Inspirations, philosophy

❝I consider all…

❝I consider all my story cloths to be self portraits. You might too. Because all meaningful making contains your voice and the voice of the materials you choose. Be sensitive to that. It will make a huge difference in your work.

Story cloth is slow cloth, it takes time to tell a story.❞

—Jude Hill

The quotable Jude Hill. Someone should compile a book. Almost everything she says makes a beautiful quote…something precious, to be cradled in two cupped hands: a small but strong flicker of an idea that applies to all making, all living, and not just to textiles.

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embroidery and textiles, paints and pens, philosophy, stuff i've made

A few more…

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Whatever is happening is the path to enlightenment. —Pema Chödrön

More feathers, because it’s what I happen to be doing at the moment. A path lined with feathers is not a bad path to be on!

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Getting a bit bolder with the color combinations…orange thread over yellow green paint, complementaries, that sort of thing.

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May have over done it with the red-violet feather on emerald green…that one looks a bit muddy. Too many different kinds of thread. Too many colors.

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When the work starts to get slick, polished, ornate, precise, or needlessly intricate, it’s time to step back and empty the mind of what it knows, again: time to dig up the real feather that started all this, and really look at it.

Starting from zero, studying the feather as if for the first time, and proceeding with attention and praise for it as an individual and miraculous thing. Which, of course, it is.

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art + design, philosophy

veiled window

“When you let go of your desire for the painting, as a result of despair or a need to feel liberated, you allow the work to find its own voice….The paralysing spell is broken and you are off again, discovering your subject through painting.”

—Emily Ball, Drawing and Painting People

“When you let g…

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art + design, blogs and sites, Inspirations, life, my friends, philosophy

via Ordinary Meditations: New Year Restart Meditation

Powder Blue Rainbow by Chati Coronel, 2012. From her SkinSkin exhibition.

I thought I would maybe start writing a post, now and then, about some of my friends. Hopefully they won’t mind!

My friends. You would like them. They are artists, directors, writers, art therapists, graphic designers, journalists, travelers, extreme sports enthusiasts, singer/songwriters, filmmakers, dancers, actors, playwrights, social workers, doctors, musicians…and they are all visionaries, aces in their fields, risk-takers and question-askers, ecstatic poets, seers and mystics. I feel extremely lucky to know these amazing, fiercely individual people.

There were nights, years ago and in Manila, when we would all manage to turn up at one place together: the energy, the vitality in the room would be a palpable force. Many a time, at these magical events, a quiet mood would settle over me and I would sit back from the conversation, look around the room at the faces of my friends, and be aware that I was witnessing one of the happiest moments of my life. At the time, I was convinced that the sheer concentration of vision, talent, quality and character gathered there would, most certainly, change the world…how could it not? I also knew that we would find it harder and harder to come together as we got older…that we would scatter, that we would each go off alone (or go in pairs) and grapple with the narrowed-down parcel of life before us.

Of all the things I had to leave behind when I moved to Australia, the nearness of my friends is what I most deeply miss and feel the loss of.

In all my group of friends, I am the underachiever. No, really, I’m not kidding and I’m not being self-effacing.


Chati

Artist Chati Coronel on saatchionline.com

“Soft human, open heart, mind on fire, walks with tender feet on the earth, laughing.”
Chati describes herself.

Chati is a painter. A fantastic one. She is also a living doorway into stillness, mindfulness, cosmic harmony. She radiates joy, she treads the razor’s edge of the present moment, and being near her puts all your mind’s chattering, falseness and discontent to rest (and yet she is not some naive and prudish saint…her works are sensual; they revel in being alive, in womanhood, in wildness, in playfulness).

She also keeps a quiet, luminous blog, Ordinary Meditations, about her “quest for everyday enlightenment.”

