Cool - this interview by Andrew Cahner on the site “Artist-Perspective.com” in California just went online: http://www.artist-perspectives.com/interviews/kelly-borsheim.htm
Saturday, January 28, 2012
Universal Through the Personal Artist Interview
Cool - this interview by Andrew Cahner on the site “Artist-Perspective.com” in California just went online: http://www.artist-perspectives.com/interviews/kelly-borsheim.htm
Saturday, January 21, 2012
Abstraction of the Real Figure
It is sometimes a strange thing to understand -- this getting to realism in art through abstraction. The idea basically is that the artist is not just copying from a model. She is creating a design based on what she sees in the model. I want to capture a gesture, for gesture is a physical expression of a thought or idea.
The following oil painting “Neela” is one of my favorites of my early paintings from life. I cannot believe it is still in my collection, but then I usually keep it in my home for my own enjoyment. This is an older work and therefore quite affordable.
Neela, the model, was sitting and leaning forward a bit as she read a book during her pose time. I often enjoy working on the extreme edges of the model room, as well as working in the shadows with backlighting. And I love backs. You may see here that even if you can recognize this image as a woman’s back, it is really made up of abstract shapes of light and dark. The triangles of the shoulder blades give you an idea of symmetry in the anatomy, yet are not exact repeats of form. You may enjoy the circular shapes, the pointier ones, and hopefully the long swirling dark shape that widens as it gets closer to its bottom and denotes most of the woman’s spine.
The cool thing about this process is that one can achieve a believable human figure that does not look like a photograph. I hope that you enjoy “Neela.”
Sunday, January 15, 2012
A Better Artist
Cari Amici (Dear Friends),
I have been struggling this week as I try to get adjusted to my new life here in Florence, Italy. I have returned to the Angel Academy of Art to finish what I started years ago -- learning to improve my understanding of painting, especially the chemistry of painting. I left three years ago because -- and I am embarrassed to admit this -- another student was making me very uncomfortable in school and I could not get it to stop. I decided to leave the school, postponing my own education until this person had finished and gone. It was not difficult since I needed to continue to grow my own art career anyway.
My work moved in a slightly different direction in this period and of course, when I was back in Texas, I focused on my stone and bronze sculpture. I recently told Maestro John Angel and Jered Woznicki (my instructors at Angel) that I was nervous about starting up again because -- to my shame -- I had not even done a life drawing for over a year and a half (except for one 3-hour session with a friend).
Then we were to add the construct over our massed-in shape . . . simple lines that placed the parts of the figure (head, limbs, etc.) where they would ultimately go, without actually drawing those parts. This takes time because it is the foundation of the entire painting. It is not enough to have the proportions correct. One must find the energy in the piece at this early stage. Otherwise, no matter how technically proficient the painting is rendered, it will be dull.
Once you are happy with this, start to articulate those construct lines. This means that you will take a smaller brush and create the outer lines of the abstract shapes that will become the figure. For example, the leg has specific edges that show off various muscles and joints. These edges will all have their own slopes and lengths and will relate to all the other parts in a particular way. Once the articulation is done to satisfaction, the artist can then design the shadow shapes (vs. light shapes). This is the start of the tonal work that will define the masses.
I hope this makes sense. Anyway, I do not usually work quickly. I am horrible at measuring things since I have a sort of impatience about being that tight … or maybe organized. Try as I might, I rarely measure the same thing twice and arrive at the same number. (Is that not related to the famous quote about the “definition of insanity”?)
So, I was VERY surprised when I found myself happy with my proportions on the canvas! I could hardly believe my luck! I checked and cross-checked, comparing various widths and heights, even diagonals (since I see better in triangles), trying desperately to find a relationship between shapes that did not match those I saw in the model. I really wanted to make sure that I did each stage SEPARATELY and that I understood the process that I came here to learn. And I felt that I was doing things well. So, what was the problem?
