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Expressionism

 

 

Let me be the canvas, then,

and you be Jackson Pollock—

be the wild one, the one

who burns, the one who

never sleeps and never yawns,

the one who steals the sun

and gives it to me.

Be the one who transforms me

again and again with colors,

ardent and avid and mad—

no, let me be the canvas,

and let life be the painter,

and you, you be the paint.

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A response of sorts to Shakespeare’s Sonnet 18

 

 

Not that I wasn’t fond of it—the blues

and golds and thick brush strokes—perhaps it was

because I was so fond of it I threw

the art away, that life-size portrait of

eternal summer, mine, the painting in

which one hand reaches for the sun, the other

grows dark roots into the earth. Now all

that lives of those bright lines are these two hands

that painted them. With something less than care

I rolled the canvas tight and took it to

the trash, the company of grapefruit rinds

and last year’s mail. By tea, I’ve gotten used

to how the wall looks—empty, open, free—

already dreamed what else these hands might do.

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then you can enjoy the show right here on your screen. Last week was the opening of In Three Lines, a collaboration in art and poetry, at Gallery 81435 in Telluride.

I recommend listening to cello while you look through these images … that is what we had playing in the gallery, and the rich and resonant tone of the instrument seemed the perfect partner to these intimate and provocative pieces.

Here is a link to the pieces that are still available for sale, and if you look around the site, you will find that you can see the whole show. Thanks to the gallery for putting together this virtual tour.

The show is done in partnership with Snowmass artist Jill Sabella. For two years, we have been corresponding to create this comprehensive body of work. We took turns sending each other three-line inspirations. The pieces in white came first, and the pieces in beige were responses.

You can purchase books at wordwoman.com. And for more information about the artist, visit her website here. the-house-on-fire1

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Here’s a bit of information about the upcoming show, In Three Lines and (I hope) book launch for Even Now … Thank you Telluride Inside & Out! 

 

In Three Lines: Telluride Inside & Out

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October 6

Art Opening: In Three Lines

Telluride, CO

81435 Gallery, 6-9 p.m.

 

For two years I have been collaborating with artist Jill Sabella, experimenting with simplicity—a leaning toward less and the more that blossoms out of it. We took turns sending each other work to respond to. The result: 45 intimate pairings, in which three-line drawings and three-line poems reflect each other. Some are framed individually and others framed in conversations of three. Our vision: Elegant. Provocative. Inviting. Poignant. The artwork began with charcoal thoughts, and later the same drawings were done on rice paper with Sumi ink and brush.

In addition to the framed artwork, the pairings have been made into a book, even now (Lithic Press, 2016), which will be available in just a few weeks!

The pieces  will be for sale in the gallery. If you are curious about purchasing a piece but are not able to make the show, I will help you see the images to make your selection. Single pieces are $250 and triptychs are $800. The show will be up until the first week of December. For more information, contact Molly Perault, 728-3930 or molly@Telluride Arts.org or Rosemerry at 970-729-1838, rosemerry@wordwoman.com

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A Lesson in Shading

So first, you imagine the light bulb,

he says, then he draws one on the page

so I won’t have to imagine too hard.

And then, he says, you draw a dark line

under the object, assuming that there

will not be much light underneath it.

He moves his pencil forcefully

to darken the bottom of the square.

Next, he says, you move your hand

as far from the light as possible

and make it darker there.

I watch as he fills in the spaces

where white has been.

There is something vital

in all of us that leans toward the dark.

I notice the depth that the shadows

have brought to the page, so like the shadow

into which we are pulled and pulled.

Even now, the darkest parts of us

are kindling our greatest light.

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She starts with marigold.
She pours the paint into a cup and selects the fattest brush.
The paint drips all over the floor as she moves toward the canvas.
She doesn’t care about the mess.
She drags huge pulls of marigold onto the blank, stroke after stroke after stroke.
There is no pattern, no purpose, no why.
More paint, she says to no one, more paint!
And she opens the ochre, the navy, the pomegranate, the plum.
She forgets about cups and pours the paint
directly into her hands. Then it’s hurl of paint, smash of paint,
fist and smear and splat of paint. Long slow pinky fingered tease of paint.
Puddles of paint. Great rainbowed pools.
She rolls in the paint and then rolls her body against the walls, the doors,
every inch of the virgin floor.
Every part of her is color now, and there is nothing
she’s not ready to touch.

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