Posts
October 12th & a fall run of ~8 miles. the run was good, solid, but i cannot stop thinking of my meal at the Laughing Seed Café in Asheville. phenomenal. they grow many of their resources on a three acre plot just a long run’s distance from the downtown restaurant, and (get this): the chef maintains the crops and the kitchen, pushing the menu towards seasonal alterations. excellent food from good people; what more could you want?
October 14th exertion and immersion was the mantra du jour. . . . first quarter moon. 8 miles at northeast library to coast (ran some sand) around the loop and back (via summer rest trail). an interesting part was running on a side road when a road biker with red highlights on his leather coat passed me with great speed, and when I looked over, there was naught but a fall darkened branch with red leaves hanging. . . . superb “creative visualization.”
October 15th i added a mile to y’days route by parking down by lumina station, by NoFo/ Grand Union Pub. this route allows you to avoid crossing military cutoff or eastwood, and thus saves much anxiety and unnecessary danger. the run was good and autumn, and I thought about being a good person, how to better myself and my empathy and compassion. how to expand my loving-kindness? the ways are far too numerous to explore in language here, but to act from deeper within, where things are naturally kind and generous and open.
the jangle of language, the jarring of body, clash of body and language-mind pushing pace across thrashing umber leaves. . . the pillage of squirrels, their scurry across sun-streaks, citrus on payne’s gray, black branches waving into cold wind. landscapes clear and energized, lucid, become turner-swirled watercolors and the fragrance of autumn fills lungs and mind, body, the sweet tumble of oak leaves and pine needles, the vast quiet stretches of beach and sand and still morning where vacationers packed, paid meters, left. old creaking bass boat putts easy out intracoastal waterway beneath bridge and my body sways on swift pace to soft ungrimacing breath and the miles roll peaceful and mind becomes earth, quiet, humble and working like water.
tuesday 1h09pm October 19th Could you be Loved?
I was greeted by a synchronicity today, following my meditation during the run the other day of how to better myself as a human being, personally and spiritually. the radio was on as I drove to town for an errand and the run, and 98.7 surf had a “way-back track” from 1980, which turned out to be marley’s “could you be loved?” so I appreciated the vibe marley set, and wore my ipod for motivation’s sake as the first miles kicked off.
a little over nine miles fit the bill for a run on this perfect day: temps are upper 70’s with little humidity, clean air with good sunlight and a quiet route from brooklyn arts district through CFCC campus to the boardwalk and confederate park and the greenfield lake trail and back up the nesbitt court area (fortunately they are demolishing the blighted buildings) to complete the loop back by the rear entrance of acme arts. . . during the run, my ipod, on shuffle mode, caught marley’s “could you be loved?” not just once, but twice. . . . twice? so I just continued enjoying the kicks though my left hamstring was tight and thus working my right quads awkwardly. . . I pushed the few hills in downtown and crossed third and stretched out a few minutes and drove home. it was there I searched through cds, seeking out some dead somewhere, and instead found marley’s uprising, which unwittingly contained “could you be loved?” strange indeed.
sometimes the universe elucidates the spiritual values and goals one should reach towards. if only I could find a rainbow gathering somewhere in the region—I could handle a weekend of drumming and chanting and living simple for a few days.
Tuesday, October 19, 2010
Monday, October 11, 2010
upd8.
october the first 2010. 10h53 am and a friday following a deluge of rain all week—historic amounts of rain in Wilmington. the gray clouds and paled landscape slow time, allowing memories to sift through busy body-shuffles of daily demands. autumn and rain push a personal history through a heavy body.
today opened with an eight miler through ogden park, jumping the many puddles along the way, watching the leaf blowers work the tennis courts dry, dogs splashing alongside owners, each very pleased to be outside. the run was cool, the first time I’ve felt cool in many months, and the wind pushed chills outta arms and ears. then a warm shower followed by some dead and Columbian coffee and now for some drawing.
October third.
I work at a restaurant downtown, and this past weekend was Riverfest, which brings the full spectrum of Wilmington area folks out and about. Sunday evening brought a guest carrying a small dog, a pomeranian or chihuahua, blanketed up to its neck through our front door. "May I help you?" I asked. "Yes. I am going upstairs to the sofa lounge and this dog is a disability assistance dog and she has papers," she said. "May I see the papers?" I asked, finding the whole thing strange and questionable and being responsible, in part, for upholding certain laws inside of the restaurant. "I can show you the papers, and I am not trying to be difficult, but I am a lawyer and you should know that you can be sued for requesting the papers, according to the American Disability Act. All I have to do is say this is an assistance dog and that will satisfy it legally."