I did not believe that I could do that. But then, during the model break, I looked at the works of the other students who had more experience at this than I do. And I was further along the process than they were. I have never been particularly competitive (except with myself) and thus, I do not look at the work of others in order to decide how my work compares. But in this case, I knew that some things take time and we work within a system. The teachers know how to pace the class, despite some students working at different speeds. I was too far ahead and I lost confidence.
When Maestro returned to the room, I asked him if it was too soon for me to be drawing the shadow shapes. He said, “Yes, you have done it wrong.” I wanted to argue, “But you have not even looked at my canvas and now you are on the other side of the studio!” But I rarely argue something if I know that I do not have all of the information. When I am drawing or creating in any medium, I am not often aware of what others are doing and where they are looking. How did I know whether or not he saw the work I was doing earlier?
Frustrated, I went back to my canvas and wiped out all of my lines, returning to the simple mass I had painted in the beginning. I thought that was the fastest way to let go of my ego and learn the process the right way. In hindsight, I wish that I had waited on that. Once the model was back in position, Maestro came over to my easel and described each step again. And I kid you not, I believed in every ounce of my entire body that I had done exactly as he demonstrated! Even the measurement points that he said I must consider were absolutely the same ones that I HAD considered and measured! Now, I really felt frustrated because he kept saying that I had done it wrong because no one gets it right on the first try. But for the life of me, I still had no clue where I took the wrong turn.
After class and close to tears (I HATE that about myself since it makes me look so weak when I long ago discovered that I must release that energy somehow and prefer it be in a peaceful manner), I again asked Maestro to tell me what I had done wrong. So then he said, “Constructs. You have never been good at making the constructs. No one gets that right on the first try.”
That night at home, a friend called to see how I was doing in school. I must admit that I got all worked up again as I relived my frustration. He cut me off with his hearty laugh. I was not amused. What’s he on about? He said, “You . . . struggle? If anyone would get it right the first time, it would be you!”
Hmmm. Now I knew that Maestro was right (sorry, Si). I had done it all wrong, but I would need to figure it out on my own. That meant that I needed to DO more … more constructs, in this case. In that instant, I had a flashback of the time that my friend Vasily Fedorouk yelled at me in front of our stone carving students. He apologized to me in private that night as we stood outside under the stars. But having understood where he was coming from and that, in effect, his gruffness showed his affection and passion for art, I told him that, “My grandmothers love everything (artwise) that I do. But they will never make me a better artist. You will, and so we are ok.” My friend is perhaps too often my cheerleader and I need to figure this stuff out.
The image below is of the first step in this painting process taught at Angel. [I still had corrections to make then.] Unfortunately, I could not document the other steps I did that day because my digital camera is dying. I really need to break down and do the research and get another camera quickly.
I have been struggling this week as I try to get adjusted to my new life here in Florence, Italy. I have returned to the Angel Academy of Art to finish what I started years ago -- learning to improve my understanding of painting, especially the chemistry of painting. I left three years ago because -- and I am embarrassed to admit this -- another student was making me very uncomfortable in school and I could not get it to stop. I decided to leave the school, postponing my own education until this person had finished and gone. It was not difficult since I needed to continue to grow my own art career anyway.
My work moved in a slightly different direction in this period and of course, when I was back in Texas, I focused on my stone and bronze sculpture. I recently told Maestro John Angel and Jered Woznicki (my instructors at Angel) that I was nervous about starting up again because -- to my shame -- I had not even done a life drawing for over a year and a half (except for one 3-hour session with a friend).
Sometimes it is difficult to learn something when you think you already know something about it.
Being aware of this, as well as having watched other older students come in and flounder with their egos a bit, I really wanted to do as Maestro John Angel suggested, “Relax and it will come.” I wanted to learn the process thoroughly and it was important to “get it” early on so that I could “own” it and then be free to learn about what comes next. This was my mindset as I began to paint the figure in front of me. We were to use a medium-sized house paintbrush and wash in a solid shape on our canvases that matched the gesture of the model. The idea was to think in terms of FORM and MASS vs. outlines.Then we were to add the construct over our massed-in shape . . . simple lines that placed the parts of the figure (head, limbs, etc.) where they would ultimately go, without actually drawing those parts. This takes time because it is the foundation of the entire painting. It is not enough to have the proportions correct. One must find the energy in the piece at this early stage. Otherwise, no matter how technically proficient the painting is rendered, it will be dull.
