole Life

 

Golden Path, oil on linen, 24x18 inches 

"How long did it take you to paint that?" I have heard this question many times from people as they stand next to me gazing at one of my paintings. It happened again today at an art festival in Denver, Colorado. Two young women were in my booth looking at the paintings. Pointing to a piece, one asked the question.

Years ago, I would recoil and think that since the price is apparent, I would be telling how much I make per hour, which might seem like alot if taken by itself. But what about all the failed attempts, the schooling and experimentation, the hours of promotion and gallery work, etc.? So much more is behind the scenes that is included in the price.

After more thinking about what really is in each painting, I began responding, "It took me my whole life to paint it." And it is true. I find that when people hear this, they have a glimmer of recognition, and after a brief shock, enjoy the answer. "Why yes, of course," I hear them reply with satisfaction.

For more art: Steven Boone

A Dazzling Sunset

 

A dazzling sunset is food for my soul. The fiery spectacle is fleeting and lasts but a short while before turning to dusk and then black of night. Clouds must be present and form in the west as the sun is setting.

In Santa Fe, New Mexico, USA where I live, dramatic sunsets occur regularly. Over the years I have watched them with eyes wide open and heart thankful. I photograph and make paintings from the scenes.

Before

I posted a sunset photo to Facebook about a month ago, and an art collector in Oklahoma City, Oklahoma, messaged me: "Steve - Really like that picture you posted yesterday of the sunset.    Simply breathtaking!     Really like the deep blues in the sky!   Are you going to paint this?    I would be interested!     Could you do it on a 40"x40" canvas & paint the sides?    I'd want it for my living room to hang above my fireplace mantle."  

I responded that I would love to do the painting. He sent me a photo of the space, then I photoshopped an approximation of what it would look like.

I made the painting and as good fortune would have it, I needed to drive to Tulsa, Oklahoma for an art show and so drove it to Roger's home, installed it and enjoyed his hospitality for an evening before saying good-bye and continuing on to Tulsa.

 

 

Now

 

 

 

More art by Steven Boone

A Title Is Evocative

Sublime Touch, by Steven Boone, oil on  linen, 30 x 40 inches

After thirty years of making art and thousands of paintings, occasionally I have run out of ideas for titles. Probably some have been used twice. Especially since my sunsets are so popular—how many titles can I invent for sunsets? I have used Sunset Sublime, Sunset Song, Western Glow, Western Drama, Path To The West, Western Touch, Sunset Surprise. One of my very favorites is Heartfire, a title I collaborated on. It is a large painting.
At present I am working on a commission, a large sunset that I might name Heart Song.

A title helps a viewer get in touch with an artists' feelings about his work, and perhaps understand the intention behind it. A title is evocative at best, and disappointing at worst, e.g. when a work is labelled "Untitled".

During the heyday of abstract expressionism, titles were kept to a bland neutrality, so as not to influence someones experience of the artwork. A work might be titled Monday, because it was created on a Monday. Jackson Pollock (American, January 28, 1912 – August 11, 1956) gave his pictures conventional titles at first, but changed to numbers. He commented: “…look passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what to look for.” Pollock’s wife, Lee Krasner (American, October 27, 1908 – June 19, 1984), said Pollock “used to give his pictures conventional titles… but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is – pure painting.”

Jackson Pollock  Number 1A, 1948

Wind Howling

 

A thunderbolt woke me with a start at three AM. I had fallen asleep in my hotel room the evening before as the weather was rapidly changing to storms. Heavy rain pelted the roof and I could hear wind howling. I wondered about my artwork that was sheltered in a tent in a park at the Art Festival in Oklahoma City. Nothing I can do about it, I thought and fell back asleep. Later in the morning I made my way past broken tree limbs and closed streets with downed electric lines, nervous about what awaited me. As I approached the festival grounds I saw tent tops and hoped mine would be standing too. It was, and I lifted the canopy to find my work intact and safe.

"The Note" oil on board, sold to a collector from Oklahoma City

Despite the crazy weather that had summer like conditions some days and stormy winter conditions others, fate has looked kindly on my participation and I have had sales enough to warrant all my effort in Oklahoma City. I start home in the morning.

Sign From Spirit

I usually say my obligatory prayers before bedtime. It is a Baha'i tradition to recite Allah'u'Abha, which means God is Most Glorious, ninety-five times at least once a day.