She showed me the papers.
So her threat/ caustic reproach got me thinking. . . Most assistance dogs have a tag and a visible vest or harness indicating their status. So my question is: If someone states their dog is a disability assistance dog, and there is no evidence beyond that verbal declaration, do I not have the right to request further documentation? As I work in a public space I should know these things. and I looked it up to discover she is absolutely right. In fact, one does not even require carrying the documentation for the dog. the animal is differentiated from being a “pet” by the designation “assistance animal.” the harnesses are not required, nor can one legally deny service to the individual and their companion animal unless the dog barks or threatens another guest. that is not applicable, however, to the individual; they have the full right to bark and bite at all around.
*************************************************************
Sunday, I awoke at 6am for a cup of coffee before a local race. the run the river 8k seemed just the type of organized run I wanted, a nice road race covering the three bridges and some of downtown along the cape fear. so I ate a clifbar and a banana and headed out with shoes in hand so I wouldn’t wake ky and kas. when I got there, the sun was still pushing through clouds, and the temperature was a crisp 60 degrees. nice. I held the thirty dollar fee in hand, but ran a few warm up laps to see what my body was feeling. chatter from other runners told me that they were not running the bridges, that the course had been changed. a bit of a bummer. . . so the course was my old stomping grounds, my old daily run. with that knowledge i just couldn’t justify a thirty dollar timing chip wrapped around my laces. so to the car I went, stashing my cash beneath the seat with my keys and cell phone—7h31am. locked the door—and a ten mile run took me down the river, through recently flooded front street, across and around Greenfield park, back up fifth then fourth then third then water street and back around front street and the riverfest setup crowds. the final two miles were rainy, and the rain was cold and increasing in intensity until I finished shirtless and cold with my nipples raw and unamused. I fit right in with the riverfest workers smoking while flipping sausages and pushing tarps across trailers to push out the rain.
October fifth. Agony of da’ feet
a nine mile run today, tuesday, with the feet burning on soles and arches, toes feeling stretched out in faster pacing. . . . but a good run, quiet and thoughtful, passing the colors starting to fall from the dogwoods, maples, and the assorted oaks. . . one image made a strong impression: was a leaf, faded and degraded and twisted, mirroring the fading boneless bird decaying beside. . . how they referenced each other, mirrored in a gruesome way, as a strange visual poem. brown of torn tired leaf, brown of bone-webbed bird.
to run in autumn; wild geese push necks southward.
October the seventh, thursday. eight miles, a route not done in a while, from the northeast library to the coast, to shell isle and back up through summer rest trail towards the completion of the oblong loop.
Fernando Castro Pacheco amazing Mexican art.
October 11 2010.
mountain excursion passing through Asheboro and the state zoo and then black mountain/ montreat area. . . a superb night & meal at the laughing seed in asheville put the family’s mind at ease for a few days. running trails throughout montreat, new parks and accordians in Asheville, and the downtown rowdies of Asheboro punctuated the weekend, making for a some terrific scenery on all potential interpretations. more to come. . . .
today opened with an eight miler through ogden park, jumping the many puddles along the way, watching the leaf blowers work the tennis courts dry, dogs splashing alongside owners, each very pleased to be outside. the run was cool, the first time I’ve felt cool in many months, and the wind pushed chills outta arms and ears. then a warm shower followed by some dead and Columbian coffee and now for some drawing.
October third.
I work at a restaurant downtown, and this past weekend was Riverfest, which brings the full spectrum of Wilmington area folks out and about. Sunday evening brought a guest carrying a small dog, a pomeranian or chihuahua, blanketed up to its neck through our front door. "May I help you?" I asked. "Yes. I am going upstairs to the sofa lounge and this dog is a disability assistance dog and she has papers," she said. "May I see the papers?" I asked, finding the whole thing strange and questionable and being responsible, in part, for upholding certain laws inside of the restaurant. "I can show you the papers, and I am not trying to be difficult, but I am a lawyer and you should know that you can be sued for requesting the papers, according to the American Disability Act. All I have to do is say this is an assistance dog and that will satisfy it legally."
She showed me the papers.