Once you are happy with this, start to articulate those construct lines. This means that you will take a smaller brush and create the outer lines of the abstract shapes that will become the figure. For example, the leg has specific edges that show off various muscles and joints. These edges will all have their own slopes and lengths and will relate to all the other parts in a particular way. Once the articulation is done to satisfaction, the artist can then design the shadow shapes (vs. light shapes). This is the start of the tonal work that will define the masses.
I hope this makes sense. Anyway, I do not usually work quickly. I am horrible at measuring things since I have a sort of impatience about being that tight … or maybe organized. Try as I might, I rarely measure the same thing twice and arrive at the same number. (Is that not related to the famous quote about the “definition of insanity”?)
So, I was VERY surprised when I found myself happy with my proportions on the canvas! I could hardly believe my luck! I checked and cross-checked, comparing various widths and heights, even diagonals (since I see better in triangles), trying desperately to find a relationship between shapes that did not match those I saw in the model. I really wanted to make sure that I did each stage SEPARATELY and that I understood the process that I came here to learn. And I felt that I was doing things well. So, what was the problem?
I did not believe that I could do that. But then, during the model break, I looked at the works of the other students who had more experience at this than I do. And I was further along the process than they were. I have never been particularly competitive (except with myself) and thus, I do not look at the work of others in order to decide how my work compares. But in this case, I knew that some things take time and we work within a system. The teachers know how to pace the class, despite some students working at different speeds. I was too far ahead and I lost confidence.
When Maestro returned to the room, I asked him if it was too soon for me to be drawing the shadow shapes. He said, “Yes, you have done it wrong.” I wanted to argue, “But you have not even looked at my canvas and now you are on the other side of the studio!” But I rarely argue something if I know that I do not have all of the information. When I am drawing or creating in any medium, I am not often aware of what others are doing and where they are looking. How did I know whether or not he saw the work I was doing earlier?
Frustrated, I went back to my canvas and wiped out all of my lines, returning to the simple mass I had painted in the beginning. I thought that was the fastest way to let go of my ego and learn the process the right way. In hindsight, I wish that I had waited on that. Once the model was back in position, Maestro came over to my easel and described each step again. And I kid you not, I believed in every ounce of my entire body that I had done exactly as he demonstrated! Even the measurement points that he said I must consider were absolutely the same ones that I HAD considered and measured! Now, I really felt frustrated because he kept saying that I had done it wrong because no one gets it right on the first try. But for the life of me, I still had no clue where I took the wrong turn.
After class and close to tears (I HATE that about myself since it makes me look so weak when I long ago discovered that I must release that energy somehow and prefer it be in a peaceful manner), I again asked Maestro to tell me what I had done wrong. So then he said, “Constructs. You have never been good at making the constructs. No one gets that right on the first try.”
That night at home, a friend called to see how I was doing in school. I must admit that I got all worked up again as I relived my frustration. He cut me off with his hearty laugh. I was not amused. What’s he on about? He said, “You . . . struggle? If anyone would get it right the first time, it would be you!”
Hmmm. Now I knew that Maestro was right (sorry, Si). I had done it all wrong, but I would need to figure it out on my own. That meant that I needed to DO more … more constructs, in this case. In that instant, I had a flashback of the time that my friend Vasily Fedorouk yelled at me in front of our stone carving students. He apologized to me in private that night as we stood outside under the stars. But having understood where he was coming from and that, in effect, his gruffness showed his affection and passion for art, I told him that, “My grandmothers love everything (artwise) that I do. But they will never make me a better artist. You will, and so we are ok.” My friend is perhaps too often my cheerleader and I need to figure this stuff out.
