Kamis, 04 Juni 2015
Being Seen
February 18, 2011
Papua New Guinea is home to the extraordinary Birds of Paradise. They
are endowed with some of the most breath-taking plumage in the world–
this, when being a bird is already highly ranked on the beauty scale.
All this pulchritude adds to the courtship dance performed by the males.
The routines themselves are a wonderful sight. Sometimes they attract
an audience of one or more females, but there’s no guarantee any will
accept a mate, despite his choreography. Girls often arrive, enjoy the
show, then leave. Also, many graceful moves executed by Birds of
Paradise go unnoticed on the ground of a forest floor every day. The
intrepid bird rarely gives up. No one today; he tries again tomorrow.
What strikes me about these dedicated rituals is not just the lovely
display, but the care taken to “put it out there,” regardless of
outcome.
There are more artists than galleries, or exhibition opportunities to accommodate everyone ready to share their work. The same is true for other art disciplines as well. An intimate, private showing for family and friends is sufficient for some artists. This kind of legacy enriches loved ones by the influence of creative energy in different aspects of their lives– from innovative problem-solving, to an appreciation of aesthetics that will determine choices in areas such as environment, relationships, and values. It may even inspire children to pursue further in a field where a parent or family member was content to remain with little or no professional ambition.
Most artists want their work accessible to the public as well. Being seen is a natural objective for the visual artist. Without it, there’s unfinished business, especially where a project, or art completed within a series is concerned. Exhibitions formally launch work past our own sole knowledge of its existence, by offering to others what we have to give. There’s also a fundamental need to initiate the next round of endeavor by opening room and space (sometimes literally), for the creative process to resume. I paint in theme cycles; feel restless until previous work has had decent exposure. This includes at least one solo show. Often though, my gallery submissions and funding applications return declined. When that happens, goals change. I forget about galleries, juries and other peoples’ validation. Sales, recognition, approbation, grants, awards and prizes, although nice– become irrelevant. Even my career as an artist, thins next to a stark fact: if I don’t get the work up, I’ll go nuts.
No one is obliged to remain loyal to their failures. It’s great when others free up our time by taking care of art business, especially if they’re reliable and trustworthy. But if that’s not available, artists need to explore other options with the same imagination and resourcefulness normally applied to their craft. This means considering among other things, non-traditional, alternative exhibition venues. Affordable rental space, storefront windows, garage tours, laundromats, projection sites– basically anywhere with walls in a good location. The organization of one’s own show can be a time-consuming, labour intensive expense. The benefit though, is autonomy, the self-reliance induced from experience should the need arise again. I’d rather not have to do it, but I can provide for myself when no offers are forthcoming.
Whether it’s a conventional gallery or I mount the show myself, nothing prevents a post-exhibition melancholy after that first solo show ends. Partly, it’s the discrepancy between the years spent towards building a show– compared to the meager 2-3 weeks run of display. Mostly, it’s the sense of having officially released the work, even if it doesn’t sell. Rejection is a given in any artist’s life. But what’s worse is indifference. A devil whispers that no one cared whether the show was up or not; all this trouble generated little interest one way or another. When these thoughts arise, I’m encouraged by the persistence and endurance demonstrated by the Bird of Paradise. I don’t do anything nearly as unselfconsciously exquisite as his avian ballet. But the quality of his commitment each day, in spite of lapses in attendance, inspires me by way of delight. When a Bird of Paradise dances, it’s as if he sends molecules of joy up into the atmosphere, which in turn, the plants and trees absorb– not to mention the soil those molecules fall back down upon. I like to think that healthy forest canopies are just as ecologically sustained by these artistic expressions, as much as civilizations thrive from the collective efforts of their cultural workers.
There are more artists than galleries, or exhibition opportunities to accommodate everyone ready to share their work. The same is true for other art disciplines as well. An intimate, private showing for family and friends is sufficient for some artists. This kind of legacy enriches loved ones by the influence of creative energy in different aspects of their lives– from innovative problem-solving, to an appreciation of aesthetics that will determine choices in areas such as environment, relationships, and values. It may even inspire children to pursue further in a field where a parent or family member was content to remain with little or no professional ambition.
