The March X ends today, and among the things accomplished: a new greenhouse kit was assembled at the back line of our yard. My thanks to Russ for his catalytic inspiration, Terie and Marty for their help, and Dana for her reliable support.
Happy Easter!
Follow my art-each-day ritual at The Collage Miniaturist.
The Need to Take Sides
collage miniature by J A Dixon
6.75 x 8.75 inches
from my Series of Rock
Here’s an overview from The Collage Miniaturist about the
creative development of my tenth poster for the GABBF:
– – – – – – – – – – – – – – – – – – –
“While many modern-day album artworks tend to favor strict minimalism, The Beatles make a serious case for going bold and wacky without any type of restraint.”
— Nicole Singh
As promised, I’m devoting an entry to the project that kept me out of the collage studio for at least a dozen weeks. I shall beg your forgiveness at the outset for delving into the details of a digital process. Not only has this site kept a seven-year focus on traditional cut-and-glue techniques, but I haven’t indulged the applied-arts side of my multiple personality as a graphic artist. I’m going to depart from that now — perhaps just this once — because it’s been an extraordinary circumstance for me, and a few of you may find the description worthwhile. At any rate, I encourage everyone to read Patrick Roefflaer’s article for a story that is genuinely more interesting than mine!
Not so long ago, a prominent local musician and former brass band director took me aside at an exhibition opening. Based on her recognition of my fondness for collage, she asked me if I would take on a visual homage to the Sgt. Pepper’s album cover design. The purpose would be to mark the 30th production of the Great American Brass Band Festival, held each June in our hometown of Danville, Kentucky. 
It had always been her dream to link the announcement of her retirement at the annual weekend of concerts to the classic album, with a medley of tunes arranged for brass instruments. Sadly, a severe health crisis had forced her early retirement before that could happen, but she preserved hope that a multi-discipline Beatles tribute for the festival’s upcoming milestone might happen in 2019.
I’d already designed nine posters during the festival’s lifespan. To create a tenth was tempting, and this idea had a barbed hook. It really snagged me. My previous experience offered no sense of proportion about the magnitude of time to which I was committing myself when I said, “Sure.” The first obstacle was whether we were allowed to do it at all. we soon discovered that an enormous number of entities had made a visual salute to the famous image over the past fifty years, and that it had already become a ritual of pop culture, in spite of the complexities involved. There’s even a website that shows over a hundred previous parodies. Before long, we had mutually decided that it might as well be our local festival’s turn to pay homage.
The assignment was now in my lap, and I was overwhelmed with a desire to do it justice and exceed expectations. I found inspiration in filmmakers who I admired (like John Frankenheimer or Robert Altman), because their time-consuming approach would be required for what I’d bitten off. I wanted to bring the same passion, attention to detail, and collaborative leadership to my effort. I ended up shelving all other priorities and putting a ludicrous amount of time into the project, but not without the help of many partners. First and foremost was my wife, Dana, who jumped in head first to play a key part in nearly every aspect of the creative enterprise. After getting advice from an experienced model railroader, she began crafting a miniature flower garden to display the festival acronym for a mandatory foreground allusion. More than once, she would come back to the unfinished artifact to find that its spongy base had “spit out” some of the “flowers.”
The rest of it hinged on two important elements — whether we could pull together our own “Fab Four,” and then surround them with a crowd of numerous figures. 
It was determined that the Beatles would be “represented” by the previous directors of the Advocate Brass Band, a Golden-Age-style band associated with every festival. Their initial formation to color a political rally in 1989 was a direct influence on the organizing of the annual event itself. This made perfect sense because the foursome would include the festival’s pair of co-founders and their band uniform jackets, although not psychedelic, would be an effective visual reference point. We immediately knew that some digital sleight of hand would be called for, since only two of the four were locally present.
One was near a university town many counties away, and the fourth had moved to a distant state. It took lots of coordination to solve that equation, and we pulled it off with the crucial participation of my friend, photography pro Bill Griffin, who took time away from his day job of wealth management. In keeping with the guiding theme of “a little help from our friends,” getting all the ingredients for the poster art to coalesce would demand the magnanimous assistance of others — furnishing space, props, and standing in at our photo shoot, plus image research and acquisition.
At a certain point, I began to focus on researching the background “crowd of fans,” to honor the countless performers, organizers, sponsors, staff, and volunteers who made three decades of festivals possible. It became a daunting, complicated task of culling and selection. I realized that the poster would be the size of a picnic table if everyone who deserved to be on it were included. The original setup by Jann Haworth and Peter Blake was peopled with life-size, hand-tinted cut-outs that imposed a certain physical limitation, and it was fabricated within two weeks. A virtual approach was too open-ended for comfort. There was a limit to how methodical I could become in choosing ingredients for the montage of faces. The solution was to approach it more intuitively, as I would any of my “maximalist” works.
All collage art worthy of the name is irrational at some level, and one of the reasons the original Beatles art is so iconic is the sheer illogic of it. And so, for us, that idea led to a few incongruous personalities, such as Carrie Nation and Howdy Doody. The final assembly was challenging, painstaking, rewarding, and fun, all at the same time. After refining the list of candidates and compiling the source files, each master image had to be sillouetted, retouched, color balanced, and optimized for inclusion. It seemed like the rearranging would never end before every element of the composition appeared to “belong.” I shall confess that I do not possess a powerhouse workstation. The increasing quantity of digital layers in Photoshop had to be continuously merged to prevent the composite file from paralyzing my Macintosh. Even so, it would often exceed 500 MB in size. I tried to save and back up as often as feasible without breaking stride, but there were periodic freezes that would result in “three steps forward and two steps back.”
There should be no misunderstanding, however. The marathon endeavor was punctuated by many fortunate, often astonishing developments. One of our “Fab Four” individuals made a vital connection with an outstanding photographer in Athens, Georgia, who went the extra yard in matching my parameters for an important superimposition of the black-suited Dr Foreman. He also shot an antique bass drum to add another convincing Sgt Pepper’s touch — the same one that appeared on the festival’s first poster in 1990, and it still had the original, hand-painted emblem! Dana took the lead in preparing the poster “mechanical” for offset production, as she always has done for Dixon Design. She also knocked one out of the park during the solicitation of bids. As a contribution to the landmark production, Mike Abbott of Thoroughbred Printing agreed to produce the job at cost, and spent an hour with the press operator, Dana, and me, making sure we were satisfied with the quality.
Our closing duty was to devise a printable key for identifying all the individuals and design elements. My original idea of including a longer “blurb” for each line item quickly became far-fetched when producing the abbreviated version dragged on. By the time we declared it done, the “labor of love” vibe had been exhausted. There wasn’t much love left in the air, and I just wanted all of it to hit the street, which it has, of course, and the positive response has been even more than I anticipated.
This post is already far too long, so I won’t get started on my Eva Marie Saint story, but I need to explain why we included a picture of the creators, and then I’ll finish up on an appropriate collage note. I was adamant that I would not fall prey to the Hitchcock Urge. I had no interest in, nor justification for, inserting myself, since I was making so many brutal choices to leave others on the cutting room floor. Dana was in total agreement, but the team of people who helped with the proofing process took an opposing viewpoint. Their collective drum beat was that the final rendition must include us! You can see that we eventually waved the white flag and stuck a small portrait on top of the Bourbon barrel.
