From Drunken Mermaid to Drunken Employee…

Sorry I haven’t written or posted anything for three weeks! I hope nobody minds or misses the posts too much, though I miss being creative and having something to blog about! Not being able to do anything besides work and recover from work is making me cranky. :(

I get up at 5:30 a.m., these days, work till 4 p.m., and then invariably find myself alongside half a dozen bearded men in greasy Safety Orange work gear, having a shot or four of rum at the Dinah Beach Yacht Club before rowing home at half-past-six in the evening. By then I’m too tired (and slightly tipsy) to do anything but make some salad and have dinner with Kris. I stumble to bed by 9 on most nights.

So I’ve become part of that bleary, grey workforce that leans against a bar at the end of the workday, reviving its lagging spirits with a fiery liquid of one kind or another. “Work is the curse of the drinking class,” and all that…

But it wasn’t always this way! Rum used to be something I imbibed as I sat on a beach, digging my toes in the sugar-fine sand, some pencils and a sketchbook on hand, an interested man making flirtatious conversation close by…

My brother, Bruihn, visited me while I was living on Malapacao Island, and because he’s an amazing artist—and paints as easily and effortlessly as the rest of us make cups of tea—when I asked him to paint a sign for the bar I was going to start up “one day”, he dashed The Drunken Mermaid off on two planks of palisander wood in a couple of hours.

Here’s an old ‘postcard’ for ya, “from where I’d rather be!”

Weird dolls, familiar sentiments…”Strange As Angels” by Brian Uhing

These spiritual reflections of Roman emperor Marcus Aurelius (AD 121-180) show a leader trying to make sense of himself and the universe, and cover diverse topics such as the question of virtue, human rationality and the nature of the gods. In developing his personal beliefs, Aurelius created one of the greatest works of philosophy: a series of wise and practical aphorisms that have been consulted by statesmen, thinkers and everyday philosophers for almost two thousand years.

The four months of ceiling and kitchen renovations are over, and I am back once again at my old day job as a kitchen hand and behind-the-counter sandwich and salad flunky. It’s not bad work, in and of itself: I would quite enjoy wielding my knife in a quiet corner of the kitchen, running on automatic to do this simple work, and using the time to think about books I’m reading, projects I’m planning, something I want to write.

Unfortunately, the fly in this Zen ointment is the boss, as she makes this sort of quiet, peaceful industriousness nearly impossible. She’s had this business for years and years, you’d think that by now she’d have acquired a more placid and practical attitude to the little hurdles and challenges that, naturally, pop up when your business is food-related and relies on daily deliveries of fruits and vegetables, on the cooking gas getting delivered, on backpackers who sometimes don’t turn up for work, and where time and freshness are of the essence. These are the sort of wobblies that any seasoned manager or business owner learns to take in his stride—because having a cussing fit, or bursting into tears, or taking your frustrations out on the staff, or storming around the kitchen like a whirlwind because you’re running behind (and then usually dropping something, which slows us down more, and makes matters worse) doesn’t improve anything, and stresses everyone else out.

After three years on and off at this job, I’ve managed to become desensitized to the high dramas that rock the foundations of this little empire of yogurt and chickpeas, in that I no longer take anything she says or does personally (because, well, to put it mildly, she’s a headless chicken—when a problem turns up, she cannot follow any sensible line of  reasoning, reacts with her emotions, and lashes out nastily because it’s all too much for her. And then she takes you out for coffee at the end of the day, having forgotten everything, and talks about jewelry as though you were just two gabbing girlfriends on a shopping spree) but I still have trouble conducting myself as though she didn’t exist (because I am not rude enough to wear ear plugs in her presence) and I still struggle to maintain a serene and impassive countenance under the barrage of sometimes stupefying things she can carry on about.

After Day One at the job this week, I wearily betook myself to a bookshop and, browsing the shelves for A Sign from God, came upon Marcus Aurelius.

“Men seek retreats for themselves—in the country, by the sea, in the hills—and you yourself are particularly prone to this yearning. But all this is quite unphilosophic, when it is open to you, at any time you want, to retreat into yourself. No retreat offers someone more quiet and relaxation than that into his own mind, especially if he can dip into thoughts there which put him at immediate and complete ease: and by ease I simply mean a well-ordered life. So constantly give yourself this retreat, and renew yourself. The doctrines you visit there should be few and fundamental, sufficient at one meeting to wash away all your pain and send you back free of resentment at what you must rejoin.”

—Marcus Aurelius, #3, Book 4 of Meditations

Meditations are a collection of passages that this much-loved Roman emperor wrote for himself...a diary, in other words, where he developed his personal philosophy and attempted to answer that eternal question, “How should one live?”

I have never read his writings before, though I’ve known about him for 14 years because Kris considers him a major influence in his own life. “One of my teachers,” is what Kris calls Marcus Aurelius. My little Popular Penguin edition of Meditations is like a deep-tissue massage for the soul. I carry it with me like a talisman these days…dipping into it during my 15 minute breaks, before heading back into Hell’s Kitchen. I can open the book almost anywhere, and find a passage that resonates with my own feelings, that whittles all the confusion of the world down to beautiful, simple ideas, and that nourishes my mind and spirit. There are really only half a dozen books (if that!) in my life that I feel this way about. Alain de Botton‘s The Consolations of Philosophy is one. Coleman Barks‘ translation of The Essential Rumi, and Kris Larsen’s Monsoon Dervish are others. In high school, Richard Bach’s Illusions was “one  of my teachers,” as were Herman Hesse’s Siddharta, Strunk and White‘s Elements of Style, The Epic of Gilgamesh, and Kahlil Gibran‘s The Prophet. You know the sort of volumes I mean? Those slim, cheap paperback books that you often have more than one copy of (because every time you come upon a copy, like an old friend sitting forlorn on a shelf, you have to take it with you) Those dog-eared manifestos that you carry around in your backpack when you travel—and the extra weight be damned—or that you pack separately from the rest of your library when you move to another house or another country? Taken together, these works constitute my bible. They mold my thoughts and guide my actions, they teach me how to live, and prepare me to die.

