Tuesday, June 29, 2010

Chica Bonita


Chica Bonita

Drawn from the audience
unsolicited to the stage,
sucked wide-eyed and willing
into flamenco's vortex.
Before you whirls a woman
of such force and grace,
you see in her your future
and raise your arms
in mesmerized mimicry,
envisioning the day
you twirl with passion
to strangers' applause.
Some day, I pray,
you will step into that power,
but for now, little chica,
dance.

Monday, June 28, 2010

The Last Station




One of my husband Michael's favorite writers is Leo Tolstoy, so last winter we made sure to go see the movie The Last Station. We liked it so much that we bought it on DVD this weekend.

The movie is based on the final year of Tolstoy's life. In his old age, he has become something of an idealist, advocating pacifism and the elimination of private property. His followers, called Tolstoyans, have set up a utopian community based on his ideals. One person in particular, Chertkov, sees Tolstoy as a symbol that will help to save the entire nation of Russia. (The movie takes place only seven years before the revolution, and that backdrop is helpful to understanding the dynamics.)

The conflict in the plot is among Chertkov, Tolstoy, and Tolstoy's wife, Sofya. Sofya and Tolstoy have been married 48 years, and earlier in their life together, she was an integral partner in the creation of his most famous novels War and Peace and Anna Karenina. She does not share in her husband's ideals and is deathly afraid that he is going to give away all their lands and money, thus disinheriting not only herself (she's 16 years younger) but also their eight children. Tolstoy doesn't intend to go that far, but urged on by Chertkov, he does want to put the copyright of his books into the public domain so that they will always belong to the Russian people.

What makes the movie so engrossing is that you can understand the viewpoint both of the Tolstoys hold. Largely, this is because of Tolstoy's young secretary Valentin, played by James McAvoy, who becomes the viewpoint character for the audience. He idolizes Tolstoy but comes to sympathize with Sofya. Over the course of the movie, we see that even though the couple are locked in bitter conflict now, theirs is a deep, abiding, and passionate love that still has not died even though they are wounding each other terribly at this late stage of their lives. One of the central questions of the movie is whether love should be a non-sexual, philanthropic, and wholly idealized force, or whether there is room in a philosophical life for sexual passion. This question is played out in the Tolstoys' relationship and in Valentin's relationship with a young woman at the utopian compound.

If you like movies that make you think about relationships and about life's deeper meanings, don't miss this one.


Saturday, June 26, 2010

Gladiator, a nude

Today, I had my last art class for this academic year. This was my drawing for June. It's my most complete drawing yet.

When I start classes in September, I will return to doing charcoal drawing for two or three months, just to get back up to speed, and then I will begin the process of learning to paint with oils. I'll have to start with monochromatic painting (essentially doing a sketch of lights and shadows like this one but in paint), and that stage will last quite a while.

In the meantime, I plan to do garden sketches this summer and possibly do some exercises in perspective. I have given myself permission to make a lot of bad art this summer . . . because it's only by experimenting that I'm going to make progress.





Wednesday, June 23, 2010

Epic Endurance


I didn't plan to do a second post today, but it's Wednesday afternoon, and I'm sitting here watching a tennis match at Wimbledon, a match the likes of which no one in the history of tennis has ever seen.

For those of you who don't watch tennis, a men's match in a major championship consists of five sets. To win a set, a player needs to win 6 games . . . but there is a catch. In tennis, you have to win by a two-game margin, so if the score is 6 to 5 games, the players play another game to see if one can push it to 7 to 5. If not, if it goes to 6-6, they will play a tiebreaker, and the final set will be 7 to 6. With one important exception. Wimbledon, the most prestigious tournament in tennis, does not allow a tie break in the fifth set of a match. They play on and on until one gets a two-game advantage.

Ok, background over. I'm watching a match between American John Isner and Frenchman Nicolas Mahut in which the score is 59 to 59. It has lasted nearly 10 hours, over the course of two days. They've missed a couple of meals. They just took their first bathroom break, seven hours after starting today's play. As exhausted as these two men are, Mahut just made an incredible dive to try to make a shot. Oh, and the nice thing about this particular match? They are doing it with grace, mutual respect, and good sportsmanship.

