Visiting, due to a touch of the Cancer

In the event of finding ones self in a hospital. 

Which seems to happen to everyone, class, race, or poverty not withstanding, 

And given that you are in the waiting room, and not on the surgery table, the mind wanders. The mind seeks. Sadly sometimes it's questions of who is covering the voices of Disney's latest incarnation of the Lion King - Patrick Dempsey or Rob Lowe? Or perhaps it's a bit more. 

As I waited, as my eyes sought calmness, as the hours were extended, the Lion King felt like a drug not a window. 

During one break, My sister and I found a real window. And that was a relief. 

But in the waiting room with three television sets, one with the Lion King. The second with the Wide World Wrestling Federation, with men and women in tights screaming and parading around. The third screen told us the stage of procedure progress. Either he was in procedure, out of procedure, ready for visitors, in PACU, or please check with Desk, recovering out of PACU.... our attention was held with distraction. The air heavy. Filled with families holding their breath, only to let out a sob when an unidentified code blue broke through the air. The scenario was not for the faint of heart. But like anything, we became accustomed.

Waiting.

Waiting.

 

 

We did not see art in the waiting room proper, to off set the screens. Only in the halls, where there was no place to sit. To be fair their was one print over the reception desk, and I can only imagine, it was there to give the waiting an alternative to look at.  We, the waiting, were all guilty of sending piercing eyes to the only human who might know more about what was going on then us.

Our dad has had the opportunity to spend a great many hours in hospitals. As an old friend has said, he has a lot of history of surviving. And, of those many hours, days, weeks, the constant tv never brought him meditative healing or peaceful distraction. In the 1970s-1980s those hospital stays brought with them a conclusion- art in hospital rooms could be a care alternative, calming and meditative for the patient. Even using the existing monitors, a picture book of landscapes shown in slide formate, would be more calming then Dallas or Three's Company. 

When my father left the hospital, he was a medical success of a new kind, he was the first manwith to have a transplanted hand. His right hand was now his left. 

In the eighties, he began a picture book program using his photography combined with his grandmother's historic photography of Henry David Thoreau's Concord to create a video slideshow. According to him the nurses wanted to take over the images and he left it in their hands. Oddly, this practice has progressed, of course we've all seen it, as a screensaver on our personal computers. A similar version, using photoshopped images, is on rotation at my local dentist.

In my own work of creating spaces, and exploring art's role in society, I have revised my artist parent's work. This past year I worked on a proposal to draw with raw lines, unorganized gardens, and forests and wild plants in black and white, on therapy room walls and dosing rooms in a rehabilitation foundation. Maybe more remarkably, the proposal was designed to be a research platform for the foundation's doctors. Could immersive art provide a better experience to their clients? Although the proposal is still waiting for approval, the idea is thus: Using art as a tool to create an environment for a human to heal. To use art as an immersive experience for the client, and the clinician together.

Chanting fans and double teaming wrestlers, and the hours past our original prognosis. And I longed for somewhere that was healing, to me, the waiting family member- or as another friend later told me - as a great representation of the most feared individual at hospitals.... M.A.D.  Middle Age Daughter, those terrifying women who come to advocate for their dear parents.

Earlier in the day, I was so heartened, when I arrived for the emergency operation.  I flew into San Francisco the night before from winter, leaving my family and a successful art season in the North West. My sister, who had taken two days off from her horse training, left her husband and her baby with our mother, and was driving our father up from her farm in Interlaken. He had spent the week walking to photograph, his art practice is seeing. We three were ready, and basically healthy, except for a misdiagnosed tumor that had been growing for too long. All cancer aside, we felt strong. 

Arrival destination.

Arrival destination.

I sat in a fully windowed hallway on a bench in the middle of a mural under a poem. Pulling my legs up, and tucking them under me, I sipped my (actually very good) Americano from the in-house coffee shop, I watched my dad and sister arrive. I was participating in what was clearly to become the money shot of the day.  Clearly. 