A tiny figure seated at a kitchen table was provided by the Great American Dollhouse Museum as a nod to the Shirley Temple doll in the original composition, which also featured a Madame Tussauds wax figure of Sonny Liston on the opposite side. I knew there had to be a way to include Kentucky’s own Muhammed Ali in our version. Rather than take unavailable time to solicit permission to use a photograph that might get buried in the sea of faces, I turned to my friend Robert Hugh Hunt, who kindly let us insert the extraordinary collage portrait from his 20th Century Icons series!
Oh, I get by with a little help from my friends!
30th GABBF Poster
digital homage by Dana and John A Dixon
24 x 36 inches
Purchase one now!
Online order page includes a printable key to identification,
plus a ‘special thank you’ to all our essential collaborators!
“Beauty should be shared, for it enhances our joys.
To explore its mystery is to venture towards the sublime.”
―Joseph Cornell
I hesitate to use a sports term to begin this review, but, since the Summer Olympics opened last night, I’ll set my disinclination aside to state emphatically that artist Kathleen O’Brien is at the top of her game!
Gardenshapes —an exhibition of her mixed-media collage finishing its run in the main gallery of Danville’s Community Arts Center— has ample proof to support my claim. I made one more return visit yesterday to experience the diverse subtleties of her singular creations.
Inspired by birds and flowers, and exploring the garden as a metaphor, this collection of artworks represents everything that has captivated me for years about Kathleen’s approach. These works have clearly grown out of how she thoughtfully observes and attunes with nature. They also literally contain and preserve natural ingredients. But in contrast to collage that maintains its focus on formal or intellectual juxtapositions, Kathleen’s art always nudges one toward a deeper sense of wholeness and the inner complexity of our balanced existence as both organic and spiritual beings. Without question, she has made a personal commitment to creating art as a mystical practice, and, on a communal level, to providing nature-inspired beauty as a source of healing in a fractured world.
With the strong presence of these intangible dimensions, Kathleen’s art is always esoteric, and yet she manages to make the work accessible to all with her choice of subject matter and allegiance to traditional drawing. At the same time, she can delight the eye of a fellow artist with her methodology, aesthetic choices, and pictorial skill. I’m not ashamed to admit that much of Kathleen’s symbolic virtuosity is beyond my ken, but I appreciate that it’s all in play at the intuitive level. Being near the prolific output of her creative life is simply uplifting, and that’s because all the facets of her art —whether conscious or subliminal— unify as a total perception to nourish the mind, heart, and soul.
Getting back to the show, I was initially struck by the five largest pieces (28 x 36 inches), beautifully presented against white in deep gallery-style frames of natural wood. This “look” is familiar to those who know Kathleen’s art, and enhances the work’s identity as an unique artifact, preserved behind glass, like a rare botanical or zoological specimen. They are titled with reference to the garden theme. In contrast, a separate piece (24 x 30 inches) is presented with its surface exposed in the manner of an easel painting. It looks equally at home, released from behind the glass, expertly varnished in a way that does not distract. Its name is Heaven & Earth, Yin & Yang, Dark & Light, Birds & Trees, Flowers & Bees. My eyebrows lifted as I began to read the lengthy title, but was pleased with the closing rhyme as I finished. This artist always has a quiet surprise in store. Each of the large works is visually distinctive, but very much a cohesive part of a series unified by her long dedication to compositional abstraction, to a consistent theory of color, and to diligent mark making.
The large piece titled Garden for Queen Anne’s Lace is marked by a cellular pattern resembling microscopic tissue, which, while remaining highly abstract, transforms itself into a flower garden, with an interesting emphasis on each “drop of Queen’s blood” that, when closely examined, becomes a dance of circles, squares, and triangles —a dynamic that exemplifies Kathleen’s knack for taking the observer/participant through layers of meaning. The design also incorporates the application of illustrated postage stamps. Kathleen is never far removed from a devotion to cultural references and ephemera, and her Joseph Cornell influences are ever present. A fine example of this are four pieces dedicated to bird-species (16 x 20 inches) that combine found printed patterns with her typical labor of liquid media. Nests are created with random shards and colorful scraps. Dried and painted star-like blossoms effectively merge the organic, symbolic, and celestial. In Kathleen’s collage there are many allusions to language, both literal and archetypal, and here we discover many fragments of the printed word, as well as her “trademark” calligraphy. I was particularly drawn to Garden for Blue Grosbeaks, a strong arrangement of symmetrical and asymmetrical elements that carries out more of her evident investigation into fundamental shapes —circle, square, and triangle. These compositions are anything but static, a characteristic of Kathleen’s art built on a myriad of ways in which she provokes eye movement by simulating the dynamic patterns of nature, often with the application of actual plants and minerals. A perfect case in point is 9 Bird Eggs (30 x 30 inches), with its nimble use of botanicals most artists would overlook as raw material, through which she creates a variety of rhythms within a formal, 3×3 grid structure.
I should mention that Kathleen’s control of what I call “implied viewing distance” is masterful. Enjoying her watercolor effects and hidden treasures up close is inevitably a satisfying experience, as is true with much of current small-scale mixed media collage, but her pieces also can be savored at a distance. I found myself continually studying a work from across the room and then, taking off my eye-wear, sticking my nose near the glass to examine fine detail. Whether from this point of view or from half a block away, Kathleen’s distinctive impression is always recognizable, an enviable accomplishment for any artist. For example, both Royal Lily Garden and Staple Garden contain brushwork that only can be achieved by someone who is continuously handling liquid on a tool and is fully at ease with her surface. On the other hand, she uses this micro-fluency to create the intended multi-layered depth of her macro-composition, and yet I was constantly invited to step back into the intimacy of the picture plane, much as one feels when standing back to admire a flower garden, while being compelled to converge at hand’s length, only to spy a miniature surprise —a dutiful pollinator or tiny feat of nature’s diversity within repetition.
With my fixation on the bigger paintings, it was too easy to neglect the smaller items, so I had to instruct myself to visually isolate and appreciate several other works. Two of these were within squares, and each have treatments not as pronounced elsewhere in the exhibition. Feathers uses paper itself as a dimensional medium, and The Blessing of Rain features a darker atmospheric background —a shimmering chalk texture that makes me wish Kathleen would more intensively explore the potential of pastel effects. In addition, there are three bird portraits (9 x 12 inches), with coatings of what appeared to be beeswax, which recall for me the investigations of 19th-century naturalists. My favorite is Garden for Eastern Bluebirds, with its deft pencil work and luscious color palette. Kathleen pushes her highly capable layering beyond technique to create a sense of time distortion, an interplay of wildlife and cultural antiquity that makes certain the work is much more than a lovely rendering of birds. Throughout this outstanding show are many such allusions to natural and human-made cycles that fuse the worlds of growing things and a striving race that has always responded with symbolic culture to seek a balanced place in the scheme of life.
Indeed, Kathleen O’Brien has found her place. With a home studio close to nature, and a creative passion that distills her observations and meditations through heart, head, and hand, she is a gold-medal artist of the soul.