So her threat/ caustic reproach got me thinking. . . Most assistance dogs have a tag and a visible vest or harness indicating their status. So my question is: If someone states their dog is a disability assistance dog, and there is no evidence beyond that verbal declaration, do I not have the right to request further documentation? As I work in a public space I should know these things. and I looked it up to discover she is absolutely right. In fact, one does not even require carrying the documentation for the dog. the animal is differentiated from being a “pet” by the designation “assistance animal.” the harnesses are not required, nor can one legally deny service to the individual and their companion animal unless the dog barks or threatens another guest. that is not applicable, however, to the individual; they have the full right to bark and bite at all around.
*************************************************************
Sunday, I awoke at 6am for a cup of coffee before a local race. the run the river 8k seemed just the type of organized run I wanted, a nice road race covering the three bridges and some of downtown along the cape fear. so I ate a clifbar and a banana and headed out with shoes in hand so I wouldn’t wake ky and kas. when I got there, the sun was still pushing through clouds, and the temperature was a crisp 60 degrees. nice. I held the thirty dollar fee in hand, but ran a few warm up laps to see what my body was feeling. chatter from other runners told me that they were not running the bridges, that the course had been changed. a bit of a bummer. . . so the course was my old stomping grounds, my old daily run. with that knowledge i just couldn’t justify a thirty dollar timing chip wrapped around my laces. so to the car I went, stashing my cash beneath the seat with my keys and cell phone—7h31am. locked the door—and a ten mile run took me down the river, through recently flooded front street, across and around Greenfield park, back up fifth then fourth then third then water street and back around front street and the riverfest setup crowds. the final two miles were rainy, and the rain was cold and increasing in intensity until I finished shirtless and cold with my nipples raw and unamused. I fit right in with the riverfest workers smoking while flipping sausages and pushing tarps across trailers to push out the rain.
October fifth. Agony of da’ feet
a nine mile run today, tuesday, with the feet burning on soles and arches, toes feeling stretched out in faster pacing. . . . but a good run, quiet and thoughtful, passing the colors starting to fall from the dogwoods, maples, and the assorted oaks. . . one image made a strong impression: was a leaf, faded and degraded and twisted, mirroring the fading boneless bird decaying beside. . . how they referenced each other, mirrored in a gruesome way, as a strange visual poem. brown of torn tired leaf, brown of bone-webbed bird.
to run in autumn; wild geese push necks southward.
October the seventh, thursday. eight miles, a route not done in a while, from the northeast library to the coast, to shell isle and back up through summer rest trail towards the completion of the oblong loop.
Fernando Castro Pacheco amazing Mexican art.
mountain excursion passing through Asheboro and the state zoo and then black mountain/ montreat area. . . a superb night & meal at the laughing seed in asheville put the family’s mind at ease for a few days. running trails throughout montreat, new parks and accordians in Asheville, and the downtown rowdies of Asheboro punctuated the weekend, making for a some terrific scenery on all potential interpretations. more to come. . . .
Wednesday, September 29, 2010
floods, simple updates & an essay in italics.
sept 27th 2010. bach’s cello suites. rain of astounding force battered Wilmington for 12 hours straight, all through the evening and night until dawn this morning. the day remains grayed, misty, soft. languid.
evening has fallen—nighttime with the black clouds (red and orange on television maps). this is the perfect night for a french press coffee with lots of sugar and some cream and a madura cigar and a seat on the porch. . . . read some old kerouac or miller for kicks and just veg out. a hemingway short story. . . the smoke and the read. ahhhh. but how will the nine miler in the morn feel after a forty minute smoke? and how enjoyable will it really be, once smoke is burning eyes and awkward fit in mouth and just sitting outside in the dark fighting mosquitoes and smoking up money I could use for a new comic or a pair of calve compression sleeves. . . a romantic impulse quickly waning into a self denying monologue. the internal preacher.
looking for runs, I found a very welcome addition to 2011’s roster: the run for ray event website is now up and official. http://www.runforray.com/ it is a marvelous knee grinding, chest scorching, mind-pumping, vision blurring, scenic run that you should drive/ fly/ hitchhike/ trebuchet to get to. . . . seriously.
**********************************************************
tuesday. sumatran coffee. kent williams. seven miles downtown from nam’s home through greenfield park (no dog chases), through front street and some flooding across flat areas. . . no gators. a good run though it started slow and forceful, fitful. pushed through two miles to arrive at a comfortable state, somewhere around an 8 minute mile, and maintained that with some marley. geese are starting to pass through in migration.