The reason I wanted to introduce you to Chati, actually, is that she’s written a lovely end-of-the-year post about how she and Edber prepare for the New Year. She has, since publishing this post a couple of days ago, gone completely offline, as they begin a process of mind, body, and spirit cleansing, meditating, reflecting, and space clearing—of both physical objects and “old affirmations, old dreams, old goals. Melt away old pains, old issues with breaths. Go to zero.” I thought I’d share her post with you, in case you wanted your New Year’s rituals to amount to a little bit more than noise-making and a hangover on the first day of 2013.

Via Ordinary Meditations: New Year Restart Meditation.

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paints and pens, philosophy, stuff i've made

So did I paint something?

Yeah, I did actually get up the next morning and start a painting. I was all revved up and hungry to create!

What I craved was a HUGE canvas…a meter wide, a meter and a half tall, that sort of thing…a wall that I could walk up to and engage, throw myself at, mano a mano…arms moving in great sweeping arcs of brushstrokes. Looked everywhere on the boat…was so sure I had some huge canvases left over from my last show. Nothing.

Bugger.

What I found were scores of tiny little canvases…mostly the size of a paperback book…and one, just one, tall, skinny canvas—30 cm wide, and 60 cm. high. (1′ x 2′). Oh, that’s right…instead of buying one wonderful, epic canvas for $30, I thought I’d be clever and buy 10 dinky little ones for the same price. Fool. So much for my grand date with creative destiny. I felt so restricted and cramped with this small canvas! My sweeping gestures were reduced to finger-daubing and dabbing with medium-sized brushes.

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And the process? Hrrm. Well. I started out the way Downey did in her video…all energetic abstract doodles and splodges of color. I even hit a few spots with water in a spray bottle to make the paint run. Drips. Very outré, drips in paintings, oh my. Yes, yes, everything was feeling very loose, very spontaneous, very earth goddess, moon mother, loose caftans and jangly earrings. There were lots of fantastic body gestures…it was almost a modern interpretive dance. I even played the one song I own that is by Loreena McKennit, can you imagine? Instead of my usual Radiohead, The White Stripes, The Commodores, and One Love Sonic Boom mixes.

Great. Then I started painting in some simple motifs…leaves (ovals with one pointy end) and flowers (ovals with pointy one end), birds (ovals with one pointy end and a tail like a platypus bill), sprinkles of dots and organic shapes sort of thing. Get this, I even flicked runny paint at the canvas, a la angry young men in movies about artists (then “Eep!” Wiped most of it off again.) Art? Who said anything about making art? I was acting out the artist stereotype. I was being ‘creative’. To anyone who may have been watching, I was also being a wanker.

No actual attempts to draw anything or produce something skillfully. No attempts to find a symbol or a subject that actually meant something. It occurred to me that the motifs that came easily to mind were very hackneyed. (That must be why they came so easily to mind, Einstein.) At this point I started to feel like a fraud. Lotus flowers, are you fucking kidding me? Lily pads? What has this painting got to do with me? Do I sound like a Southeast Asian Buddhist to you?

And the painting, ye gods. Did I really channel the aesthetics of the entire Balinese Airport Artists Cooperative? This looks like the stuff they churn out in Thailand to decorate restaurants with. I’m amazed there aren’t any koi in the pond under the lily pads, or bare-breasted women in those pointy golden pagoda hats. “WHAT, NO KOI? Can’t be a proper Asian restaurant painting without the koi! People need something to look at while they’re slurping their tom yums and pad thais!”

Traditional Thai art paintings

Traditional Thai art paintings

But I have chosen to leave the painting alone. May it serve as a lesson to me…what works for others may does not work for me, and shame on me for letting someone else’s style bear too heavily upon my own.