The image below is of the first step in this painting process taught at Angel. [I still had corrections to make then.] Unfortunately, I could not document the other steps I did that day because my digital camera is dying. I really need to break down and do the research and get another camera quickly.
Sunday, January 8, 2012
New Marble Sculpture Gymnast
Cari Amici (Dear Friends),
I am still trying to get caught up after so much whirlwind these last several months. And I wanted to share with you a little bit of news, in anticipation of my next art newsletter. Here is the “Gymnast” marble carving that I have been writing about on my blog for a good part of 2011. She is currently on exhibit at Carved Stone in Dripping Springs, Texas. For more images, click here: http://www.borsheimarts.com/sculpture/2011/gymnast-marble.htm.
Because of a variety of questions that I have received, I recently rearranged the items on the right-side column of my blog. The “Search This Blog” feature is now much closer to the top (right over the “About Me” section) and I hope that will make it easier for you to find a topic of your choosing. You would have to visit the actual blog site (http://artbyborsheim.blogspot.com) to see this column. Also, in a shameless plug, if you are enjoying these posts and would like to support the time and effort I put into the photographs and the writing, you may donate in any amount you wish (People tend to give about $20 per donation) via a PayPal link in this column. In addition, I am an Amazon.com affiliate and you may indirectly support this blog as you shop there – but first, you must visit my blog online and scroll down to the “Search Amazon” window box. Then just start your shopping from my page! Thank you so much. http://artbyborsheim.blogspot.com
Lagniappe: How cool is this? Poet Claire Emba paired my pastel art "Songbird" with her poetry on her blog posting:
http://poetrybyemba.blogspot.com/2012/01/normal-0-microsoftinternetexplorer4.html
I am still trying to get caught up after so much whirlwind these last several months. And I wanted to share with you a little bit of news, in anticipation of my next art newsletter. Here is the “Gymnast” marble carving that I have been writing about on my blog for a good part of 2011. She is currently on exhibit at Carved Stone in Dripping Springs, Texas. For more images, click here: http://www.borsheimarts.com/sculpture/2011/gymnast-marble.htm.
Because of a variety of questions that I have received, I recently rearranged the items on the right-side column of my blog. The “Search This Blog” feature is now much closer to the top (right over the “About Me” section) and I hope that will make it easier for you to find a topic of your choosing. You would have to visit the actual blog site (http://artbyborsheim.blogspot.com) to see this column. Also, in a shameless plug, if you are enjoying these posts and would like to support the time and effort I put into the photographs and the writing, you may donate in any amount you wish (People tend to give about $20 per donation) via a PayPal link in this column. In addition, I am an Amazon.com affiliate and you may indirectly support this blog as you shop there – but first, you must visit my blog online and scroll down to the “Search Amazon” window box. Then just start your shopping from my page! Thank you so much. http://artbyborsheim.blogspot.com
Lagniappe: How cool is this? Poet Claire Emba paired my pastel art "Songbird" with her poetry on her blog posting:
http://poetrybyemba.blogspot.com/2012/01/normal-0-microsoftinternetexplorer4.html
Sunday, January 1, 2012
Italy New Year’s Eve Tradition
Cari Amici (Dear Friends),
On the morning on 31 December, I read on a Facebook posting about Florence, Italy, that there was an Italian tradition for New Years: According to: Freya's Florence Tours - Freya Middleton: Don't forget to wear your red underwear to ring in the new year! Italians say it'll bring you luck in the coming year. Red wards off the malocchio (Evil Eye) and is a symbol of love, prosperity, and fertility... but it must be thrown away after New Year's Eve!
I was fortunate enough to have received four separate invitations for New Year’s Eve, each different in activity and energy. I wanted to try them all! But a girl only has so many hours in the day. Before bicycling into Scandicci to catch the Tramvia, I stopped in at my neighbor’s home. Giuliana had invited me to share dinner with her and her husband Renato. Their children all had other plans and I had told them that unless I could find a couch to sleep on in the city, I was not sure if I could go into central Florence for the huge casino (mess, chaos) that occurs there each New Year’s Eve. Everyone I knew was having guests.