September 28th 2010. wednesday. kyote and I watch the rain, for three solid days now it has rained, and the total is approaching now, maybe exceeding, two feet. . . we are considering getting out of the house for a minute, finding something interesting at the library, maybe running by a comic book store or townhouse art supply. . . . tomorrow is a tropical depression watch or warning and the whole of the southeastern nc is in flash flood warnings. meanwhile beethoven’s piano trios (performed by the beaux arts trio) trickles adagio from the studio, and tubes of paint line up by the palette and consider images to come. drawings fill various cheap sketchbooks, free association, automatic drawings mainly with minimum references in mind during the act. but a figure normally emerges. bodies dominate my visual repertoire, the narrative form like a visual biography, touchable kissable music.
*********************************************
essay for bodyfalls show last year:
bodyfalls: a selection of paintings by jay edge.
Caprice Bistro
june ’09.
new images painted on pre-existing images. often the figures are inverted and frequently falling. disoriented. free fall: free. I work with the figure because I love the human experience—my own and others—and a body is the ultimate testimony of one’s history. the body may be a visual chorus of the soul’s song. . . . or the body can be a defiance of the soul perhaps. . . . anyway, the paintings: a recycling and a refreshing of the canvases as now I am a father, husband, artist, man and struggling in an evermore complex fugue of layers. . . . often the pre-existing images are swallowed & lost in new layers—a history of the surface which is process-oriented (personal), rather than visually declared. while obscured, the evidence is subtly presented in underlying brush textures, rhythms of the current composition, and other idea/ image references. these paintings, as all works and persons, are fugues.
it is a human need & instinct to document, preserve and study history (personal history but not excluding collective history). this is often an anonymous and private experience, an unshared meditation. that anonymity, that silence behind the Now. . . . that your path is entirely unknown to others but for its obscure yield of experience-derived knowledge, that your entire life culminates into instincts unconscious dynamics abstract associations consequences and various manifestations. . . . that our scope of existence could lack a depth of history to most we encounter is such a flattening fact of reality. most of us see scars and cars when we see others. . . the private, idiosyncratic and often tragic paths we have each walked but rarely shared.
to bear witness is somehow foreign and absorbed. tedious.
ultimately the current work is derived from a personal transition of declaring—confessing, absolving, redeeming-- my past. a need to preserve. the residual images are artifacts, subjects of an excavation. . . . traces of nostalgia struggling against the daily surrendering to the complex weave of my Life. a turning away. . . the transformation of solipsist Self.
invertigo.
sometimes referencing dance, grace, classic figurative posing, the figures are meant to be as much visual rhythms or visual mass, body bulk. they are not intended to be narrative, but rather moments: culminating nexus of a life. they are a response to the emotional tides of being a father, husband, man, artist. they are often hurried and overworked, then simplified, painted over, repainted. . . . collage has been used to cover large areas, introducing a mass media reference but also serving the functional (newspaper is cheaper than paint).
my creative process is built on study and work. there is much thought as well as action in these paintings (actionable thought). observation of a painting until a solution emerges, which is then executed, often rapidly, from pre-worked studies. frequently, intrepid painting uncovers the solution, an active labor of paint and canvas and image-reference. the idea: research, exhaust, react/ respond. requiem and renaissance; discover and recover. additive and subtractive methods of image creation/ unraveling build interesting textures, documenting the process of image-construction. evidence of early drawings, early paintings, struggles all remain visible and starkly present. evidence to reduce ego while working, to maintain honest searching and identification with a form or pigment.
invertigo.
aesthetic inspirations include rome, nyc, vast numbers of painters and musicians, and finally Wilmington itself. . . . the cracked roads and parking lots, the multitude of parking decks, the gravity of bricks that is downtown wilmington’s architecture, the abstraction of aging and gravity. dilapidation versus renaissance, a process of reclaiming. . . . broken bottles, broken windows, multicolored parking tickets, farmers market. . . . runs down chestnut or princess or fifth or the boardwalk. abandoned storefronts, thrashed up cobblestone, the mires of water street, buildings held upright by jaundice plywood with scrawled cartoons, graffiti in chemical toilets. . . .
also—the dominance of red is related to the idea that red is the first recognizable color of a child’s perception. large areas of color are also meant to stimulate my four month old son, who spends many mornings and afternoons in the studio beside me.
I hope you enjoy the paintings, and thank you for your interest.