The result may look okay to you, reading this, but believe me, the painting is empty, devoid of soul or self. It’s a lie. Just because it’s an okay-looking lie doesn’t make it right. The paintings of a large molar and two chairs were more honest than this. At least they came from my own head, and weren’t trying to please anybody. I’m going to let Donna Downey’s wonderful video cool off in my head for a while, then I’m looking forward to another session—I’m still inspired by her video!—this time just being myself…don’t matter if it’s fugly. At least it’ll be my own. Kinda like having an ugly child, I guess. :D

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amazing people, books + poetry, Inspirations, life, philosophy, travel

A hippie Christmas in India : : an excerpt from Kris’ latest book

Victoria terminus in mumbai

Victoria terminus in mumbai (Photo credit: Sofi Lundin)

Kris still hasn’t arrived from Bali, and it’s starting to look like I’ll be spending my holiday break alone on this boat: embroidering, folding origami and doing other Batty Old Lady things. I miss him; as I’ve mentioned before, it doesn’t matter how often he’s away, I never get used to it. ‘Pining’ is the word that comes to mind. I often scold myself for “putting all my eggs in one basket”, so to speak; Kris is my best friend, my most-esteemed colleague, my best teacher (and also my best student), my Belovéd, my mentor, my role-model, my solace, okay, you get the picture… :D

Where was I going with this? He’s written a fourth book, Out of Census—about his years as a student in Prague, how he ran away from Communist Czechoslovakia, and his years as a wanderer through Europe and the Indian subcontinent—and I was re-reading it tonight (it makes me feel close to him to read stories from his life, written in the same slightly-off Eastern-European English that he normally speaks with. This is my personal favorite of all his books.)

This story takes place in India in the late 70s, around Christmastime and the New Year, which I thought apt…although it isn’t a Christmas story, please be warned! It’s bleak, and very alien to what we think of as Christmastime stories…but, like all of Kris’s accounts of his life, it makes me think, it inspires me to be less afraid and to take more risks, and it opens my mind up just a little bit more.


Bedlam spread into the lofty Victoria Terminal. Whole families were living on the floor of the waiting platforms….In a quiet corner I saw a man lying on the floor by himself, fully dressed in filthy European jeans-jacket and long pants, the soles of his bare feet black as a bitumen road. As I looked at him, the destitute beggar turned over and I saw his face; he was a young, white hippie…pale, with sunken eyes the color of wilted lemons, protruding cheekbones, evidently gravely ill, abandoned by his friends, and he was sheltering from the sun and crowds on the station. With a groan he passed out, exhausted by the move. I shivered.

I wasn’t feeling well, myself. And it wasn’t the usual gastro discomfort. You get used to intestinal problems in India. Old hands ignore them, pointing out that even such luminaries as Mahatma Gandhi lived their entire lives with chronic dysentery that never improved, in spite of diets and medical attention. “Three solid shits in two years in India is good going,” we used to say. This time I had caught something more serious. I was getting weaker by the day, I had to sit down to rest every half hour; I had lost my appetite altogether. I was pissing dark brown urine, no matter how much liquid I drank…

I made it back to the hotel and went straight to bed. I was running a high fever and I was sure that I was crook as Hell. In the morning, the German girl that I had been traveling with looked into my face and her jaw dropped. “Have you looked into your eyes?” she asked. Wearily I turned my face to a little hand-mirror hanging from a nail over the washing basin. My face shocked me. Cadaverous eyes stared back at me, feverish, and instead of the usual red fever tinge they were deep yellow. The penny dropped as I reviewed my symptoms. I had hepatitis. I reached for my liver and yelped in pain. It was swollen sticking out from my side under the ribs, tender and painful. No wonder I was off food, weak as a fly, pissing blood. My liver was shot….

Generally, I am fairly resistant; my stomach is strong, but I am prone to attacks of malaria and other mosquito-borne diseases. Hep was another matter. It was a serious blow, as there was no cure for it. There still isn’t. Several dozen known causes can lead to hepatitis, which is the generic name for inflammation of the liver, but there is no medicine to combat it directly. You can strengthen your body’s immune system as it is fighting, but you have to wait, two to six weeks, until it conquers the invasion by itself.

Our gang panicked; hep was a major scarecrow on the road. Within an hour I was alone. Fools. I had been spreading germs amongst them for days, as my disease incubated, before the symptoms became manifest. It was too late to run, now. What’s more, many strains of hepatitis are not directly contagious…not by simple contact or by sharing food.