To put this in perspective, a fairly close five-set match usually has about 50 to 60 games. These two have played 163 games, so they've played the equivalent of three matches.

Ok, they just suspended the match for yet another night. Who knows how these two men will be able to get out of bed to come back and play tomorrow. But somehow, I suppose they will.

Accomplishments like this are why I love watching sports. As corny as it sounds, performances like this inspire me. Now when I feel weary of juggling two jobs and art classes and my own creative writing, I can think about the incredible stamina and endurance displayed by these two athletes and push myself to give a little more effort to achieving my own personal goals.

Springing the Trap, Part II


Yesterday, I wrote about the emotional repression at home and the guilt tactics at church that caused me to feel trapped in an unhappy life. But there were external circumstances that made me feel imprisoned too. A dominant theme in my family was the sense of being overwhelmed by life. My mother had poor physical health, yet she worked full-time and raised five children, so it's no wonder that she could never keep up with the household tasks. In addition, my father was one of those self-taught handymen who started repairs with the best of intentions but hardly ever finished them, so that we had half-papered walls, non-working bathtubs, inoperative electrical outlets, and similar abandoned projects in every room of the house. Dad also had no head for either time or money, so it was a constant battle on my mother's part to keep us punctual and to keep the checkbook balanced. Often, it felt as though I was growing up in barely controlled chaos.

Because of their differences, my parents fought all the time, and the conflict was extremely upsetting. Instead of forging a partnership that took advantage of their different gifts (my mom's organization and logic, my dad's way with people), they constantly disappointed each other and argued. One of the greatest fears of my childhood was that my mother would leave or that my parents would divorce. I know that part of the pressure I put on myself to be good was in an effort to hold that family together. I also made unnaturally adult attempts to make the family happy--like cooking Mother's Day dinner for 12 people when I was only 9.

Finally, while we weren't poor, we often faced a very tight financial situation. From the time I was about three years old, my mother told me that I was going to be the only child in the family to go to college, but I knew almost as early that my family could never afford it. The only way for me to fulfill my destiny was to be perfect in school so that I could earn scholarships. Between the burdens I felt at home, the pressure I felt at school, and the guilt imposed at church, I became a first-class neurotic perfectionist. I became convinced that I was trapped in a miserable existence, and the only way I would ever escape was through my own efforts of earning straight As and going away to college. In the meantime, I did what I could to help keep the family going and to try to appease my mother.

All of this happened a very long time ago, and obviously I no longer live in a situation remotely like the one in which I grew up. Yet to this day, I still tend to define my life as one in which I get trapped in situations that I somehow have to work hard to escape. The most recent has been an 18-month stretch of juggling multiple jobs. The situation has been wearing . . . but truly not unbearable. Yet I find myself often fighting those old feelings of being trapped. A few months ago, I finally realized that the problem is less my external circumstances than my internal definitions.

Since then, I've been working on breaking these patterns. I start my prayer time each day intentionally giving thanks for the good things in our life. And I've been praying for some very specific attitudinal changes. I pray that I will stop seeing God as my parents, that I will remember he's in charge, that I will appreciate my life, and that I won't feel trapped. I think it's helping, but I intend to keep praying for these changes as long as it takes.

In addition, this false self-definition—of myself being the martyr worker bee—is quite probably the reason I repressed my art for more than three decades. Even after a year of classes, I still struggle with feeling guilty for doing something so self-centered and impractical. However, I hope and believe that by continuing on this path, I will slowly break down those old false messages and replace them with new ones.

It's all a matter of perspective. And I'm working very hard to readjust mine.

Tuesday, June 22, 2010

Springing the Trap, Part I


When I was six years old, my family moved into the house that they still own today. Built about 1900, the two-story, white stucco home had once been an elegant residence in the most desirable part of town. However, at some point, a previous owner had converted it into a two-flat, which left it with some rather strange features, including an upstairs bedroom that had a kitchen sink and an outside door that opened onto a drop of 10 or 12 feet because the external stairs to the apartment had been taken down.

