the seed waits, dreaming–
colors pulse in liquid sound
This is a reprisal of my April 2015 grid with a new poem for Colleen’s #TankaTuesday, haiku/senryu. The collage and original haiku were inspired by Monet’s waterlilies.
I’m going to continue my monthly grid and draw-a-bird day here, while I will be posting for NaPoWriMo on kblog.
water lilies: green
edged in ice–
with feathers of darkening–
blue into greyness,
hints of greens
playing with seasonings—taste
the bitter between.
me with cold crumbs—you toss, stir,
fold me in
You flour me with absent songs,
Where is spring?
The earth marinates–
lie in wait
to complete the recipe–
feed these hungry souls.
My monthly grid(s) for April 2018; the poem was composed today for the NaPoWriMo prompt of changing voices. The weather in/con/spired.
The Motions of Molecules
the patterns compose
of silence. Supplicants to
This will be my last post for awhile. Continuing my nomadic life, I will be moving uptown 10 blocks.
The birdlings will be coming along.
And I plan on being back for NaPoWriMo. It’s just around the corner…
A few years ago I did a Sketchbook Project of haiku and grids based on Monet’s water lilies paintings. So when I saw the dVerse prompt for work based on impressionism, I decided to revisit my obsession with Monet’s work. The Magnetic Oracle was helpful in getting me started, and then I did one on my own.
I think I will be staying with this for a little while again too.
Gratitude to Plants, the sun-facing light-changing leaf
and fine root-hairs; standing still through wind
and rain; their dance is in the flowing spiral grain
in our minds so be it.
–Gary Snyder, “Prayer for the Great Family”
I pledge allegiance to the soil
of Turtle Island,
and to the beings who thereon dwell
under the sun
with joyful interpenetration for all.
–Gary Snyder, “For All”
“I try to hold both history and wilderness in mind, that my poems may be the true measure of things and stand against the unbalance and ignorance of our times.”
Two months have passed quickly. Nina put together our exhibit, and she did a great job. I have definitely missed the inspiration and support from everyone. Not sure how quickly I can return to normal routine; we’ll see what happens.
Joan Mitchell is an artist that continually inspires me. I love her use of color and space. So I’m continuing to do collage abstractions based on her work.
The particular painting I used for these collages is pictured above.
Because I was in the midst of gridlock at the time, I also wanted to try to render the painting in a grid. I was pleased with the result, but then it also occurred to me that Photoshop can be used to make images into grids as well. I thought I’d compare.
Of course, other than the time it took me to figure out the size of the pixilation, Photoshop produced their work in seconds. Mine took a couple weeks….Let’s be generous and say mine has more subtlety. And at least I got the experience of studying the way Mitchell created her work. I’m sure the Gods of Photoshop paid no attention.
You can see my other collages based on Joan Mitchell’s work here: Abstract Collage 2
This is another fiber piece using the Pre-Columbian wrapped embroidery technique I discovered last year (https://methodtwomadness.wordpress.com/2014/08/11/inspiration-pre-columbian-textiles/). While the first used a grid-based design, it was more directly influenced by the Peruvian textiles I had been looking at, although the interest of Anni Albers in Peruvian weaving techniques was what led me to look more closely at how they were constructed in the first place.
So back to the Bauhaus. This design more directly reflects the use of color and grids in Bauhaus design. Of course Anni Albers and all the Bauhaus weavers, and Josef Albers and in particular the stained glass he did while at the Bauhaus, connect to this embroidery. But the bigger influence in this case is the work of Paul Klee, especially Klee’s experiments with color value in grids.
Once again, I also like the back of my embroidery, and would love to have the space to suspend it from the ceiling so both sides would be visible at the same time. I like the texture that appears on the back of the wrapping, and may try something where I leave the embroidery floss ends on the front and use the “back” as the unembellished side.
Local weaver Matthew Yanchuk (https://www.etsy.com/shop/Jackpie) wove the base for me, as he did for the first embroidery, this time doing a black and white check to give even more dimension to the color changes. He is currently making me two more black and white weavings so I can try out some more ideas using this interesting embroidery technique.
We broke free of gravity.
But it didn’t last.
–Sarah C. Harwell, “Major Arcana: The Moon”
When I finished #100, I had to do a bonus grid that included all the colors I used.
look up, to where we can never go,
to what won’t disappoint:
–Sarah C. Harwell, “Major Arcana: The Stars”
And then, of course, a composite. I think this arrangement really shows how I tried to work with the colors. I’m pleased with the result.
It looks like a painting by someone I can’t remember. How have I reached the point, is it age?
When the sky resembles a painting more than the sky?
–Sarah C. Harwell, “Cloud Cover”
I’ve been reading Sara C. Harwell’s book of poems “Sit Down Traveler” (can you tell?) I especially love “Major Arcana: The Stars”. I discovered the poet through an interview that a former teacher of mine, Mary Tabor, did for Rare Bird Radio (http://www.maryltabor.com/2013/01/sarah-c-harwell-poet-interview.html). You can also read several of Harwell’s poems here: http://www.poetryfoundation.org/bio/sarah-c-harwell
As to the grids: although I won’t be doing them every day any more, I have lots of color explorations still in mind, so I won’t be giving them up either. And I can highly recommend 100 day of something as an exercise. I’ll be doing another one (many ideas), although probably not quite in such a disciplined way. And I’ll be taking a break first!