This desertion by friends hurt. We had traveled together since Quetta…we were a gang. I had known some of them since Istanbul. I did not blame them—we did not know much about hepatitis—but I resolved not to travel with Germans again.

Picking up my backpack, I focused my fuzzy mind on one task: I had to get out of Bombay, or I would die like a beggar I had seen on the street, the previous day. A picture of the unfortunate hippie in the filthy jeans jacket, lying on the platform, also danced in front of my eyes…

I dragged myself down the street, bound for the railway station. Every fifty meters I had to stop and sit down. The only place to sit down was in the dirt of the pavement. Each time, I collapsed amid the rubbish, rat shit, and sweepings of the street. Even the homeless who lined the street averted their eyes when I encroached upon their domain. One insistent tune occupied my mind like a mantra…the first two lines of a Simon and Garfunkel song: “Are you going to Scarborough Fair? Parsley, sage, rosemary and thyme…” I only knew those two lines, and I kept stubbornly repeating them, humming them in defiance as I focused on reaching the Victoria Terminal. It wasn’t a song, anymore; it was a chant of determination. I was telling myself “I am gonna make it, I will pull through.”

Three years later I heard Simon and Garfunkel sing Scarborough Fair, live on the stage, in Wellington, New Zealand, and I wept without shame—all the crushing emotions of being alone and ill in Bombay sweeping back over me….

I did get to the station without help, and I bought a second class ticket to Madras. Still humming Scarborough Fair through clenched teeth, I boarded the train. I was powerless to argue about seats. The weak and ill have no chance of negotiating in India. I could not care less about the world around me. I took down the bags and suitcases that other passengers had stuffed into the overhead luggage rack and, with effort, crawled up there, myself—stretching in the netting, stowing my own bag under my head—just like a rough bivouac in a hammock on a rock wall. One passenger got up to complain about my behaviour. I stared in silence down into his raving face, and when he stopped for a breath I opened my eyes with my fingers to show him the yellow color, and I whispered: “I have hepatitis. And I do not give a damn.” That shut him up.

It was Christmas Day. My first Christmas away from Europe, and I spent it curled up in an overhead luggage rack on the Madras Express, for the entire 36-hour trip….By the time I slid down the two steps to the platform in Madurai, I knew that I had broken the sickness’ back, and my body was on its way to recovery.

…I took a small clean room on the ground floor of a pension around the corner from the main temple, and I settled in to wait until I felt better. Christmas I had spent curled up like a used paper bag in a luggage rack on a train. On New Year’s Eve I felt strong enough to venture into the streets, to celebrate. Indian street life continues vigorously into the late hours…not as revelry, but as ordinary activity in the cool evenings. On the last day of the year there was nothing to distinguish it from any other day. By midnight everyone was asleep, streets were dead, resonating to the snores of the homeless bedded on the pavement. Indians do not celebrate the same New Year that we do. Nobody took any notice, nobody lit fireworks, nobody cared. The central government in Delhi ran its affairs by Western calendar, but both main religions, Hinduism and Islam, counted time in their own ways, aligned with the moon.

New Year in Madurai awakened me to the fact that even basic preconceptions that we assume to be universal do not reach past Istanbul. White man, in his cultural arrogance, because he doesn’t know any other way of looking at things, thinks everyone else in the world agrees with his point of view. Sitting on the pavement that night, reflecting on the different calendars that people use today, I came to realise that what we think of as the world, or the world that counts—this essentially white, Western, Christian world view—is a minority opinion, if you take the earth’s population as a whole. Hindus…the Chinese…one billion Muslims…just these three blocks comprise more than half the world’s population. Then come smaller groups, like the Japanese, who still count years from the ascension  of the current emperor, and who only celebrate Christmas Day because it happens to be the birthday of their Emperor. Add countless smaller groups who all have their distinct ways of looking at the world, and then tell me: What makes us think that the way we see things is the world norm?