The house also had other remnants of its long history, including an oil tank buried in the back yard, a coal bin in the basement, and a cement block in the side yard whose purpose we never figured out. In the dining room was a fireplace we couldn't use because the chimney was crumbling and blocked, but which captured my imagination because just below the mantel was a loose brick that could be removed and which I imagined had been used as a cache for an important key. The basement had walls of slightly crumbly sandstone, and the attic could only be reached by a ladder so I never, ever saw it in the 16 years I lived there.

As a child, I viewed the house as a place of mystery because of all its strange features, and I became convinced that somewhere within its walls was a secret staircase. (I loved Nancy Drew as a child—can you tell?) Sometime in my teens, I began to have a recurring dream that came back again and again until I reached my late twenties. In that dream, I found the secret staircase and climbed it to find a hidden room somewhere at the top of the house. Once I discovered this room, I realized that all I need to do was move into that room and live there, and I would be happy. Only as an adult who had gone through several years of therapy did I finally realize the deeper meaning of the dream: the hidden room was all the emotion I felt I had to hide, and I would not be happy until I could stop repressing it and express it openly.

But as a child, I didn't understand the message my subconscious was trying to tell me. I knew only that I felt trapped in an unhappy life. My family was very emotionally repressive toward us children. Because of her own damage, my mother's emotions dominated everything, and the rest of us were expected to deny our own feelings in order to cater to hers. One of my mother's favorite stories to tell about my childhood was to describe what it was like to take me with her to the beauty parlor when I was about three years old. While she was having a permanent put in her hair, I'd sit on the floor playing quietly. But if I did get rambunctious, all she would do is look at me crossly and I would stop whatever I was doing to displease her and burst into tears. She would close this story by saying proudly, "The other women were always amazed at how much control I had over you." As a child, I would hear this story and think what a good girl I was, but as an adult, I had a very different reaction. I began to wonder what kind of mother was proud of having so thoroughly cowed her child?

The emotional repression inflicted by my family was exacerbated by our church. I grew up in a Baptist church that filled me with a lot of guilt at a very young age. I remember clearly being taught the memory verse "There is none righteous, no not one" when I was only four years old, and I first answered an altar call when I was seven because the guest evangelist said that if we didn't accept Christ right then, we might die and go to hell. Somehow—whether it was the teaching of that particular church or my own selective hearing, I'll never know—I completely missed the messages of grace, forgiveness, and unconditional love, and I felt nonstop anxiety about my relationship with God. This only intensified my feelings of being trapped in misery.

However, the trapped feeling was not just based in emotional dynamics. Tomorrow, I will talk about some of the external circumstances that contributed to my sense of being trapped.

Monday, June 21, 2010

scraping off the mold


Since my mother died, I've had a hard time writing about personal issues. I can't put my figure on the internal dynamic at work here. Since being transparent usually comes easily to me, I certainly didn't expect this to happen. However, I've had some ideas for posts stored in the back files of my brain, and I guess I'm going to try to write them and see what happens.

The first of these ideas relates to a problem that we're having with our house. About three months ago, our dishwasher sprang a leak. Some metal utensil (we'll call it a knife for simplicity) fell into the bottom of the dishwasher and landed on the heating element used for the dry cycle, and the knife conducted heat to the bottom of the plastic dishwasher tub and melted a hole in it. Because of the nature of the leak, we didn't catch it for a week or so, a week in which soapy water filled with food particles seeped through the subfloor of our kitchen and down into our unfinished basement, where it dripped onto a box of old work files and ran along the water pipes into the insulation that is stuffed between the subfloor of the upstairs and the sill of the concrete basement walls.