© 2012, John Andrew Dixon
Garden for Eastern Bluebirds and Garden for Scarlet Tanagers
by Kathleen O’Brien
I’ve come to the end of a outstanding week that began last Friday when I headed to Monterey for my fifth workshop with Wesley Bates. I didn’t pitch a tent this year, but had the familiar loft at Larkspur Press to myself each night. The opportunity to concentrate on wood engraving for three days in that extraordinary environment made sleeping on a wood floor seem like the ultimate in accommodations. I continue to learn more about the art form with every retreat, and I now face the breakthrough act of finally acquiring my own set of customized tools, so I can maintain a year-round practice to replace my once-a-year introductory learning curve. On Saturday night, Wes, Juanita, Leslie, and I drove over to Hanna’s “house concert” by Kraig Kenning, at the home Prajna Design created for her (builder Garry Murphy was there, and I chatted with him). I’m prepared to say that Kenning is the best steel guitar performer that I’ve heard live (and I once watched David Lindley tape a Soundstage concert with Jackson Browne in Chicago). An enjoyable nightcap with Wes extended deep into the night as both of us discovered that we have even more in common as creative professionals. It was nice this time around to balance social enjoyment with lots of one-on-one time with Wes.
The subject of my block was a pair of handsome mules that worked the Realm of Greystone when James brought in low-tech loggers after the ice storm of 1994. I managed to get some decent slides while they were in the Valley—undoubtedly the last high-level transparencies I may ever take. It wasn’t a bad note on which to end my slide-shooting era. I’ve always wanted to begin exploiting those images for my art, and so I selected a shot of two mules with the tobacco barn in the background (a suitable tribute to the recently fallen landmark). My goal was to chose a style that would enable me to complete the block and print it within the weekend constraint, and that meant consulting with Wes about how to use an approach that didn’t rely on time-intensive technique (the path I found myself on last year, resulting in a missed deadline). I may not ultimately like “Logger’s Team” as much as my 2008 print, but I learned much about the medium, with a big step closer to understanding the elegantly minimal line quality that Bates has truly mastered.
Last night I headed north again with Dana and Joan for Richard’s First Friday event in Old Frankfort. Wesley’s wife, Juanita Wilkins, performed and Richard read poems from his new volume about Abraham Lincoln (commissioned for the bicentennial observation). Everything about the evening was splendid, and there was a magical moment when the unknown “Harmonica Man” appeared from nowhere with his “harp belt” to jam with Juanita. I’ve been so fortunate to hear her a number of times now, and she never sounded better to me than last night; nor had she conversed with her audience so impressively or in such a personally revealing way. Absolutely wonderful…
— photo by Clay Jackson. Visit Clay’s Daze today!
• While swimming my weekly mile today, I had to make an effort to quiet the mental static and focus on a steady rhythm of breath and body. I can sometimes lose count of the laps doing that, but there’s so much going on right now that I needed the meditative pause. After the workout I took advantage of the sunny afternoon to shoot some photos around campus for use in an illustration that suddenly became a rush job when I worked on everything else. During the walk home I realized it was time to “come up for air” with this blog and to jot down some overdue notes.
• News came today that Pat R’s shocking, month-long cascade of medical emergencies had come to a lamentable end. My heart goes out to all the Greystonians and their extended family. Our ability to make the trip to Ohio for the burial is complicated by another round of hospitalization for Bruce. He went to Lexington Friday night with more GI bleeding, but it looks like he finally found a team at St. Joe that wants a solution, and to get him back on track for a kidney transplant. Dana stayed with him through the inevitable admission ordeal while I took part in the weekend activities at Blue Bank, including some major attention being given to Spring Hollow and the area around the pond, plus a milestone Clan Council (first on Skype), as well as a long Sunday session for me that nearly completes the stone work on the Hall flue. One more day of labor should do it, and then I move on to the finish carpentry. How many years ago did I begin this project?
• I was a bit surprised that Mombo’s face was healing so fast, although she is still experiencing a visual disassociation between her eyes. I urged her to demand some type of sight rehab or therapeutic exercises from the ophthalmologist. She’s tempted to close or block off one eye to see clearly, and that’s probably the opposite of what she needs in order to regain her eye coordination. Actually, I’m a poor one to judge or make suggestions, since I’ve continued for years to put off a proper examination for my own eye condition.
• The closest I can come to imagining what it would be like to have some type of severe short-term memory problem is what I experience when trying to remember my dreams. No matter how vivid and realistic the images I have when awakening, under most circumstances they will be quickly gone—and irretrievable—if I don’t write them down or make a sketch. Think what it would be like if one was that way with actual waking events. Making notes to oneself would be the only way to function. (Makes me think of my Uncle Art.) It’s true that I do remember some dreams, but they tend to be the ones that reoccur, or the ones I wrote down and periodically read over. There I go again. Didn’t I promise myself I would not use this space to talk about dreams?
March exercise—day twenty-nine— My uncle Bob kindly emailed me a photo Dan took of how Pete framed with chestnut the picture I created of their old barn, which has since collapsed. Seeing it again raised my spirits. I made that picture during a period of heightened sketchbook activity. During those years I was constantly drawing with pen, but I created very few finished works outside my journal pages. Above the frame is an antique weather vane. I must admit to a selfish desire—seeing the kitchen wall arrangement firsthand. Of course, it will be good to see my Dixon kin, too.
Today’s sight bite— The face of a lady hunter, between the horns of her trophy kudu —c-l-i-c-k— coaxing me back to my drawing board.
Tomorrow— Into the zone…
— Month of November workout totals: Swim-4; Bike-2; Run-2; Lift-2; Yoga-0; Pilates-2; Lupus Drill-3
— Here it is, the tail end of December, without my making a full entry in well over a month. I suppose I haven’t had much to say, or maybe I’ve been bogged down in the same economic pessimism which seems to grip the country (and who needs to hear more of that?). Well, enough of procrastination. Let’s take an overdue look at some recent personal developments of a more positive nature:
— Bridget at Maker’s Mark® announced that The Mark of Great Art Website now lists the final disposition of our summer collection. Pursuit of Happiness is hanging at Cantaloupe (35 Charlotte Road, London) and The Mark of Stardom ended up at Toys (Calle Infanta Isabel, Madrid). I received good exposure in a feature about the London event, which was also used to raise money that provides visual art projects for people with mild-to-profound learning difficulties. You might agree that the article is not that well written, but who’s complaining? Those Brits don’t understand real English anyway, yuhknowhattahmean?
— I completed my newest wood engraving and returned to Larkspur for a day of printing on Gray’s antique Vandercook, a marvelous piece of equipment to which I’m blessed to be given access. No. 11 at the Paddock is derived from a digital I took at Keeneland during the recent Fall Meet. I also took the opportunity to finally create a numbered edition of Waiting for Joe, my first block under Wesley’s guidance. Needless to say, this low-res image is a poor representation of the actual engraving—
— Although my hope was to devise “The Original Joe’s Christmas Box” for our CAC’s holiday exhibition, I did manage to deliver Cosmic Cusp, a fusion of previous year-end compositions. I made the deadline in response to Dana’s suggestion, and the resulting piece is a stronger effect than the individual mixed-media components. That’s synergy for you!
— Sara Jane stopped by today to take her first look at my latest portrait commission, and it’s no exaggeration to report that she’s delighted with the result. Three Girlfriends is a departure for me. I haven’t worked with acrylics in ages, but I chose the medium for what I thought would be an appropriate interpretation of her original photograph. The picture of ladies posing dramatically on a beach suggested a series of translucent glazes to capture the luminosity of the morning surf, and lent itself to the back-lighting of the figures. I’m pleased that it worked out as well as it did, but I had the notion that if I patiently built up layers of thin color and milky washes on a smooth panel, I could avoid a brush-stroke technique (not my strong suit) and rely on years of experience handling liquid effects. I put in some necessary details with colored pencil, but the sealed acrylic surface made it more like “rubbing” tones and highlights, as opposed to typical drawing. In the final analysis, it proved to be a very interesting exploration.