*********************************************************
Ditto.
evening has fallen—nighttime with the black clouds (red and orange on television maps). this is the perfect night for a french press coffee with lots of sugar and some cream and a madura cigar and a seat on the porch. . . . read some old kerouac or miller for kicks and just veg out. a hemingway short story. . . the smoke and the read. ahhhh. but how will the nine miler in the morn feel after a forty minute smoke? and how enjoyable will it really be, once smoke is burning eyes and awkward fit in mouth and just sitting outside in the dark fighting mosquitoes and smoking up money I could use for a new comic or a pair of calve compression sleeves. . . a romantic impulse quickly waning into a self denying monologue. the internal preacher.
looking for runs, I found a very welcome addition to 2011’s roster: the run for ray event website is now up and official. http://www.runforray.com/ it is a marvelous knee grinding, chest scorching, mind-pumping, vision blurring, scenic run that you should drive/ fly/ hitchhike/ trebuchet to get to. . . . seriously.
**********************************************************
tuesday. sumatran coffee. kent williams. seven miles downtown from nam’s home through greenfield park (no dog chases), through front street and some flooding across flat areas. . . no gators. a good run though it started slow and forceful, fitful. pushed through two miles to arrive at a comfortable state, somewhere around an 8 minute mile, and maintained that with some marley. geese are starting to pass through in migration.
September 28th 2010. wednesday. kyote and I watch the rain, for three solid days now it has rained, and the total is approaching now, maybe exceeding, two feet. . . we are considering getting out of the house for a minute, finding something interesting at the library, maybe running by a comic book store or townhouse art supply. . . . tomorrow is a tropical depression watch or warning and the whole of the southeastern nc is in flash flood warnings. meanwhile beethoven’s piano trios (performed by the beaux arts trio) trickles adagio from the studio, and tubes of paint line up by the palette and consider images to come. drawings fill various cheap sketchbooks, free association, automatic drawings mainly with minimum references in mind during the act. but a figure normally emerges. bodies dominate my visual repertoire, the narrative form like a visual biography, touchable kissable music.
*********************************************
essay for bodyfalls show last year:
 |
| hero-joker |
 |
| falling dancer, posing nude. |
Caprice Bistro
june ’09.
new images painted on pre-existing images. often the figures are inverted and frequently falling. disoriented. free fall: free. I work with the figure because I love the human experience—my own and others—and a body is the ultimate testimony of one’s history. the body may be a visual chorus of the soul’s song. . . . or the body can be a defiance of the soul perhaps. . . . anyway, the paintings: a recycling and a refreshing of the canvases as now I am a father, husband, artist, man and struggling in an evermore complex fugue of layers. . . . often the pre-existing images are swallowed & lost in new layers—a history of the surface which is process-oriented (personal), rather than visually declared. while obscured, the evidence is subtly presented in underlying brush textures, rhythms of the current composition, and other idea/ image references. these paintings, as all works and persons, are fugues.
it is a human need & instinct to document, preserve and study history (personal history but not excluding collective history). this is often an anonymous and private experience, an unshared meditation. that anonymity, that silence behind the Now. . . . that your path is entirely unknown to others but for its obscure yield of experience-derived knowledge, that your entire life culminates into instincts unconscious dynamics abstract associations consequences and various manifestations. . . . that our scope of existence could lack a depth of history to most we encounter is such a flattening fact of reality. most of us see scars and cars when we see others. . . the private, idiosyncratic and often tragic paths we have each walked but rarely shared.
to bear witness is somehow foreign and absorbed. tedious.
ultimately the current work is derived from a personal transition of declaring—confessing, absolving, redeeming-- my past. a need to preserve. the residual images are artifacts, subjects of an excavation. . . . traces of nostalgia struggling against the daily surrendering to the complex weave of my Life. a turning away. . . the transformation of solipsist Self.
invertigo.
sometimes referencing dance, grace, classic figurative posing, the figures are meant to be as much visual rhythms or visual mass, body bulk. they are not intended to be narrative, but rather moments: culminating nexus of a life. they are a response to the emotional tides of being a father, husband, man, artist. they are often hurried and overworked, then simplified, painted over, repainted. . . . collage has been used to cover large areas, introducing a mass media reference but also serving the functional (newspaper is cheaper than paint).