We need to be reminded that the world is a much wider place than what our teachers depicted at school, and that in many places our domineering culture is seen as invasive, immature, barbarian, and not up to the standard. Happy New Year, man.

—text excerpts from Out of Census by Kristian Larsen, 2012. All rights reserved.


I’ve been told that you have never really been to a place until you have been seriously ill there. I also know that there are few things as miserable as getting sick in a strange place..having to find your way to local doctors or pharmacies, having to explain what’s wrong or what’s needed through the language barrier, and having to look after yourself because nobody else is going to do that for you. It’s a very lonely feeling. But if you pull through, something about your relationship with that place is changed. You have been tested, and triumphed. The unfamiliar surroundings hold little terror or fear for you, after the ordeal, and, strangely enough, you feel as though you finally fit in…belong there, just a bit more. A price has been paid, a part of you has been taken, and the place cracks open like a nut, in return.

Often, the only way out of the terror is through the terror. Have you ever taken that path? It can be an amazing experience, and no words can describe the personal power and strength that washes over you when you emerge on the other side.

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books + poetry, Inspirations, life, philosophy

Begin.

Sunrise on a Flat Arafura Sea

 “Begin.
Keep on beginning.
Nibble on everything. Take a hike.
Teach yourself to whistle. Lie.
The older you get the more they’ll want your stories.
Make them up.
Talk to stones.
Short-out electric fences.
Swim with the sea turtle into the moon.

Learn how to die.
Eat moonshine pie.
Drink wild geranium tea.
Run naked in the rain.
Everything that happens will happen
and none of us will be safe from it.

Pull up anchors.
Sit close to the god of night.
Lie still in a stream and breathe water.
Climb to the top of the highest tree
until you come to the branch
where the blue heron sleeps.

Eat poems for breakfast.
Wear them on your forehead.
Lick the mountain’s bare shoulder.
Measure the color of days around your mother’s death.
Put your hands over your face
and listen to what they tell you.”

—Ellen Kort

Note: I know this poem by heart. I read it at my best friend’s funeral, 17 years ago, and it continues to inspire me nearly every day. Eyes on the present moment, friends…it’s the only thing you really have.

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art + design, Inspirations, amazing people, philosophy, craftiness

Copper plate books

Leontopontes, plate and print

More unusual journals by my best and most enduring bookbinding student…

Once Kris made up his mind to use these old engraved copper printing plates as book covers, he knocked them out at alarming speed over one weekend. I think it’s a great way to use a printing plate at the end of an edition (or after you’ve decided you don’t want to be a printer, anymore, in Kris’ case).

The story of our adventures with printing is amazing, in itself. I know a little bit about printing, which is probably a hindrance rather than a help, because I believe that to do things properly you have to have all the right tools, materials, and the know-how to tweak a hundred little complicated and technical settings…

Kris knew nothing whatsoever about engraving copper plate, or printing from those plates, and so he just jumped in and did it. He used an old copper water tank that he cut up and flattened with a hammer (I helped by telling him that he couldn’t print on anything but perfectly flat, smooth, new plate); then we went to print and didn’t have any of the additives for the ink, nor whiting, nor tarlatan to clean the plate…didn’t even know in what order the plate, paper, and blanket were supposed to be when we rolled the sandwich through the huge old press at the Darwin Visual Arts Association.

I was ignorant, worried, narrow-minded and a naysayer…while Kris was determined, untroubled, innocent and had a great time rolling out half a dozen designs all that afternoon, clear and charming prints, in spite of all that we did wrong. Since then I’ve become a little more like him…I still like the idea of new things bought just for the purpose; like the idea of doing it “by the book”. But if I can’t do it the ‘right’ way, I know better than to let that stop me from doing anything at all. So he is also my best and most enduring teacher.

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Like the mother of pearl and the wooden journals, these are going into Kris’ exhibition/book launch on the first of February, next year. Where an actual print has survived, he’s going to include it with the sale of its copperplate journal.

More copper-covered books over on his blog…

Copper plate books.

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