— EKU’s Chitauqua Lecture Series Juried Art Exhibition (wow, that’s long) has once again favored one of my collage artworks. The upcoming “Freedom” show will include Fifteenth Cosmosaic, and I’m looking forward to the opening reception on January 23rd. As most people familiar with my work already understand, this series of spontaneous “mystical” compositions originated with graduation presents for my nieces and nephews. I’ve never been certain about how it might appeal to a public audience, but perhaps this is a good indicator.
— Three years ago I wrote about Paula, who lost a bout with cancer too early in life. During that time, the KBBC worked to find a way to put to good use the proceeds from the sale of the “Share the Road” specialty license plate. On December 11th, we finally had our public announcement of The Paula Nye Memorial Education Grants for bicyclist and pedestrian safety.
The endorsement of our effort by the Transportation Cabinet and current administration was not a foregone inevitability, but when they realized: A) Thousands of plate buyers had made a voluntary contribution to help make Kentucky roadways friendlier to non-motorized travel; B) The Commission’s intent to independently administer the allocation of funds would cost the state nothing; and C) The grant program was a fitting tribute to an employee who had worked to diligently promote highway accommodations for bicyclists and pedestrians … How could they not support our concept? To their credit, the Lieutenant Governor and the Mayor of Lexington were at the Horse Park for our kick-off event. Strangely enough, David D, the public information professional who had shown enthusiasm for our project from the beginning and had orchestrated the media splash, died suddenly at work a couple weeks before the scheduled announcement, and that made the event even more tinged with emotion than anyone could have expected.
— I came back to the Blue Bank Farm this month with a muzzleloader and tried my best to close the season with some venison. Didn’t spy a single white-tail, but had to hear about Greystone’s Astrea dragging in a ruined ten-pointer that somebody failed to successfully track after the shot. Such was my luck as a hunter this time around. I haven’t enjoyed being in the woods this much for goodness knows how long, plus I had the rare opportunity to hike the knobs with brother Fron, as we marked boundary lines and plotted a mutual strategy for selective logging throughout our holdings. I have no good excuse for not connecting my soul with the land on a more regular basis. I allow myself to forget how much I will always love those acres. Folly!
— There is much room for gratitude and optimism in the coming cycle. Nevertheless, there are many significant challenges for all of us to face in 2009. I know a guy as old as me who has been retired from GM for eight years. He’s a nice man, but did he genuinely work hard enough during 20 years of employment to deserve a big income and benefits from the age of 48 until he dies? That could easily be twice the number of years he put in as a worker, or, if he takes care of himself, even more. Now, it’s one thing to dodge Taliban rockets in God-cursed terrain. In my book those brave Americans have earned a more-than-decent pension. But assembling ugly, inefficient cars that most thoughtful people would rather not drive? That’s “a horse of a different color.” Our nation would’ve surely crashed decades ago if all corporations had been managed as poorly as the Detroit auto companies. And they want to continue juicing the taxpayers to avoid restructuring under bankruptcy? Now, that’s what I call audacity.
First task: Joan, I am so sorry that Greg Brown is gone from your life. He was a good one, and always will be remembered in the lore of unique canine personalities we have known.
Wow. Thirty days since my last entry. It’s been one of the more intense months of my life, with all matters giving way to concentrated artistic effort. The result—two creative milestones disguised as brand promotions for Maker’s Mark—is perhaps the most mature expression of the mixed-media style that I’ve had under gradient development for more than a decade. Beginning with my first “cosmosaics” of the late 90s, I sought a personal approach to collage that would fuse the characteristics of my greeting-card miniatures with fine-art aesthetics at a new level of archival craftsmanship. A stronger forward momentum took place when I studied the work of Kurt Schwitters, in preparation for the 2006 CONNECTIONS exhibition, and to produce my KOSMOS show the following year. Concurrently, I’ve given greater attention to the durability of my pieces as “artifacts,” and, beginning with Pearallel Universe, to the introduction of more hand-rendered elements into my compositions. More details to follow as we get closer to the opening reception at the historic distillery.
Yesterday, after Dana and I delivered my new collage artworks to Loretto, we headed north to submit four of my wood engraving prints to the gallery at Elk Creek Vineyards as part of an exhibition that will feature Wesley Bates. We also stopped at Larkspur Press to meet with Gray and get an update on the project for Maurice’s poetry. As usual, the master printer is composing this publication with a stunning regard for letterpress quality. What started out as a broadside sheet has expanded to a limited edition of bound collector booklets. He showed us the latest proofs, and I borrowed back my maple block to do some additional clean-up in the white areas. Although I doubt if I comprehend how important an event this will be considered in the world of fine book arts, I do appreciate that my creative work never before has been presented in a context of such literary distinction.
After the marathon push to fulfill these August obligations, I figured I would spend today catching up on rest and doing a bit of reading and writing. We ended up taking Bruce to UK’s ER with another worrisome episode of GI bleeding. He’ll stay there indefinitely for more diagnostics and possibly some transfusions, too. Unlike earlier this summer, I hope that this time around they can identify the root cause and deal with it properly.
I know I haven’t been writing much lately, but I recently promised myself that if I couldn’t dwell on positive things, then I best not record anything at all in this space. Although that may seem to indicate my prevailing mood, good developments continue to unfold. It is necessary to remain focused on practical goals. Each day sees progress on multiple fronts, even in the face of adversity. Extra time spent at the Blue Bank Farm, working on the stone flue, allowed me to overcome the deficiencies of my extended learning curve. Now I know I can complete the masonry job this summer according to my original vision. I helped produce a successful annual dinner for The Salvation Army, which fulfills a major volunteer commitment. Although I cut back on my involvement with the Brass Band Festival this year, I felt obligated to complete the poster series I started in 2005. That should be wrapped up soon, which clears the deck a bit more in favor of a greater commercial workload. Yesterday I woke up with a solution to the Town House storm water drainage problems that have bedeviled me for years. I’m reading Dr. Dyer’s book on learning to live one’s imagined life. Creating the prerequisite balance is a daily challenge that I can surely meet, but only through the relentless re-alignment of my inner thoughts and awareness, and I’m convinced that I shall do that only by truly accepting the all-sufficiency of God’s love.
Far away in the sunshine are my highest inspirations.
I may not reach them, but I can look up and see the beauty,
believe in them and try to follow where they lead. . . .
—Louisa May Alcott
My log is currently suspended for the annual March Experiment.
— Month of February workout totals: Swim-3; Bike-2; Run-3; Lift-2; Yoga-0; Pilates-3; Lupus-1
— If I accomplish nothing else over the next 30 days, I must find “the means.” I won’t try to define exactly what that means (hey, is that a pun?), but most of you know what I’m talking about. It can look like ferocity, but mere ferocity is no match for the kind of unrelenting competitive intensity that Uncle Don held out as mark of the victorious spirit. Well, maybe I did just define it. All I know right now is that I need to regain the source of it, and the man who coined the term is in the hospital and probably dying. He is my Godfather, and from him I inherit the challenge of “the means.” James and I were talking about him this morning when we accompanied Joan to inspect Joe’s Riverland. It was a wonderful outing that combined the gentle Lamb of March and memories of our lost Clansmen with an enduring camaraderie that is too rarely enjoyed (and I don’t mean scarce, but rare). I’m so glad we did it.