my creative process is built on study and work. there is much thought as well as action in these paintings (actionable thought). observation of a painting until a solution emerges, which is then executed, often rapidly, from pre-worked studies. frequently, intrepid painting uncovers the solution, an active labor of paint and canvas and image-reference. the idea: research, exhaust, react/ respond. requiem and renaissance; discover and recover. additive and subtractive methods of image creation/ unraveling build interesting textures, documenting the process of image-construction. evidence of early drawings, early paintings, struggles all remain visible and starkly present. evidence to reduce ego while working, to maintain honest searching and identification with a form or pigment.
invertigo.
aesthetic inspirations include rome, nyc, vast numbers of painters and musicians, and finally Wilmington itself. . . . the cracked roads and parking lots, the multitude of parking decks, the gravity of bricks that is downtown wilmington’s architecture, the abstraction of aging and gravity. dilapidation versus renaissance, a process of reclaiming. . . . broken bottles, broken windows, multicolored parking tickets, farmers market. . . . runs down chestnut or princess or fifth or the boardwalk. abandoned storefronts, thrashed up cobblestone, the mires of water street, buildings held upright by jaundice plywood with scrawled cartoons, graffiti in chemical toilets. . . .
also—the dominance of red is related to the idea that red is the first recognizable color of a child’s perception. large areas of color are also meant to stimulate my four month old son, who spends many mornings and afternoons in the studio beside me.
I hope you enjoy the paintings, and thank you for your interest.
*********************************************************
Ditto.
Sunday, September 26, 2010
autumn reflections, dried leaves, running man. . . .
September 8th.
Hallucidity, my chapbook of poems some fifteen years ago. coinciding with my show in salisbury nc, 1995, entitled nudes and other epiphanies. jim moon, kerry smith. bruce & jackie at fine frame gallery. la cava restaurant. long walks on church street, to work and back. brunches at sweet meadow café. lost alleys of salisbury nights. (strange nostalgic reflections)
shostakovich by morn, minutemen by afternoon. creeley, pynchon.
September 22
mornings at the methadone clinic. . . . smoking a camel, absorbing the bbc’s final news just before npr at 6am, driving through inky Wilmington dock street, cape fear churning far behind, chewing the bones of the previous night, chewing the glass bottles and dope bags, emptied purses, tennis shoes, a coffee cup. . . at 5h30am, metro treatment center opened and the line was already twisting across 16th by the white front breakfast house. the medicine was due, and the pasty eyes and runny noses and achy bodies waited and looked around nervously for the perpetually late nurse. smoke settled blue and green in fluorescent street light, lungs and air equally heavy from cigarettes burning behind hooded shadows of faces.
no methadone now, just miles. 10 miles actually, at wb on old familiar summer rest loop ‘round north side/ shell island. in doing so, I have now surpassed 900 miles for the year. having missed nearly two months of running due to injury, I am happy with my runs. I still enjoy the act of the run, the aesthetic of personal movement, the bliss of thrusting oneself through life and World. language and legs. image and imago. torture of the happy marathon monks. the joy of pushing through sun and grass and smells of heated pine needles and musical interludes and the other runners passing and random passages of poetry or derrida or delirium, a love supreme. runners high.
autumn begins at 11h03pm. a glorious thing, though we are still pushing 90 degrees in afternoon sun. . . . speaking of heat, seems like just y’day I was writing this out. . . and now darren mulvenna and I open our show tomorrow evening at caprice bistro. seems like just yesterday i was struggling and sweating, writing this.
meanwhile, I am the focus of an interview published in wilmington’s local culture mag, the Encore. shea carver did a wonderful job on this piece. the magazine and the article can be found at here. ms. carver crafted an excellent article outta my mind-mash, and I am grateful for her work.
sept 24 11h24am.
associative poetics, fourth-dimensional poetics. chaim soutine. ten mile run on tuesday. three mile run y’day morning, then painted all day.
8 mile run to celebrate opening last night, which went well and swiftly. ipod was on shuffle and while I lost the left ear plug to sweat, the right played anything from soul coughing to bach’s art of fugue to gogol bordello to (finish with) rage against the machine. sun is more late summer in heat and intensity than early autumn, but a breeze kept the edge off of the heat.
was thinking about the abstract references of work. how within a work, verbal or visual, internal references (pop culture, personal association, narrative inference, etc). . . . art becomes a melding point, a synergized thing. ephemeral and clay as flesh. barthes, derrida, d.f. wallace, or any dadaist would be proud. . .
sept 26th 2h17pm. ten miles across ogden and king’s grant. a strong run, storms bulging across horizon, but only building from the humid morning. a little cooler. pine needles and orange-brown leaves fade from drought. runs smell like damp hardwood.