In the weeks that have passed since the leak occurred, mold grew behind that insulation until it eventually grew right through it and became visible to the naked eye. We had an inspector come out and test it. Among the two types of mold he found is stachybotrys, which the EPA classifies as a zero-tolerance mold because it can cause serious illness. So we are going to have to have extensive and expensive remediation done. Fortunately, our homeowners insurance will cover some of the costs, so it's not going to be as draining to our bank account as we first feared. Even so, we're going to have the inconvenience of having contractors in the house for several days, cleaning and decontaminating the building to make it a safe and healthful home again.

To me, this story epitomizes a truth about my life. There is no denying that my family inflicted a certain amount of damage on me (and on my brothers), but at this late stage in my life, the things my parents did or didn't do no longer really hurt me. Rather, what I continue to deal with is the extent to which I let bad responses to the damage linger, take hold, and spread—like the mold spores. I can honestly say that for all my adult life, I have tried as diligently as I could to heal from the wounds I carried from childhood, but I'm starting to see that some of the repeated choices I made to cope with the past are the very habits that I need to break now.

This will be the theme of my next few posts.

Sunday, June 20, 2010

Father's Day Miscellany


Happy Father's Day to all you dads and granddads out there.

I'm sitting here in my kitchen, drinking cappuccino and listening to the birds in the yard. The day is still cool enough to have the doors open, and there is so much music outside. I love listening to this every day.

I've been missing my dad lately. You'd think that with just having lost my mom I'd be missing her, but the last week or so, it's my dad that's been on my mind. He's been gone nearly nine years now. I wish I could tell him that I'm finally studying art. When I was a child, that was what he predicted I'd be. In a strange sort of coincidence, Michael's dad is being very supportive too. Every time we visit them, he wants to see what I'm working on and he tells me to keep doing that art. I love my father-in-law, but I wish it was my own dad saying those things to me.

I have one more week of my nude figure class, and then I'll have two months off. I'm looking forward to having time to do what I want to do in art, instead of doing class exercise after class exercise. I'm starting to feel frustrated by how little I use my art for self-expression. I know I'm in training and I also know that nothing is stopping me from doing my own work on the side . . . nothing, that is, but time. Well, in July and August I should have more time. I've started messing around with watercolors, which I haven't done since I was a kid, and I love playing with color again.

I've actually done some real live writing for this blog. I'm putting up a series of posts this week related to the internal issues that have been simmering since my mom's death. It's all pretty introspective and self-analytical, and not much of it is really new ground (it's one of those issues I have to keep relearning periodically), so I don't know how interesting it will be to any of you, but I'm throwing it out there anyway.

Finally, a friend of mine (former co-worker, current classmate) just started a blog. It's only been going a week, but she has some intriguing posts already. If you're interested in checking it out, it's called Tales from My Side of the Screen.

Tell your dads you love them today.

Saturday, June 12, 2010

requesting feedback


I finished my Outdoor Sketching class yesterday. This was the piece I did in class. It took about 90 minutes. I'm quite pleased with it, and I plan to submit it to the student art show.


I also want to submit one other piece, either the peony or hosta from my last post. I have different reasons for liking each, so I'm really torn. If you would care to offer your feedback, I'd really appreciate it. No need to analyze the pieces. Just tell me which you prefer on a gut level. (If you do have more analytical comments, I'd welcome them. I just don't want anyone to feel that they have to do that.)

Thanks a million!


Wednesday, June 9, 2010

Quick Studies in my Garden


My last session of the class Outdoor Sketching is Friday. These are pieces I did for it. Each one was supposed to be executed in 40 minutes tops. Sometimes I went a little over, but each of these took no more than an hour.

From top to bottom, the plants are Felix Kraus peony, Magic Fountain delphinium, some giant blue hosta (this one was done at the Botanic Garden, not my yard), and Stupice heirloom tomato. As a point of interest, the tomato was drawn without a single green pencil. She's trying to get us to learn color theory.

P.S. These are not meant to be accurate botanical illustrations. They are quick sketches to get the feel of the plant--studies that might inspire later paintings.









Wednesday, June 2, 2010

miscellaneous garden shots