Yesterday was a full day and I was tired from preparing for a trip to do an art festival in Oklahoma City, Oklahoma. As I sat on a wood chair in my kitchen saying the phrase (as I have done forty years now), I was looking down and noticed a small black beetle at my feet that seemed  to appear out of nowhere, walking slowly as if feeling its way about. I was barefoot and watched it go to my foot. I finished the prayer, rose and went in my bedroom to fall sleep.

In the morning I dressed, and went for my Sunday ritual of getting the New York Times, coffee and pastry, then reading at a table in the cafe. Afterwards, I went to my spa to swim.

After taking time in a steam room and swimming laps, I showered and was dressing in the locker room when, as I pulled my leg through my pant, I felt something—and out came the little beetle. It hit the floor with a click of its shell. I was surprised and amused. It walked along the edge of the locker room wall and stopped. I finished dressing, then bent low to scoop the critter up. It was not moving and I thought, "Must be praying for guidance." It tried to crawl away from my grasping fingers but I got it in my palm and closed around it. As I walked outside I felt the creature moving in my hand, but did not let it go until I reached a lilac shrub where I set it free.

I think the beetle appeared because of prayer and being a sign from spirit. It is a spirit guide harboring a message for me and encouraging me on my path. I am on the verge of transformation and also traveling.

"As a symbol of the spirit, the beetle carries messages that bring our attention to renewal, spiritual maturity, and the powerful influences of the invisible side of life." See: beetle symbolism

Thankful For Confirmation

Recently an art collector called to give her credit card information so that she could finish paying for a painting I made in Venice, Italy. The subject is a lovely stone bridge with decorative iron railing spanning a canal. A restaurant with outdoor tables is in the background. I lived in the neighborhood where I painted it.

When the client bought it from my gallery in Santa Fe, New Mexico, USA, I was in Ecuador making art, photographing and writing. At the time, I remember being thankful for confirmation that I could live the life I love.

While the collector was on the phone with me, she mentioned another painting of Venice she had seen on my website. It is of a gondola passing under a stone bridge. We talked, and now she is buying that as well. Add this to the painting I sold to American collectors who visited my apartment in Venice during my sojourn there and that more than pays for the entire trip.

Today I felt great gratitude knowing that higher powers are in play. I throw myself at the feet of Divine Fate with absolute trust. It is a happy activity. I am very thankful that I live my passion with trust—and see results.

At another moment today I heard myself say, “Thank you Lord for what you give, and thank you for what you take away.”

To see more Boone art click: Steven Boone

Power In A Picture

The expression, “One picture is worth a thousand words”, has special meaning to me as an artist—most of my life is visually inspired. I have stood painting in silence for countless hours. No words transpire but the pictures that arrive speak volumes.

In silent wonderment I have experienced the earth in its many mysterious expressions. In my archives are tens of thousands of photographs from many travels around our globe. Occasionally I come upon one that warrants a closer look. The photo from Agra, India, included here, is an example of a picture that can elicit a story:

It does not matter who the figure in the foreground is, she is everywoman. Standing on a balcony, dressed in a simple and elegant white sari, her flowing robe disappears into the dark shadows surrounding her. Her hands rest on a protecting barrier that offers safety from accident. If she were to fall she might die. She is wrapped in thought and reverie, pondering her life on the threshold of a dream. The place she stands is remarkable, at a ledge—as if at the prow of a grand ocean vessel, taking her forward into a vast unknown. She is above the fray, at the level of the treetops where birds sing and monkeys play among the limbs. How has she arrived at this moment in time? Where will she advance next? Maybe she is simply breathing in the moment with no care to the past or future; exhilarated being on the edge of something bigger than her.


Behind her head are many rooms. Each is connected, has its own vantage and holds its own integrity. All are part of a greater whole, yet are independent. They could be storehouses of her mind. And when she has passed through each of them, she will arrive at a tower that is not limited. It is above all, and offers a viewing point that is not circumscribed. It is a place of clarity and peace. But it is not easy to arrive at.  Many doors lead to it.

Our woman is in her process. She stands in shadow but is robed in white. She is on a journey of many levels in a place of wonder.

These are the words that come to my mind as I ponder the image. The story can extend to a thousand words . . . this is the power in the picture.