But that day I received the invitation from a friend and decided to go into town. After expressing my regrets to Giuliana, she asked me to wait because she had a little gift for me. Imagine that! Can you imagine my surprised joy when I opened the wrapping and discovered a small pair of red panties! Oh, I was delighted! [My mother had guessed on Facebook that I would be going commando, so this was quite funny.] So, here is an image that Giuliana’s grandson Marco took of us. The image is not so happy as we worried about his ability to use the camera, but these are my sweet neighbors.
I roamed around in town until meeting up with my friend Jacopo at Giubbe Rosse, a famous café and artist hangout for at least a century. The café is situated off to one side of the famous Piazza della Repubblica and as I approached, I could see the band playing already on a stage set up in the square. Once inside, I met some new friends and saw some other people that Jacopo had introduced me to the week before. I have to say that I was still tickled by Giuliana’s sweetness that I enthusiastically pulled out of my backpack the red panties to show everyone at the table. Hearty and understanding laughs all around – I wondered later if “my momma raised me right” and was grateful that my friends did not think me too forward.
I had to leave them before I really wanted to because I was due at Susan’s flat. Once there, I went to put on my good luck charm. And so it went that the last night of the year was spent visiting wonderful people and roaming the streets of the city. I got kisses and vodka. I watched couples dancing together in the streets and people emptying their champagne and other boozy bottles before throwing them down into the streets, smashing the glass to pieces.
Loudly booming fireworks were going off all over the city and as I walked along the Oltrarno side of the river, I had this image in my mind that this must be a small sampling of what it must have been like when the Germans bombed the city back in World War II, destroying all of the bridges except the Ponte Vecchio. We always have yin and yang . . . we destroy with bombs and on this night, we celebrated with bombs, of sorts.
The following images were taken in Piazze della Signoria AFTER the year had changed over, perhaps around 1:30 a.m. since I was elsewhere at the hour of midnight. The orchestra playing was a new addition from other Capodanno celebrations that I have attended in Firenze. The musicians were positioned inside the Loggia dei Lanzi, among the famous stone and bronze sculptures. I suspect that was to protect them and their instruments -- even drunks here will have a strong sense of respect towards the art, if not each other.
On the other hand, I am not sure what to make of this: an interpretation or disrespect? On Via Calimala where two of my street painting colleagues had created artworks earlier in the day, I thought that I saw Claudio’s Madonna crying. Well, she was, but because someone had spit on her face in order to give her this emotional response.
I did not wake until almost noon today. But I wanted to follow the Italian tradition to the full extent. This last image was taken of me right next to the Basilica di Santa Croce, moments before I put the red panties in the trash bin. Hours later, I returned to my home and went to give my auguris to Giuliana and her family, who were all finishing up their holiday dinner. I was invited to join in the meal and while enjoying a lovely afternoon with the entire family, I entertained them with my story about the fate of the red panties. Susanna laughed and said that it really is not necessary to disgard them in order to become “in fortuna,” I only needed to wash them! [Would one not do this anyway??? Where is the drama in that? Had I just insulted Giuliana?] They also agreed when I told them that my mother suggested that this tradition was created by those in the clothing business. So, Giuliana helped the local economy and I have my cherished memories. Happy 2012!
On the morning on 31 December, I read on a Facebook posting about Florence, Italy, that there was an Italian tradition for New Years: According to: Freya's Florence Tours - Freya Middleton: Don't forget to wear your red underwear to ring in the new year! Italians say it'll bring you luck in the coming year. Red wards off the malocchio (Evil Eye) and is a symbol of love, prosperity, and fertility... but it must be thrown away after New Year's Eve!