— Speaking of Joan: she uncovered this NPR feature that makes me think we might have been among the last of the “Oldenday Players.” This closing thought sums up the sad, ironic state of current affairs:
…in the rush to give children every advantage—to protect them, to stimulate them, to enrich them—our culture has unwittingly compromised one of the activities that helped children most. All that wasted time was not such a waste after all.
— Wow, did I ever miss the mark at the end of January when I failed to predict that the majority of Democrats were finally ready to kick their Clinton habit! Rather than Senator Obama’s campaign suffering from too many losses in too many states, it appears that the exact reverse has taken place, and now Hillary faces the need to complete an urgent end-zone bomb to stay in contention. Too bad that more conservative Republicans didn’t rally to Romney sooner and offer to the nation the kind of clear ideological choice that a Barack-vs-Mitt face-off would provide.
— Dadbo once gave us an item of firm advice: never work through a general contractor. He learned that lesson the hard way when he and Mombo built our house on the Shoop Road lot. The truth of his warning was born out last week by my experience with one of our clients who’s completing a new dental office. Due to the construction manager’s faulty information and his cover-my-butt attitude, what could have been a perfectly handsome interior wall treatment will fall short of what we worked to achieve on our client’s behalf. It makes me wonder how many other compromises they were forced to swallow in order to get the doors open on time. But maybe I’m missing the whole point—they did what they needed to do to achieve a massive relocation, with a net gain of significant improvement. What’s wrong with me? Done is better than perfect!
— On Saturday, March 8th, the Community Arts Center will hold its annual benefit and live art auction. According to the Center’s promotional material, the artwork is from some of the area’s top artists, and I can’t disagree with that, even if the list includes your humble correspondent. The online photo gallery offers sneak previews of artwork that will be on the block, and they did a good job of putting together that feature for the Website. The mixed-media collage I donated, Then Sings My Soul, was created nearly a year ago for KOSMOS: Discovery and Disclosure.
— Go back another year to the first March-X and that’s when I helped organize some local cyclists that would form the B.I.K.E. | Boyle County group. On March 11th, the local organization devoted to cleaning up and preserving Clark’s Run (C.R.E.E.C.) will host a community forum that will focus on trails and greenways. B.I.K.E. has not only promoted the idea of safer, more bicycle-friendly streets and roads in Boyle County, but has always hoped to collaborate with community partners as a catalyst for planning a network of shared-use byways and connecting trails.
Yesterday I finished a draft of our comprehensive recommendations to kick-start the development of a community master plan that envisions much more than the construction of a few off-street recreational trails. The process will take leadership, commitment, and years of effort. Available funding will go to the localities which combine a strategic vision with constituent support. It’s a challenging goal, but many places have already done it. Some of you know that from your travels and vacations. Those communities improved the quality of life for their populations and, at the same time, attracted visitors, new residents, and employers. Can we do it here? Stay tuned. Bye, everybody!
For the despondent, every day brings trouble;
for the happy heart, life is a continual feast.
—Proverbs 15:15 (New Living Translation)
After a weekend of fruitless troubleshooting, I went to bed last night without the layout proof I needed for a presentation this morning. Just after daybreak, in my bathrobe, I was sipping hot coffee, watching the masons starting their shift, laying concrete block for the new library wing across the street. My gloom was thicker than the dismal conditions outside. I had to solve my problem, but I couldn’t take my eyes off the workers. How early did they arise to be on that scaffolding at first light? Had they found a sanity rooted in predictable, hands-on craftsmanship that seemed to be eluding me? At my lowest point I almost believed it was time to abandon it all, to go out and find some kind of real job like that… But who was I kidding? So I faced the quandary again, telling myself, “think positive,” and actually managing to do it without skepticism, feeling resolved to the outcome, whatever it might be.
Later, after everything had worked out, and the client had said he really liked my design, and I had gotten a solid inquiry from Alabama about a new project, I sit here with a second paragraph that needs a culminating thought, trying to make some sense of my day—a Monday that feels like more than the start of a new week…
— Month of January workout totals: Swim-1; Bike-2; Run-0; Lift-2; Yoga-5; Pilates-4
— I’m barely hanging on to athletic respectability, thanks to Yoga/Pilates, but that doesn’t do much for my aerobic fitness. This hasn’t been one of my better annual kick-offs, “exercise-wise,” compared to the past few years. My hope is that our traditional Super Sunday mountain-bike ride will help me turn this around, because I have no intention of not being in decent shape this year. Good. That’s settled.
— “Health is wealth,” but here’s another important reason I need to stay in noticeably sound condition: the mayor asked me to think through the idea of establishing a permanent Bicyclist/Pedestrian Advisory Committee for the city of Danville. Sounds like he intends to take my recommendations to the Board of Commissioners as soon as I finish my homework. It came out of nowhere, but seems in sync with my desire to disengage at the state level to focus more on local action. As I’ve probably said before, my days as a Kentucky Commissioner are undoubtedly numbered, since the governor who appointed me wasn’t re-elected, and my term on the KBBC will expire before long.
— Seeing Ken Watanabe in Clint’s Letters reminded me of his other emotional performances in Geisha and Samurai. And then I became even more sad, because I recently found out that Hollywood set decorator Gretchen Rau died of a brain tumor. I was really wanting to enjoy more of her exceptional work.
— I’ve been hearing funny things about The Producers since I was a college student, but it never occurred to me that it would take 35 years before I finally saw the show. This evening Dana and I had fabulous seats at Norton Center for the excellent national touring production, and I don’t know if I’ve laughed that hard since I first saw Blazing Saddles. When I’m in the right mood, nothing is more hilarious to me than Mel Brooks at his very best. I’ve always figured he was a comedic genius, but after experiencing “Springtime for Hitler” tonight, I must appreciate that he’s a genius—period. I was reminded that, when facing down the wicked, many unavoidable things are required by our warriors, but art is the best—the only true—revenge, and satiric comedy may be the ultimate—the most difficult?—form of that. Would that every aspiring dictator could look ahead only to having his personality cult reduced to an object of ridicule and gut-cramping laughter.
There is no safety for honest men except
by believing all possible evil of evil men.
—Edmund BurkeRhetoric does not get you anywhere, because
Hitler and Mussolini are just as good at rhetoric.
But if you can bring these people down with
comedy, they stand no chance.
—Mel Brooks
Some things catch me off guard when they shouldn’t, like Brendan’s revelation that my visual style influenced his knack for strong image making. Well, there’s been plenty of artistic cross-pollination occurring within our extended family for quite some time, and his effect on the way I communicate with words has been equally significant—otherwise, nobody could stand reading anything at this site.
Brendan has his own way of describing the contemporary high-contrast style under discussion, but I’ve always called it “graphic illustration.” I’m no scholar, but it certainly has its historical pedigree in the printing arts (the anonymous masters of the 1400s, Dürer, Grien, up through the centuries: Rembrandt, Thomas Bewick, Rockwell Kent, Munch, the Expressionists, the Arts-and-Crafts printmakers, and the Bauhaus designers). Of course, the “look” has been radically influenced by photomechanical techniques (including cinema), and their appropriation by innovative artists and legendary illustrators (Warhol, Glaser, Otnes, Holland, Schwab). Few may give credit to the nameless pulp or movie-poster artists, but they also made their contribution to the style, as did the legendary comic artists, such as Harold Foster and Milton Caniff (genre exemplars of chiaroscuro, who probably had a more formative influence over generations of creative youngsters than the art history books).