Upstairs the art moved back into frames, and they lived in the hall ways. They were destinations as the week wore on, for the patient, and us the dutiful daughters, to see as a reward for getting up and moving. Hobbling at first from exhaustion, we would move through the halls, dad resting on window sills to make phone calls, or to look at the view. 

Talking to his dear mother Mary.

Talking to his dear mother Mary.

 

We would discuss the art, or the bygone process of silver prints. We found children's work and favored artists, sharing the halls. We explored to remember we could. When mobility was our friend, we found a patio, next to my father's room. Protected from the windy elements, we sun bathed. 

Sun. 

Sun. 

 

As we sat, the outside reminded us that when this was all through, there was still a world moving and building and growing. We were overdue for a real walk and the practice of seeing.

Long gone are the days to use the hospital as a place to heal and recover. That is best done at home.  Staph is not a fun virus to play with, there was enough with the touch of Cancer that held us there.  

And yet, healing begins in the quiet moments between beeping monitors and pin pricks. 

Between catheters and drug needs. Minds need quieting, love without requests. 

Elizabeth, and Bill

Elizabeth, and Bill

Exhausted from helping the healing, and tracking the details. Reactions and expectations, and explaining to each new person the nuances that made up Bill Anderson.

I just wanted a layer of art, to silently sits with us, without all the small talk. I didn’t want the Rob Lowe voice, which was actually Matthew Brodrick's to cross my consciousness. Thirty years later the role of art in hospitals and healing centers still hangs on science’s approval. Certainly, our dad had survived before, and he would again.

Let's get out of here.

Let's get out of here.

 

If only to get back to what was important, walking and seeing.

 

 

Prepping, The Napkin Ring Project.

I dressed to go out. Really I did. I even woke up at 1 am to run out into the night to turn the studio heater on, because the snow had not let up. 

no one home

But then it occurred to me. No one was home, and the studio is really just a dry space not a insulated warm space. The rings were in a clean state. I would be running back and forth anyhow. All I needed to do was apply and shine the wax on the napkin rings for photographing, and cataloging, and really... Lets be honest, no one was home. 

S section

So after grabbing a stash of records from the S section, or rather Nina’s neighbors, I lit a fire. Running in and out to collect my rings, I got distracted... with a conversation the children and I had yesterday about raising money for the YWCA years ago with our friends the Bowers. Real money (or so it was in our minds) was raised with these sweet bird feeder ornaments. And wouldn’t you know it, I just had the materials right here…. ten minutes later, this. Not bad right? Well now to watch if I have the bird's approval and love….

Bird Ornaments

When I brought wood in, and realized some needed to still dry off from the snow... and the rings needed a shelf to heat up on for the wax to be applied. I reached deep, and pulled forth my inner Martha Stewart… Who knew a snow day could be so sweet. 

martha set up

So many new rings for the Holiday pop-up. This coming Sunday, December 11, 2016 at Saffron Restaurant, downtown Walla Walla. All afternoon, from 3-7 pm with Bubbly to share. See you there!!

 

 

 

 

December 2 2016

The copper is glinting all over the studio. Shiny hot spots. And all of my turned over panels, freshly painted to begin again, serve as platforms for the growing troops. Fearless they stand to gather the teams.

In the cold, cold studio, the napkin rings are mounting. Face and mind and fingertips, senses that also join the table, are acknowledged. The afternoon sun will illuminate.

Silver is the Perfect Color- Mike Henderson

Mike Henderson, Painter.

Quick History: Notes from an Interview.

During a lecture this past winter at Whitman College, Paul McCarthy, made a reference to a painter that had made an early impression on him. Influencing him to spray paint everything in his yard and everything he owned silver.  This man, Mike Henderson, who painted in silver because “it was the answer,” was a classmate at San Francisco Art Institute before Paul left for the University of Southern California.

Apparently Mike Henderson did not really know, or register Paul until a few years ago. In March 2008, Paul curated a show of important influences, “Low Life Slow Life” at CCA Watts Institute for Contemporary Arts. Although he looked for other work, he ultimately showed, Nonviolence, 1965, 72 x 120 inches and Castration 1968, 72 x 120 inches. “Both works depict aggressive violence perpetrated by men in uniform, one wearing an arm band with a swastika.” Around the time of the show, Paul reminded Mike of a story from school. Mike had came back to his studio at SFAI and, found a painted silver paper with christmas lights on the floor of his studio, in front of his paintings. That, Paul pointed out, was him. 