I was fortunate enough to have received four separate invitations for New Year’s Eve, each different in activity and energy. I wanted to try them all! But a girl only has so many hours in the day. Before bicycling into Scandicci to catch the Tramvia, I stopped in at my neighbor’s home. Giuliana had invited me to share dinner with her and her husband Renato. Their children all had other plans and I had told them that unless I could find a couch to sleep on in the city, I was not sure if I could go into central Florence for the huge casino (mess, chaos) that occurs there each New Year’s Eve. Everyone I knew was having guests.
But that day I received the invitation from a friend and decided to go into town. After expressing my regrets to Giuliana, she asked me to wait because she had a little gift for me. Imagine that! Can you imagine my surprised joy when I opened the wrapping and discovered a small pair of red panties! Oh, I was delighted! [My mother had guessed on Facebook that I would be going commando, so this was quite funny.] So, here is an image that Giuliana’s grandson Marco took of us. The image is not so happy as we worried about his ability to use the camera, but these are my sweet neighbors.
I roamed around in town until meeting up with my friend Jacopo at Giubbe Rosse, a famous café and artist hangout for at least a century. The café is situated off to one side of the famous Piazza della Repubblica and as I approached, I could see the band playing already on a stage set up in the square. Once inside, I met some new friends and saw some other people that Jacopo had introduced me to the week before. I have to say that I was still tickled by Giuliana’s sweetness that I enthusiastically pulled out of my backpack the red panties to show everyone at the table. Hearty and understanding laughs all around – I wondered later if “my momma raised me right” and was grateful that my friends did not think me too forward.
I had to leave them before I really wanted to because I was due at Susan’s flat. Once there, I went to put on my good luck charm. And so it went that the last night of the year was spent visiting wonderful people and roaming the streets of the city. I got kisses and vodka. I watched couples dancing together in the streets and people emptying their champagne and other boozy bottles before throwing them down into the streets, smashing the glass to pieces.
Loudly booming fireworks were going off all over the city and as I walked along the Oltrarno side of the river, I had this image in my mind that this must be a small sampling of what it must have been like when the Germans bombed the city back in World War II, destroying all of the bridges except the Ponte Vecchio. We always have yin and yang . . . we destroy with bombs and on this night, we celebrated with bombs, of sorts.
The following images were taken in Piazze della Signoria AFTER the year had changed over, perhaps around 1:30 a.m. since I was elsewhere at the hour of midnight. The orchestra playing was a new addition from other Capodanno celebrations that I have attended in Firenze. The musicians were positioned inside the Loggia dei Lanzi, among the famous stone and bronze sculptures. I suspect that was to protect them and their instruments -- even drunks here will have a strong sense of respect towards the art, if not each other.
On the other hand, I am not sure what to make of this: an interpretation or disrespect? On Via Calimala where two of my street painting colleagues had created artworks earlier in the day, I thought that I saw Claudio’s Madonna crying. Well, she was, but because someone had spit on her face in order to give her this emotional response.
I did not wake until almost noon today. But I wanted to follow the Italian tradition to the full extent. This last image was taken of me right next to the Basilica di Santa Croce, moments before I put the red panties in the trash bin. Hours later, I returned to my home and went to give my auguris to Giuliana and her family, who were all finishing up their holiday dinner. I was invited to join in the meal and while enjoying a lovely afternoon with the entire family, I entertained them with my story about the fate of the red panties. Susanna laughed and said that it really is not necessary to disgard them in order to become “in fortuna,” I only needed to wash them! [Would one not do this anyway??? Where is the drama in that? Had I just insulted Giuliana?] They also agreed when I told them that my mother suggested that this tradition was created by those in the clothing business. So, Giuliana helped the local economy and I have my cherished memories. Happy 2012!
Saturday, December 31, 2011
Art and the Nude
Cari Amici (Dear Friends),
For the past two years on my New Year’s Eve blog entry, I have shared more erotic art than I usually dish up for you. In the line of thinking similar to that of those living in Pompeii centuries ago, it was my way of wishing you a sensuous, joyful, lush, and prosperous new year.