I see it all as a moving stream of visual development in Western art, periodically spiced with Asian influences, but always a binary interpretation of how highlight and shadow define form. It’s how a visual decision maker has always tried to give the most simplified illusion of volumetric reality, by the handling of light sources, minimizing modeling, and harshly controlling the equilibrium of figure-ground relationships on a two-dimensional plane, culminating today in the ubiquitous tool of Adobe Photoshop (just as a reminder, I reserve the right, without warning, to squirt India ink in the face of anyone who uses Photoshop as a verb).
Wow, that’s an awfully wordy bit of rambling, and it could really use some editorial refinement. Naah. I’ll just click the “Publish” button instead…
— Each time this year I’ve run the 5+ miles back downtown from the cabin, the time has felt shorter, even though I’m running pretty slowly these days. The silence transpired more quickly for me this morning, too. Milton handed out his periodic survey to the group, and I discovered a 1961 Horizon in Mack’s studio that had an interview with Andrew Wyeth, famous at the time, and now the greatest living American painter. I’ll have to digest the whole article during another visit, but I was able to scan a few stimulating quotations, and then Sara Jane offered me a new commission, with the freedom to interpret a photographic image with my choice of style—the perfect assignment. Everything conspired to boost my motivation to aggressively advance the Brady and Eckerle projects, plus my fine-arts enterprise in general. I couldn’t think about anything else as I ran home. So, why am I sitting here with this log entry?
— Cliff and I had a conversation about blogging the other day and it got me thinking about my string of 616 or 617 consecutive posts, and how important making daily entries used to seem. Brendan still refers to this site as a daily journal, but that hasn’t been true for well over a year. Once again, time is malleable, and, as Arnold has said, there’s adequate time each day for everything meaningful enough to do. Blogging isn’t about the time, but about having something worth saying to yourself, maybe worth recording, possibly worth sharing. I eventually figured out that doesn’t happen every day. When it does, not much time is required to get it down.
— Terie and Marty bought the M:I:3 DVD and left it at our house, so, late last night, I watched the J.J. Abrams picture for the second time, and I liked it a bit more this time around. I think Tom Cruise is the Burt Lancaster of his generation. Regardless of what I might think of his personal life, his work product demands respect. (Hey, not all celebrities can be a James Stewart or Charlton Heston; Lance Armstrong falls into the same category.) If Cruise had not become an actor, he would surely have been an Olympic or professional athlete in some discipline. He has the mentality and natural capacity for high-performance physical achievement. Although one of the least flamboyant stunts, his Chinese-village tile-roof footwork is probably the riskiest choreography in the movie. As I’ve declared before, I think he squandered the full potential of the classic franchise and put its longevity at risk, but this sequel is the best of the lot, the most team-oriented, and it fits nicely into our ancient family idea of an M:I Saga Series. In my opinion, Abrams is a creative, meticulous director with a feel for the spy genre compatible to Mission: Impossible—Cruise certainly can’t be faulted with his selection—but Abrams will need to have further honed his story-telling skills to do justice to his upcoming Star Trek feature, another Desilu-originated concept from the “silver age” of television.
— Local historian, R.C. Brown, is dead at 90. He once saluted me on a Danville street as, “Mr. Dixon, the Spin Doctor!” We often held different political perspectives, but shared a fascination with local heritage. I recruited him in 1991 to expound before a camera, as part of a fundraising documentary (the same program in which we cast Alyx as a child actress). He was in his 70s then, and I was young enough to think I might have a future directing videos (as close as I got to being Ken Burns when I grew up). Brown was the doctor, not me. He was from Ohio, too, but went on to get a Ph.D. from the University of Wisconsin. He taught history at Buffalo State College for 28 years. When he retired to our area, he rapidly became an authority and wrote The History of Danville and Boyle County. I’ll always believe that Professor Brown respected me as a talent, even though I consider his remark shaded by a mild one-upmanship. Perhaps he did understand better than most the true nature of my commercial craft, but I hope he wasn’t thinking of Victor Papanek’s quotation:
“In persuading people to buy things they don’t need, with money they don’t have, in order to impress others that don’t care, advertising is probably the phoniest field in existence today.”
I prefer this one:
“The only important thing about design is how it relates to people.”
— Thomas Bewick, my newest hero, couldn’t escape the ongoing necessity of making money with “coarse work” (as his daughter called it), despite his artistic reputation and unmatched skill as a wood engraver. I wanted to return the library book and avoid fines, but couldn’t help myself, and finished the biography by Jenny Uglow this week. As I said previously, learning more about his life has reinforced for me the notion that, although everything changes on outward levels, nothing really changes in the human dynamics of making a living as an independent, creative craftsman. I was notably saddened when I learned that he never fulfilled his dream of having the cottage workshop close to nature described in his memoir:
“The artist ought if possible to have his dwelling in the country where he could follow his business undisturbed, surrounded by pleasing rural scenery & the fresh air and as ‘all work & no play, makes Jack a dull Boy,’ he ought not to sit at it, too long at a time, but to unbend his mind with some variety of employment — for which purpose, it is desireable, that Artists, with their little Cots, should also have each a Garden attached in which they might find both exercise & amusement — and only occasionally visit the City or the smokey Town & that chiefly for the purpose of meetings with their Brother Artists.”
Dana reminded me that we all tend to get what we desire if we want it badly enough.
— Month of August workout totals: Swim-0; Bike-9; Run-0; Lift-2; Yoga-0
— When I first participated in the Pound & Pedal 20-miler, it started in downtown Danville and ended at Turtle in the Night Farm, the Morgan family homestead in Forkland. With a climb up Catholic Knob, plus its 30-to-40-mph descent, the course was tough and exciting. As we gathered this morning for the annual challenge, which now has a long-established course that extends into Mercer County and back, nobody remembered exactly how long a history the event has, but Ernst thought today might be the 20th anniversary. The current course is not as dramatic, but it’s still rigorous and far from flat. The best athletes took part in the traditional run-bike team competition, so I managed to win the bicycle-only division with a time of 1:05:41. Once again it fell short of the elusive 20-mph average, but only 19 seconds slower than my 2001 finish. Hey, I can live with three seconds a year. Dick B told me I was “aging gracefully.”
— If I could make a living doing what I did yesterday… Well, I don’t know how to complete that sentence. After spending the morning with graver tools, I pulled a crude proof to see if my block was nearly done. It was the best print I could produce at home, but it told me it was time to head to Larkspur. We made the trip to Monterey and I spent the rest of the day alternating proofs on the Vandercook with more clean-up and finishing touches. I wasn’t sure if Dana was getting bored, but it turned out to be an opportunity for her to spend some time with Gray and get a better sense of his rare individuality. I left the block in his capable hands with a sense of satisfaction, looking forward to his broadside composition of the Manning poem with my illustration.