This July I approached Mike for an interview, to further my own explorations into silver. 

Although accepted into other programs, Mr. Henderson attended San Francisco Art Institute.   Ultimately, SFAI was the only school that did not reject him after finding out the color of his skin.  This, among other influences led him from a small town watercolorist to abstract painter and experimental film maker.

He counts early exposure to Van Gogh, Elaine de Kooning, Joan Mitchell, and Georgia O’Keefe. He recollected early conversations, at SFAI with Bruce Nauman. A significant moment with art historian Dr. Miller, rotated Mike's mind around the old adage, "if a tree falls in the forest will anyone know?" This was provocative, in the time of civil rights. And later, a discussion at Skowhegan with Al Held and Jacob Lawrence, were direction changing. Specifically, it was after he spoke with Al Held that he left the political work behind.

Mike’s daily life brought his work into focus. A blues career brought him in touch with community, outside of school. His humanitarian work for the Black Panthers, bringing food to the hungry, and appliances to needy. As an African-American living in a “hub of diversity.” He fed his “desperation to compete”  and to not be treated like a minority. Mike would make over 50 huge paintings each semester to“catch up” with the expectations he set for himself. Ultimately he received his BA and masters in 4 years.

Previously, his paintings were political. He was surrounded by cops, civil rights, listening to Eldridge Cleaver give lectures and demonstrations. He was looking for an answer. He saw for the first time, a white boy be placed in a choke hold, for standing up for a black person. 

He sequestered himself into his mind. Using 80 feet worth of canvas, he stretched 15 paintings. After a week of many 24 hour days of painting, Mike Henderson bought a 5 pound bucket of silver paint. And he began to repaint his canvases, and then his sneakers. Intense in thought, he would interact with society with the flecks dispersing over his skin and hair….  All of these experiences and more, brought him to what he thought was the answer to mankind. 

Mike decided that “silver was the perfect color.” “It remains itself and reflects its surroundings” If you covered yourself in silver, you could remain yourself and reflect another. “Freedom of speech… who you are… the nucleus of thinking… civil rights… this color would some how make it easier” 

“People could loose themselves in another culture.” Thinking about how to not be a “culture vulture.”  And how a person could “…respect community and walk through.”

“I would be you, you would be me.” (And yet still maintain and respect the self.)

There are two of the fifty or so paintings made from this from this era, still in existence.  In the early 80’s, while on his band’s tour in Europe, a fire destroyed much of his work.   His attitude towards the blues, and his practice of performing music brought great relief to his art practice. “Once you’ve got that note, its gone.” He had made the work, and that was what was pertinent.

Two years ago, after 40 years, Mike retired, or quit as he likes to say, from being a professor of artfrom at Davis, University of California. I hope to visiting Mike’s studio to further our conversation, to see the two paintings, and watch a few of the experimental films he was making at the same time as the silver work.

--

Thanks to Karen and Paul McCarthy for clues on how to find Mike, and thanks to The Haines Gallery for the introduction.

The Conversation, with Mike Henderson, was by phone. August 7th, 2016

Paul MacCarthy, presented by Whitman College and Walla Walla Foundry, Artist Lecture Series. February 16, 2016

 Erik Bakke, “Low Life Slow Life” at CCA Watts Institute for Contemporary Arts. March 2008 www.whitehotmagazine.com

Be brave.

Today I could hear the rain on the roof of my studio. The napkin rings piled up, between safety goggles, paint brushes, and glasses of lemon water.

This fall marks the transition in the Napkin Ring Project away from my experimental trunk shows. What with gallery stores and artisan shops stepping forward to carry the rings, I've become a bit more... polished. 