However, this year I have not had the time to create something along this vein. Sad, really since I believe that art is the safe place in which we can explore all aspects of our humanity. That said, I still want to wish you a thoughtful abundance for the coming year. I hope that you can become more spontaneous (I linked this word because many people misuse it) and express yourself more often.
I recently wrote a little bit about my holiday with friends on Captiva Island, Florida. I stayed in artist Robert Rauschenberg’s former beach house there, owned by his collaborating partner and long-time friend, Darryl Pottorf. In entering the place, I found myself intrigued by a composition in red, black, browns, and white. I had this strange urge to photograph myself nude in front of it. This does not really belong on my “erotic art” posting because I do not know how to explain that I was not thinking sexual thoughts when this idea came to mind. Maybe more like “Nature Girl,” I dunno. That night, I did pose for my timer, but fully clothed, boots and all…
One evening, Darryl walked me over to the painting before we headed back to his place for dinner with more friends. He explained most of the objects or shapes in the composition. This was a painting about Robert Rauschenberg (Bob) and Darryl. Darryl’s art is very personal. It made me wonder if I should lose the thought of taking nude shots with this beautifully sentimental work of art. But the idea persisted and I did not believe that I was thinking anything disrespectful. So one night towards the end of my visit, I woke up just before 3 a.m. and went to work, careful not to disturb the other occupant in the house. I was back in bed by 4 a.m. I hope you enjoy this image, but more: I wish you truly beautiful experiences from each day forward.
For the past two years on my New Year’s Eve blog entry, I have shared more erotic art than I usually dish up for you. In the line of thinking similar to that of those living in Pompeii centuries ago, it was my way of wishing you a sensuous, joyful, lush, and prosperous new year.
However, this year I have not had the time to create something along this vein. Sad, really since I believe that art is the safe place in which we can explore all aspects of our humanity. That said, I still want to wish you a thoughtful abundance for the coming year. I hope that you can become more spontaneous (I linked this word because many people misuse it) and express yourself more often.
I recently wrote a little bit about my holiday with friends on Captiva Island, Florida. I stayed in artist Robert Rauschenberg’s former beach house there, owned by his collaborating partner and long-time friend, Darryl Pottorf. In entering the place, I found myself intrigued by a composition in red, black, browns, and white. I had this strange urge to photograph myself nude in front of it. This does not really belong on my “erotic art” posting because I do not know how to explain that I was not thinking sexual thoughts when this idea came to mind. Maybe more like “Nature Girl,” I dunno. That night, I did pose for my timer, but fully clothed, boots and all…
One evening, Darryl walked me over to the painting before we headed back to his place for dinner with more friends. He explained most of the objects or shapes in the composition. This was a painting about Robert Rauschenberg (Bob) and Darryl. Darryl’s art is very personal. It made me wonder if I should lose the thought of taking nude shots with this beautifully sentimental work of art. But the idea persisted and I did not believe that I was thinking anything disrespectful. So one night towards the end of my visit, I woke up just before 3 a.m. and went to work, careful not to disturb the other occupant in the house. I was back in bed by 4 a.m. I hope you enjoy this image, but more: I wish you truly beautiful experiences from each day forward.
- Links to the other New Year’s Eve posts:
- New Year’s Eve 2010: “Anthurium”
- New Year’s Eve 2009: “Tesoro!”
Thursday, December 29, 2011
la bicicletta e la collina
Cari Amici (Dear Friends),
I must admit that I really enjoy living out in the country, even if I prefer easy access to the city. It is so beautiful living in the hills, with views of distant snow-capped mountains. This is Tuscany. However, I have not yet made friends with my local collina (hill). I do love her when I leave the house. The way to go anywhere is basically … down. But after a long day or a fun evening out, she presents the opposite side of her coin and I find it difficult to ride my bike UP her lovely lines.