**************************************************************************
show pieces
1. red doppelganger 600
2. wild red dancers 450
3. falling dancers doppelganger (diptych) 600
4. two nudes, gray 600
5. fuerza bruta (burnt orange & gray) 600
6. cadmium orange nudes 600
7. blue mountains, pieta 350
8. inverted male nude
9. compound drawing 300
10. compound drawing (diptych) 250
to finish with, a vide of an exciting show kas and i saw off-broadway a few years ago: fuerza bruta.
Hallucidity, my chapbook of poems some fifteen years ago. coinciding with my show in salisbury nc, 1995, entitled nudes and other epiphanies. jim moon, kerry smith. bruce & jackie at fine frame gallery. la cava restaurant. long walks on church street, to work and back. brunches at sweet meadow café. lost alleys of salisbury nights. (strange nostalgic reflections)
shostakovich by morn, minutemen by afternoon. creeley, pynchon.
September 22
mornings at the methadone clinic. . . . smoking a camel, absorbing the bbc’s final news just before npr at 6am, driving through inky Wilmington dock street, cape fear churning far behind, chewing the bones of the previous night, chewing the glass bottles and dope bags, emptied purses, tennis shoes, a coffee cup. . . at 5h30am, metro treatment center opened and the line was already twisting across 16th by the white front breakfast house. the medicine was due, and the pasty eyes and runny noses and achy bodies waited and looked around nervously for the perpetually late nurse. smoke settled blue and green in fluorescent street light, lungs and air equally heavy from cigarettes burning behind hooded shadows of faces.
no methadone now, just miles. 10 miles actually, at wb on old familiar summer rest loop ‘round north side/ shell island. in doing so, I have now surpassed 900 miles for the year. having missed nearly two months of running due to injury, I am happy with my runs. I still enjoy the act of the run, the aesthetic of personal movement, the bliss of thrusting oneself through life and World. language and legs. image and imago. torture of the happy marathon monks. the joy of pushing through sun and grass and smells of heated pine needles and musical interludes and the other runners passing and random passages of poetry or derrida or delirium, a love supreme. runners high.
autumn begins at 11h03pm. a glorious thing, though we are still pushing 90 degrees in afternoon sun. . . . speaking of heat, seems like just y’day I was writing this out. . . and now darren mulvenna and I open our show tomorrow evening at caprice bistro. seems like just yesterday i was struggling and sweating, writing this.
meanwhile, I am the focus of an interview published in wilmington’s local culture mag, the Encore. shea carver did a wonderful job on this piece. the magazine and the article can be found at here. ms. carver crafted an excellent article outta my mind-mash, and I am grateful for her work.
 |
| kyote ruminating on a large drawing |
sept 24 11h24am.
associative poetics, fourth-dimensional poetics. chaim soutine. ten mile run on tuesday. three mile run y’day morning, then painted all day.
8 mile run to celebrate opening last night, which went well and swiftly. ipod was on shuffle and while I lost the left ear plug to sweat, the right played anything from soul coughing to bach’s art of fugue to gogol bordello to (finish with) rage against the machine. sun is more late summer in heat and intensity than early autumn, but a breeze kept the edge off of the heat.
was thinking about the abstract references of work. how within a work, verbal or visual, internal references (pop culture, personal association, narrative inference, etc). . . . art becomes a melding point, a synergized thing. ephemeral and clay as flesh. barthes, derrida, d.f. wallace, or any dadaist would be proud. . .
sept 26th 2h17pm. ten miles across ogden and king’s grant. a strong run, storms bulging across horizon, but only building from the humid morning. a little cooler. pine needles and orange-brown leaves fade from drought. runs smell like damp hardwood.
**************************************************************************
show pieces
1. red doppelganger 600
2. wild red dancers 450
3. falling dancers doppelganger (diptych) 600
4. two nudes, gray 600
5. fuerza bruta (burnt orange & gray) 600
6. cadmium orange nudes 600
7. blue mountains, pieta 350
8. inverted male nude
9. compound drawing 300
10. compound drawing (diptych) 250
to finish with, a vide of an exciting show kas and i saw off-broadway a few years ago: fuerza bruta.