— I don’t want to sound like I’m complaining, but the Arts Across Kentucky article about me was published with a disappointing number of errors and poor visual decisions, but that seems to be somewhat typical of the magazine. Nevertheless, it’s good publicity and is apparently seen by many high-level people. They still haven’t updated the Website to reflect the current issue that contains my profile. It’s up to me to leverage this constructively, otherwise it may offer little on its own to enhance my situation.
Forgive me for yesterday’s wacky post. I’m rounding the final turn of a new wood block—the first I’ve executed outside the workshop environment. The spot I’ve set up in the little galley kitchen on the second floor is ideal. Painters need soft northern light, but the way the afternoon sun from the small window streams by my left shoulder is perfect for engraving wood. I can see each minute detail with total, three-dimensional clarity. Gray loaned me a magnifying visor, but I prefer the naked eye, as long as I have the proper light.
Why does wood engraving appeal to me? There’s something about the precision that satisfies an inner aspect, much in the same way that the spontaneity of collage appeals to another part of me. Perhaps Wesley put it best when he wrote, “Engraving is like drawing on a black board. Every line you make is a white mark on a black surface. You are adding light to darkness.” That hits pretty close to home for me.
On the other hand, it’s widely acknowledged that wood engraving is a demanding, unforgiving medium. I’m considered fairly decent for a “beginner,” but that’s because I can tap a lifetime of graphic investigation as I make each binary decision—black or white? I still have a significant mark-making technique to learn and “muscle memory” to acquire. I must also develop an even deeper resistance to haste. There are no shortcuts, “happy accidents,” or undo keys in wood engraving. Every mark must be deliberate. The process does not reward chance; it yields only to planning and tenacity. I find a challenge in all that, obviously, but I wish I’d been more strongly captivated by it earlier in my artistic life. After creating the lino block for Joan and Wayne’s wedding invitation, I abandoned printmaking for nearly 30 years. So be it. I’m slowly making up for a bit of lost time.
Milton felt positively enough about my Easter morning words at the cabin to reschedule them for this past Sunday. There were a lot more people there, thanks to his endorsement, including Bruce, Lee, and David. Keeping in mind that some of my talk refers specifically to the “Shared Silence” community, I publish it here in its entirety (full credit to my best buddy Mike for the heart of this essay).
ON DEXTERITY AND THE WISDOM OF HANDS
(After Silence: 4-8-07 and 7-8-07)
Like many of you, I have retained great friendships from childhood, young adulthood, and middle life. The concept of this talk originates with my best friend from college years, James Michael Menke, a behavioral scientist who earned a doctorate in chiropractic and currently serves on the faculty of the Program for Integrative Medicine at the University of Arizona, where he is at work on a Ph.D. in experimental methodology. Mike is the resident chiropractic authority at AndrewWeil.com and, in addition to his scientific publishing, contributes articles to “Dynamic Chiropractic,” the largest circulation periodical for his profession. I must give due credit to him for many of the facts, observations, and speculations that I include in my words.
* * *
It’s been four and a half years since I offered words after silence, when I reflected on my 50-mile birthday run, an event now overshadowed in memory by an occurrence that took place two days before—a present from Dana, an extraordinary celebration with friends and a retrospective exhibition of my greeting cards. Hundreds of these “miniatures” carried my dexterity of hand through a period of relentless computerization in my chosen field, something I never could have anticipated in my youth, when I fully expected a lifetime of evolving manual craftsmanship as a commercial artist. Although I’ve cut back drastically on my card-making hours, I see it now as an essential bridge activity that has prepared me for an increasing dedication to the fine arts in later life. In short, I accidentally found a way to preserve the traditional hand skills which so many in my profession have lost, having bartered them away for a new fluency with software, mouse, and keyboard.
* * *
Is it progress when we trade our ability to develop our hands for increasingly cerebral preoccupations? For most of our lives, American culture has equated handwork with unskilled work. “Manual” mostly means “menial”—or tasks no one else wants to do—and manual dexterity is associated with dullness. As those who work with their hands know at some level, hands work faster than eyes and minds can follow and quickly gain greater knowledge of objective reality. Phrases like “hands on” or “in touch” have come to mean being more connected with the way things really are, outside our frameworks of mental abstraction. Similarly, I often experience the way in which a captive idea is stuck on a mental spinning wheel until the hand is permitted to liberate it with a thumbnail sketch. Dana has told me it amuses her to see my hand moving unconsciously when she finds me deep in thought. There seems to be a direct link.
According to surgeon Frank R. Wilson, author of “The Hand: How Its Use Shapes the Brain, Language, and Human Culture,” a pianist is the summit of human achievement because of his or her ability to direct 400 muscle contractions per second, all in a single, purposeful action to produce music. Dr. Wilson proposes that the evolutionary gift of the human hand over 3 million years ago forced our brains to grow to direct and control this remarkable tool. Language and reasoning were just byproducts of a brain designed for “handedness.”
Neither raccoons, monkeys, nor apes have hands like those of the human. The human hand was made to sense and assess, control and force, and then express, caress, and eventually—to heal. The human hand is the product of anatomy and innervations unique in biological life. Menke believes that the Wilson hypothesis also puts a minor dent in the popular notion of mind-body. American mind-body dualism assumes minds affect bodies, and largely ignores how bodies affect our minds. He thinks it is an ingrained bias we don’t even notice, stemming from an ongoing love affair with the brain as our main source of power and identity. We have bodies simply to lug around and protect our brains, right? He goes on to propose the intriguing possibility that the musculoskeletal system expresses our true identity, and that our glands, organs, and brains see to it we have the requisite stuff needed to accomplish our mission. Perhaps our brains are mere servants of the hands. Could it be our hands make us distinctively human, and not our brains?
Is it possible that Argentina’s piano virtuoso Martha Argerich represents the most recent leap in human evolution? Maybe the arrival of a Yo-Yo Ma advances our species more than a Bill Gates or a Susan Sontag—who can say?
* * *
Consider the progressive prejudice against manual in favor of mental expertise and how Western society has pushed dexterity to the bottom of the totem pole, since the decline of the great European guilds of the Middle Ages, to the point that we have a situation where the work “Americans won’t do,” is potentially leading us to the brink of social crisis. One could make the case it was wrong to advise mamas, “Don’t let your babies grow up to be cowboys.”
Consider how various health care professions that are more probative and that delve into problems with hand intelligence remain low on the occupational ladder or command less respect among elites. Jerome Dixon is a beloved clinician in his adopted home of Campbellsville, but he is also thought by many of his peers to be one of America’s outstanding hands-on osteopathic practitioners. When people, who already know my brother is a physician, learn that he is a D.O., I can detect the crestfallen look in their eyes. “Mamas, Don’t Let Your Babies Grow Up to Be Skilled Musculoskeletal Diagnosticians.”
Why is there such a cultural emphasis on working with the head instead of the hand? Working with your hands—sometimes called making an honest living, because you can see and count your accomplishments—is on the decline, even though it is the most difficult American work to outsource. It’s impossible to fight a fire, massage a spasm, wax a floor, cuff a criminal, cleanse an injury, build a road, or fix your commode from a call center in Bombay.
Manual consciousness—the wisdom of hands— is too often dismissed in our head-centric culture. Problems can frequently be found and solved by hands without all the judgmental posturing of the mind. Hands can quickly know what our minds may never grip, manipulate, articulate, or ultimately grasp.