When I was a child of about 12, I think, I remember the very first day that I ate an entire Big Mac burger. I also remember another day in which I finished the entire can of pop (‘Soda’ or ‘Coke’ to some people). I felt SO proud! We often remember our “firsts.” And so I am looking forward to my new challenge of this collina. Unlike a Big Mac or a soda pop, this hill will make me a stronger and healthier person for tackling her!
The first image here is one of the lovely scenes I get to view on my way home. The second is a picture of my bike -- a gift from a friend. I took the image of my bike on Christmas morning and you may see one bag of artwork going with me on the ground beside the bike rack. I parked there and rode the Tramvia to get to the train station since I went to visit a friend in another city for the holiday.
And on another topic. I am fairly convinced that today was the second time I was way overcharged for something because I am not yet a savvy foreigner. In a small mercato, I bought two lemons (well, actually, one lemon and one small citron [cedra in Italian], a lemon-like fruit that is used to make the famous limoncello liquor down on the Amalfi Coast of Italy). I was charged 1.50 euros! [That is currently about $1.93.] I thought the price high, especially after he asked me if the price was ok (and I was remembering one half of that illustration by Norman Rockwell in which the merchant has one finger pushing down on the scale, see below). All doubt was removed when a woman nearby remarked, “Buon prezzo!” (A good price!) I was pretty sure that was sarcasm and a joke between them. None of the other customers heard this sort of comment.
The other time I thought I overpaid was when I purchased a new bike pump recently for 20 euros. I felt that was way too much, but since I had previously tried the two pumps that were in my current home without success; the woman at the bike shop had just put air on both tires for free; and I wanted no problems during the holidays when I suspected that the stores might be more difficult to access, I paid it. Besides, I am not in a habit of arguing about something when I really do not know the facts. And in a free market, there is the reality that something is worth what someone is willing to pay for it. Enjoy the Rockwell!
I must admit that I really enjoy living out in the country, even if I prefer easy access to the city. It is so beautiful living in the hills, with views of distant snow-capped mountains. This is Tuscany. However, I have not yet made friends with my local collina (hill). I do love her when I leave the house. The way to go anywhere is basically … down. But after a long day or a fun evening out, she presents the opposite side of her coin and I find it difficult to ride my bike UP her lovely lines.
When I was a child of about 12, I think, I remember the very first day that I ate an entire Big Mac burger. I also remember another day in which I finished the entire can of pop (‘Soda’ or ‘Coke’ to some people). I felt SO proud! We often remember our “firsts.” And so I am looking forward to my new challenge of this collina. Unlike a Big Mac or a soda pop, this hill will make me a stronger and healthier person for tackling her!
The first image here is one of the lovely scenes I get to view on my way home. The second is a picture of my bike -- a gift from a friend. I took the image of my bike on Christmas morning and you may see one bag of artwork going with me on the ground beside the bike rack. I parked there and rode the Tramvia to get to the train station since I went to visit a friend in another city for the holiday.
And on another topic. I am fairly convinced that today was the second time I was way overcharged for something because I am not yet a savvy foreigner. In a small mercato, I bought two lemons (well, actually, one lemon and one small citron [cedra in Italian], a lemon-like fruit that is used to make the famous limoncello liquor down on the Amalfi Coast of Italy). I was charged 1.50 euros! [That is currently about $1.93.] I thought the price high, especially after he asked me if the price was ok (and I was remembering one half of that illustration by Norman Rockwell in which the merchant has one finger pushing down on the scale, see below). All doubt was removed when a woman nearby remarked, “Buon prezzo!” (A good price!) I was pretty sure that was sarcasm and a joke between them. None of the other customers heard this sort of comment.
The other time I thought I overpaid was when I purchased a new bike pump recently for 20 euros. I felt that was way too much, but since I had previously tried the two pumps that were in my current home without success; the woman at the bike shop had just put air on both tires for free; and I wanted no problems during the holidays when I suspected that the stores might be more difficult to access, I paid it. Besides, I am not in a habit of arguing about something when I really do not know the facts. And in a free market, there is the reality that something is worth what someone is willing to pay for it. Enjoy the Rockwell!
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