Sunday, September 12, 2010
Tuesday, September 7, 2010
sharpened knife, smoking french press, jesus and some dead.
transcendence. end of august. echoes of my mothers comment, sometime back in 1995, after a particularly rough drugrun: “sometimes we must just start over with what we have left.” a strange comment to keep close to awareness, to keep in mind, for some 16 years now. but I do. alchemy of necessity and loss.
leaf-frog. hallucinations abound when you are tired, hot, running too hard, and trying to provoke them. this is not something I encourage, only something I do. sometimes. running is not hallucinogenic, but it sure as hell becomes a cycle, like a drug cycle. . . and solid effort can blur the mind. . . . and so the leaf-frogs are a fine indicator of a good run—its when a frog scuttles across the way, with little hops, only to turn into a leaf upon closer inspection. wonder if marathon monks encounter these things?
speaking of the hallucinatory nature of things. . . . fire on the mountain, 1977, jerry and the gang.
august 30 2010. is this the final day of august?
beef bourguignon on the stove top, though I ain’t sure its gonna work. . . . . recently reading much on bourdain and marco pierre white. dvorak on the onkyo, sixth string quartet, with a French press and a crusted baguette. yesterday brought a solid run of nine miles, following a one mile warm-up walk and pleasure-stroll with my wife and kyote.
September 7th 2010. tuesday post-labor day monday.
six mile run. seven miles y’day. American landscape that is my body. song of myself. parallels of ab ex generation and the blog generation. . . the ME-moir and the nature of the solipsism of America, of identity, of community, of enclosed, label-dominated bodies that are, together and individually, America. human bodies tagged by consumerist assembly line machine. work becomes work becomes worker.
watched a good film y’day: Greenberg. imposed a cold self-consciousness however.
15 days until show. . . . . work progresses in manic episodes.
leaf-frog. hallucinations abound when you are tired, hot, running too hard, and trying to provoke them. this is not something I encourage, only something I do. sometimes. running is not hallucinogenic, but it sure as hell becomes a cycle, like a drug cycle. . . and solid effort can blur the mind. . . . and so the leaf-frogs are a fine indicator of a good run—its when a frog scuttles across the way, with little hops, only to turn into a leaf upon closer inspection. wonder if marathon monks encounter these things?
speaking of the hallucinatory nature of things. . . . fire on the mountain, 1977, jerry and the gang.
august 30 2010. is this the final day of august?
beef bourguignon on the stove top, though I ain’t sure its gonna work. . . . . recently reading much on bourdain and marco pierre white. dvorak on the onkyo, sixth string quartet, with a French press and a crusted baguette. yesterday brought a solid run of nine miles, following a one mile warm-up walk and pleasure-stroll with my wife and kyote.
September 7th 2010. tuesday post-labor day monday.
six mile run. seven miles y’day. American landscape that is my body. song of myself. parallels of ab ex generation and the blog generation. . . the ME-moir and the nature of the solipsism of America, of identity, of community, of enclosed, label-dominated bodies that are, together and individually, America. human bodies tagged by consumerist assembly line machine. work becomes work becomes worker.
watched a good film y’day: Greenberg. imposed a cold self-consciousness however.
15 days until show. . . . . work progresses in manic episodes.
Saturday, August 21, 2010
work and work and non-august august.
faux-tigue or true overtraining?
here I am in august, burnt out on the burnt end of running routes and busy season at my job and less sleep than when I was strung out and anyway—runs are not feeling good. it is hot as hell. the effort required in a six mile circuit is nearly heroic. the mind will not still for long periods of time. the legs are heavy and angry and even undisciplined- awkward- in gait. strange. . . . so the runs are strained and ugly and fish-flopping funky.
work and work—new paintings by darren mulvenna and jay edge (c'est moi). opening on thursday, september 25th, with the premiere fourth friday reception following on September 26th. . . . here are some sneak-peaks (of my recent work), landscape-nudes, inverted dopplegangers, et cetera. . . . the doppelgangers have continued for several years now, as have the landscape-nudes, and their visual vocabulary is fresh and reinvigorated: i am truly excited about them! flesh soil paint. three prominent elements of my creative cycle. we shall see what darren has up his talented sleeve.
here I am in august, burnt out on the burnt end of running routes and busy season at my job and less sleep than when I was strung out and anyway—runs are not feeling good. it is hot as hell. the effort required in a six mile circuit is nearly heroic. the mind will not still for long periods of time. the legs are heavy and angry and even undisciplined- awkward- in gait. strange. . . . so the runs are strained and ugly and fish-flopping funky.
Subscribe to:
Posts (Atom)