Most artists want their work accessible to the public as well. Being seen is a natural objective for the visual artist. Without it, there’s unfinished business, especially where a project, or art completed within a series is concerned. Exhibitions formally launch work past our own sole knowledge of its existence, by offering to others what we have to give. There’s also a fundamental need to initiate the next round of endeavor by opening room and space (sometimes literally), for the creative process to resume. I paint in theme cycles; feel restless until previous work has had decent exposure. This includes at least one solo show. Often though, my gallery submissions and funding applications return declined. When that happens, goals change. I forget about galleries, juries and other peoples’ validation. Sales, recognition, approbation, grants, awards and prizes, although nice– become irrelevant. Even my career as an artist, thins next to a stark fact: if I don’t get the work up, I’ll go nuts.
No one is obliged to remain loyal to their failures. It’s great when others free up our time by taking care of art business, especially if they’re reliable and trustworthy. But if that’s not available, artists need to explore other options with the same imagination and resourcefulness normally applied to their craft. This means considering among other things, non-traditional, alternative exhibition venues. Affordable rental space, storefront windows, garage tours, laundromats, projection sites– basically anywhere with walls in a good location. The organization of one’s own show can be a time-consuming, labour intensive expense. The benefit though, is autonomy, the self-reliance induced from experience should the need arise again. I’d rather not have to do it, but I can provide for myself when no offers are forthcoming.
Whether it’s a conventional gallery or I mount the show myself, nothing prevents a post-exhibition melancholy after that first solo show ends. Partly, it’s the discrepancy between the years spent towards building a show– compared to the meager 2-3 weeks run of display. Mostly, it’s the sense of having officially released the work, even if it doesn’t sell. Rejection is a given in any artist’s life. But what’s worse is indifference. A devil whispers that no one cared whether the show was up or not; all this trouble generated little interest one way or another. When these thoughts arise, I’m encouraged by the persistence and endurance demonstrated by the Bird of Paradise. I don’t do anything nearly as unselfconsciously exquisite as his avian ballet. But the quality of his commitment each day, in spite of lapses in attendance, inspires me by way of delight. When a Bird of Paradise dances, it’s as if he sends molecules of joy up into the atmosphere, which in turn, the plants and trees absorb– not to mention the soil those molecules fall back down upon. I like to think that healthy forest canopies are just as ecologically sustained by these artistic expressions, as much as civilizations thrive from the collective efforts of their cultural workers.
Big Questions
February 12, 2012
In the past, I’ve taken all sorts of adult evening classes and belonged
to groups outside the realm of art. They ranged anywhere from astrology
to Basic Cantonese or swimming lessons. A few were also spiritual
practices. At the beginning of each venture, facilitators would ask
participants their reasons for enrollment– “Why are you here?” When that
happened, I often panicked. Outside of a vague, general interest, I
found it awkward to articulate a comprehensive reason. My statements
usually began with an I-don’t-know, before mumbling something remotely
plausible. What I eventually said wasn’t necessarily accurate so much as
an impulse to hurry the question along to the next person so we could
get going already with the business or activity at hand. Once in a
while, I knew my purpose. “I’m here to learn tai chi because every time I
bend down, my knees sound like twigs just snapped.”
Even original goals change or evolve with time. If they are unclear at first, sometimes the doing of a thing is what reveals intention or allows it to form. As an artist, the question that arises periodically is: “Why choose art?” Variations include: “How come you paint? What’s the point?” “Why are you an artist?” The questions don’t/have never stopped me from working. Nor have I been so obsessed with the lack of a good answer that I sank to the floor in tears believing that without one, I was a less than genuine artist. But visitors to a gallery and others have posed versions of this same question. It’s always a surprise to hear. Normally, I’d rather just concentrate on doing work.