As Yale University researcher Paul Bloom has explained, an adaptive mistake in human development may have given us an inborn comfort with the idea of a consciousness as being separate and separable from bodies. Whereas, Dr. Bloom suggests we have built into our DNA an indifference for the physical body as a temporary vessel, and are predisposed by evolution to believe in the supernatural, since minds and bodies seem to have a separate existence, Menke finds a more basic and immediate interpretation of Bloom’s data—that breaking the body away from the mind only leads us to fragmented views of ourselves and others.
In his book on Harlan Hubbard, Wendell Berry describes how the Kentucky artist and individualist committed himself to “an authentic life in his consciousness.” He writes that Harlan’s genius was in how he gave “the body a significant life in the world,” an existence that was “dignifying and pleasing to itself.” Like his most constant mentor, Thoreau, Harlan Hubbard sought first to live well, and to him, this meant a certain mistrust of mental abstractions removed from the objects of thought and one’s affection for those objects. In Harlan’s own words, “The mind tries to live by the artificial structure of the world, but the body will have none of it, holding to primeval forces. People try to be all mind….this has gone so far that now….the earth itself is but an idea.” Berry concludes that fundamental to Hubbard’s character was his refusal to live by mind alone. In his unwillingness to put his body and his bodily life under the rule of abstract ideas or monetary values, he avoided contemporary man’s tendency to use the world and its goods without love or care, a denial of both the life of the body and of the spirit.
* * *
And so, when I reflect on the particular abilities of my own body, it is with humility that I must appreciate each one’s distinctive integration of dedicated practice, mindful habit, and genetic heritage. This is painfully obvious when I presume my hand dexterity might cross over or be successfully interchanged. In other words, don’t let me transplant a seedling, touch a leaky pipe, or pick up a musical instrument. What of the untold wealth of dexterity that may exist within the group of unique individuals who frequent this cabin? What can I ever know of it? What do I know of the personal dexterity of Karen, Mary Ann, Leslie, or Sara Jane? What products of accomplished hands lie beyond my limited awareness?
Nevertheless, I won’t forget my sense of admiration when I first saw Lester run his fingers over a selected piece of lumber. How many times have I marveled as Ernst leaves the saddle to apply his deft touch to a shifter assembly, correcting a malfunction within seconds? What of the other familiar pairs of hands I know only when they hold a cup of hot coffee in the chilly air on a Sunday morning, never having witnessed their most articulate performances? What of Jim’s nuanced grip of the reins, Elizabeth’s green thumb, Dan’s expert trigger squeeze, or Victoria’s compassionate caress? What will I ever know of these? If I haven’t understood the hands, how can I hope to ever know the real person?
Having said that, I believe I can state without fear of contradiction that the most awe-inspiring pair of hands among us is forever gone from our physical circle. They belonged to someone I think of when I read what Harlan Hubbard wrote in 1932:
“There is but one great man. That is he who makes a masterpiece of his life. No accomplishment can offset bad living.’’
When in my friend’s presence, I failed to fully regard either of those immensely capable hands, preferring instead his characteristic twinkle of eye. Who else among our circle could demonstrate to his extent the genius of handedness—to execute a graceful brush stroke, to throw a well-proportioned pot, to compose in limestone with incomparable decisiveness, to improvise jazz melodies by intuitive fingering, or to repair the living tissue of a damaged joint? Even now, the thought of it nearly takes my breath away. These were not hands in mere service to the intellect, but a mind and heart in service to the world—properly and definitively through his magnificent hands.
How grateful am I for the good fortune to have encountered those hands, and the rich depth of human character they shaped in order to empower their creative potential! His world will continue to possess their diverse manifestations—animate and inanimate, evidence of the spirit they energized—long after the hands have left us for a place filled with new activities for the hands of a soul—the unimaginable creative pursuits of Life Everlasting.
— Month of July workout totals: Swim-6; Bike-7; Run-2; Lift-3; Yoga-2
— As I continue to thoroughly enjoy my peak cycling season, I notice an increasing level of muscle tightness and pelvic inflexibility due to a decline in periodic yoga practice. Balance and discipline. Why is it so difficult to calibrate?
— On Saturday, when Dana baked Terie a birthday pie (Blue Bank blackberries plus organic red raspberries), I decorated the crust with her favorite thing that makes her happy.
— I seemed to need every available minute yesterday to meet my evening deadline, but I managed to complete three mixed media collage artworks, including a “Fifteenth Cosmosaic,” the largest composition in the series so far and the first to be executed specifically for public exhibition and sale. Dana and I hand delivered them to Kathleen, the coordinator for the Lexington CONNECTIONS show, and she accepted all three on the spot. Even though it was getting late, she was kind enough to spend some time providing framing advice. I’ve been concerned I haven’t yet developed the ability to frame my work in a manner commensurate with the quality of the art. I intend to rectify that with these pieces, which are due in the city next month.
While at Kelly Ridge, Joan let us pick out some of Joe Wood’s old fishing poles for our trip to Michigan. She also handed me a book by Harlan Hubbard titled “Payne Hollow.” I pointed out to her the handwritten note on the front jacket flap that said, “Not for loan.”
“Too bad,” she replied. “He should’ve stuck around to enforce it.”
I immediately began to read the small work, as Dana drove us north for a few Lexington errands. I’d never heard of this memoir—the heartfelt story of an artist-craftsman and his quest for an isolated, unconventional life close to the earth, but I quickly understood why it might have been one of Joe’s most treasured books. Hubbard describes his conviction that a longing to live an even more primitive, solitary existence is less important than the compromises necessary for the richer satisfaction of a married life.
The author did not win me over from the start, but rather by slow degrees. I’m struck with the parallel of my own experience with Joe himself. Perhaps he came to the same conclusions about a life alone. Perhaps this is my sister’s way of helping me better appreciate the natural course of their own love story.
Wow… and I still have the second half of the book ahead of me.
The “Etch A Sketch” came easier to me than it did to most, but I never dreamed of doing work like this guy. Joan sent me the link to his site.
I suppose I’ve always had fairly decent eye-hand coordination. My sax fingering wasn’t that good, though; it had to do with rarely practicing, in addition to being able to blow on a reed, which I always detested at some fundamental level. Actually, I could have been a great bulldozer driver, or operated one of those tall cranes they use to build a skyscraper. Maybe I could even fly one of those Predator UAVs… Video games? You better believe I could do that, but I’ve never really allowed myself more than a dabble with Marty now and then. For me, doing more than that would be about as wise as trying rock cocaine.
It took longer than I expected, but my drawing for the Housing Authority was a pleasure to execute. The illustration technique I used was directly inspired by my favorite masters of pen and wash—Jack Unruh, Ken Dallison, Joe Ciardiello, and Alan E. Cober. Dallison is known for his automobiles and Ciardiello for his portraits, but all of them have worked with great breadth of subject matter. I’ve marveled at their skill for decades, but they have a similarity of approach that is close enough to my own capability that I can relate to how they visualize and have learned from their prolific examples. Unruh is exceptional—equally adept at rendering people, places, and the natural world—and I could die happy if I gain a fraction of his ability. Cober, who, of the four, actually did die (happy I hope, although much too young), holds a special place in my personal history. At the height of our indecision concerning what to do about the crumbling situation at Wright State, Dana and I had the opportunity to question him at a workshop. He counseled us to trust and follow our instincts, so the two of us got out together. He was a great adviser to hundreds of talents over the years, and I’m grateful to have been one of them.