The essence of the idea is to have the rings last. To hold your attention. To hold you place in the conversation. By buffing the surface down and bringing the shine out, the open copper surface accepts the wax. New storage bags are on their way, fingers crossed everyone fits, with a fresh logo from Scott Grossman. And I'm working up an identification cards, if you will, with clues on design from Peter Miller's finger pointings.

It's funny as things get more methodical, sometimes they become less sexy. Yet each time I figure out, one more thing, I realize just how courageous I was to begin when I did.  

 

Tricia Harding's Napkin Ring Box

Tricia had her way with my rings. Take a look see. I think she is on to something, don't you?

Front view.

Front view.

She has always had a knack for keeping me organized. 

Inside view

Inside view

If you know us, there is something quite poetic in this. She is literally, and as always creatively, containing me. Everything is the better for it.  

Raika's Room

I wish I knew the exact day, 

that she knew, 

she wanted the drawing.

This is Raika, she hired me to draw on her room, when she was 12.

The room is the perfect size for a week of installation. Eight feet wide and ten feet long, with a huge window, closet, and entrance door, with 7 foot and 8 inches ceilings.

The first request was Birch or Aspen like trees. 

The bough's trunks needed a place to stand, so I brought the sweet woodruff from my own garden, a place she has been many times. 

In need for one more element, I asked her father, as Raika was off working to pay for the drawing. 

Digitalis. The foxglove.

A flower that resides at its own pleasure, in the back yard of my childhood home,  and at the front gate outside Raika’s window. 

Apparently it is a favorite of hers, too.

The last step was the trigger drawing.

Raika, now 13, can take the drawing with her where ever she might go.

 

Corvallis, Oregon July 28, 2016

Push & pull

Corvallis, working on a new commission. I have stopped to gather my thoughts for letters and thank you's and... where am I and "draw the horizon" moment.  

Push and pull. 

Push and pull. 

So excited it hurt.

I was so excited about this I could hardly breath. Today. I see so much more work to be done.

Before I go on, let us just hold this for a moment. Right here. 

Now just imagine, these three panels as three walls in a room. I'm going, you coming?

 

 

studio visit: Paul McCarthy

It was mid moment- before dinner after dinner between dinner. There were many in the studio that night, among the work, the bikes, and the words. 

He had seen both shows with his wife Karen in the winter. And now things were smeared with red, Orlando had just happened, the structures were messy.

Roots gravitate to each other. 

#PaulMcCarthy #Orlando

studio visit: Rosy Keyser

I had to listen hard, because I had just met her. Words are fleeting. Yesterday it was Rosy Keyes. We discussed the work as porous enough to let in things- and yet closed enough to endure. Yes I think so.  #rosykeyser  

Honoring: Work is work.

It is an honor to have a client buy my work to then donate. This is empowering.  The hard work done is celebrated, paid for, and then celebrated some more. Thank you Chandra Hall And Dr. Chris Hall. 

No Time To Stop. 2016

No Time To Stop. 2016

The in between. 2016 

The in between. 2016 

What do you know. 2016

What do you know. 2016

Quiet is... 2016

Quiet is... 2016

Be You. 2016

Be You. 2016

Walk and See. 2016

Walk and See. 2016

The Spot. 2016

The Spot. 2016

Silent to See. 2016

Silent to See. 2016

Futa-oki

This past week I made my first Futa-oki to honor the visiting a Master of the Tea Ceremony. 

Yabe Keishu - sensei was visiting the garden to prepare for her Ikebana demonstration at the Foundry Vineyards in honor of the Walla Walla Mokuhanga Center's first week of workshops.

Yabe Keishu - sensei is also a master of the "Sōgetsu, 20th-century Japanese school of floral art that introduced the zen’ei (“avant-garde”) ikebana style in which freedom of expression is preeminent." (This explanation was stolen from the FV press.)

Sensei, with the help of the wonderful Hitomie Johnson, gave instructions on how to alter my napkin rings into a tea ceremonial object that holds the lid of the tea pot. 

Here is the Futa-oki I made for Hitomi and her tea . Of course, the messages inside are for their owners, you will have to attend their tea ceremony to see them.