It’s such a delicious feeling, knowing that life can be a gradual discovery of books written by teachers like these, and that the consolations of their wisdom are available to anyone that wants them. Like a gingerbread cottage, in a forest where the witch has gone to visit her sister.

What are some of the essential books in your life’s backpack?

Week 17 ✂ Wheatear Stitch (TAST 2012)

Wheatear Stitch (TAST 2012)

This week’s stitch was Wheatear Stitch.

I’ve done a small, no-frills sample on a piece of fabric patchwork that is going to become a blank journal’s cover. Not very spectacular, but it gives a nice spot of hand-stitched detail to the otherwise machine-stitched patchwork. The book’s just mocked-up, in these pictures…haven’t turned the patchwork into a case, yet.

Wheatear Stitch (TAST 2012)

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This small embroidery sample is for Sharon Boggon’s Take a Stitch Tuesday 2012 Challenge

Family is a gun.

gun control

There is plenty of peace in any home where the family doesn’t make the mistake of trying to get together.

—Kin Hubbard (1868 – 1930)

Made contact with my parents this morning, because I haven’t heard from them since my father wanted me to buy something for him that was only available in Australia, some time last October or November. When I sit down to initiate an exchange with my parents, I optimistically imagine having a cheerful conversation about the garden, or hope to hear that they’ve been getting out, meeting friends, doing something positive and happy. I imagine my mother laughing, or my parents joking and teasing each other.

Hah! I’m still a damn fool, after all these years. Skype was a BIG mistake! Every time I do this, I sign off abruptly, disgusted and fuming…and I tell myself “That’s IT, I will never try to make contact again.” Hope I’ve learned that damn lesson, once and for all.

Maybe that’s all that family really is, a group of people who all miss the same imaginary place.

—Zach Braff, Garden State

badly blurred...hard to take a clear shot in the dark on a boat that is rolling wildly in the strong Southerly winds!

I’ve been up since 4am, to share an early coffee and stock up on warm snuggles before seeing Kris off. He’s going on another one of his solitary bicycle rides through the Australian Outback—from Darwin to Roper Bar, this time.

I start missing him days before he actually leaves. But I would never ask him to give this freedom and independence up…it’s part of what makes him so wonderful. At least this time it’s a relatively ‘short’ trip (600 kilometers), and he’ll only be gone for about two weeks.

The Flowery Cake Shoppe of Compromise

A compromise is the art of dividing a cake in such a way that everyone believes he has the biggest piece.

 — Ludwig Erhard

for Mick's mum
I talked myself into an ambiguous state in my last post. See, although it is just a painting in exchange for some canvas that Mick probably would have thrown away if I didn’t take it, I have to admit that I wanted Mick & Mother to really love the painting. I wanted him to feel that the debt had not only been repaid, but had been handsomely recompensed. I wanted to give him something that was a little better than what he was expecting.

When I sat down with a resigned sigh to start the painting, I knew that I would do my best to produce something that ticked all the conventional “Still Life With Flowers” boxes.

Untitled

As it turned out, I managed to strike a compromise between those conventions, my technical limitations, and my abhorrence of a certain kind of impasto oil painting with soft-edged, ruffle-daubed, faintly muddy-colored and impressionistic flowers. I was so out of my depth, tackling this subject matter, that I really thought long and hard about what I wanted, and how it should look.

When I am unsure of myself, I tend to splat a lot of gunky paint on, every color I have, aiming for “texture” and “interesting” messes, hoping that I will manage to “save” it all at the end by some well-placed motifs and a bit of stitching; these are leftover bad habits from the scrapbooking/mixed-media school of art that was such a rage for a few years. My approach is usually very heavy-handed and, yes, why not say it?…lazy. I’m too lazy to think things through, to pay attention to composition, values, line, and order; and the rare times when I do, I drop them all by the time I have the brush in my hand—and then spend as many hours trying to cover my mistakes up with yet more paint, ending with a really hopeless sludge of splatters and childish shapes, the color of mud.

Untitled

I was so determined to steer clear of this approach, here, and so I very atypically kept to a strict palette of about 5 colors. I took three separate photographs—two of flowers growing around the yacht club, one of an empty olive oil bottle in my kitchen—and used them to sketch an arrangement. I decided on liquid acrylics with some gloss medium for glazing, and aimed for a painting that evoked watercolours rather than oil paints, leaving areas of white canvas exposed to serve as the highlights, rather than painting them in later (which never quite works)…I wanted the whole painting to be simple, almost graphic, in its shapes and colors. I wanted clean hues, with lots of transparency and the illusion of light through glass and water. At the last minute I rejected the idea of patterned tablecloth or lace-curtain backgrounds, and I am so glad that I put a very pale, neutral background in, instead, as it doesn’t compete with the rest and the feeling of the painting remains one of clean spaces and light.

*breathes out in relief* Surprisingly (to me) the time I devoted to really thinking very hard about what I wanted, until I could see it in my head, and what I woud have to do to get that look, paid off in the end…because the washes were kept thin, translucent and minimal, the actual working time of this painting was about 6 hours, not counting drying time…and no time spent covering up, scraping back, or trying to right any wrongs with cheap tricks.

This experience has been another valuable lesson to me! I am pretty sure that Mick will be happy with it, and I am happy with the way it turned out, myself. Many big wobbling slices of pink and white cake for everyone!