It is worthwhile though, to at least have some response readily available– if only to hasten along the unwanted attentions of those who ask rhetorical questions. There is a difference when inquiries are made in connection to the art. An initial attraction to a body of work often piques a natural curiosity about the artist. When viewers want to know more about the incentive behind a work– what a practitioner is willing to share about their own unique process, often generates greater appreciation for their efforts. This may or may not include details regarding the current, primary motive for producing art. I do find it prudent however, to assess the quality or degree of engagement when such potent questions are asked by others. In my experience, even respectful, valid interest tends to be relatively brief compared to the times when an artist truly needs to examine for themselves, why they want(ed) to be painters, writers, dancers, or musicians etc. People ask: “Why are you an artist; why do you paint?” for reasons that vary from casual conversation, fascination, boredom, distraction, incredulity or concern for health and welfare. They ask out of politeness when they don’t know what else to say and have never interacted with an art species before. They quiz out of impatience for what they perceive as a difficult, fiscally challenged career. They ask because they want to know what it’s like to sustain a dream or because you both met in the laundry room. I’d rather not spill my guts out in most of these situations. Not every encounter with important questions warrants intimate disclosure. For some scenarios, it’d be wiser to just survive the exchange and protect one’s privacy by ensuring all viscera remain intact. When that’s the case, any answer–including a fake or outdated one– will do. It’s actually quite fun to try out or invent all kinds of possible response. The novelty and guilty pleasure of lying reduces the pressure of having to come up with a definitive answer, especially for artists who ultimately, don’t really care why they make art as long as they keep doing it. Surprisingly, I find that legitimate replies emerge of their own accord when I play around like this.
“I paint to continue a family tradition passed down through generations.”(I’m the only visual artist in my family)
“I’m an artist because I had so many dreams about swimming in David Hockney pools, the bed started to smell like chlorine.” (never happened)
“Making art is one way of being in the world.”(sounds familiar)
The truth is, artists have several reasons for choosing their profession, many of them deeply personal, complicated and sometimes painful. Perhaps that’s why part of me thinks few people have any real business asking such loaded questions– even when no harm or discourtesy was intended. There’s no doubt an unexpected query from a stranger or otherwise can challenge us to an honest, deeper exploration. Not all artists are shy about divulgence either; some engage comfortably in dialogue, regardless of content. But when artists need to investigate their own motives for creating art, usually it involves some form of soul-searching. The answers to “Why am I doing this?” provoke more questions for those who finally have to admit they make art for false reasons instead of their own, such as living out the agenda of a dead parent. This is not to say that heart-breaking or truthful answers should cease all production. Artists willing to consider Big Questions during crucial stages, give themselves a chance to accept, repair, adjust or celebrate where they are in their lives, and where they need or want to go next. Indeed, after discoveries are made, the question that frequently appears after ‘why do I make art?’ is ‘do I still want to continue?’
For the record, I make art because I can’t think of anything better I want to do with the time I have left on earth. That’s my story and I’m sticking to it. For now.
Even original goals change or evolve with time. If they are unclear at first, sometimes the doing of a thing is what reveals intention or allows it to form. As an artist, the question that arises periodically is: “Why choose art?” Variations include: “How come you paint? What’s the point?” “Why are you an artist?” The questions don’t/have never stopped me from working. Nor have I been so obsessed with the lack of a good answer that I sank to the floor in tears believing that without one, I was a less than genuine artist. But visitors to a gallery and others have posed versions of this same question. It’s always a surprise to hear. Normally, I’d rather just concentrate on doing work.
It is worthwhile though, to at least have some response readily available– if only to hasten along the unwanted attentions of those who ask rhetorical questions. There is a difference when inquiries are made in connection to the art. An initial attraction to a body of work often piques a natural curiosity about the artist. When viewers want to know more about the incentive behind a work– what a practitioner is willing to share about their own unique process, often generates greater appreciation for their efforts. This may or may not include details regarding the current, primary motive for producing art. I do find it prudent however, to assess the quality or degree of engagement when such potent questions are asked by others. In my experience, even respectful, valid interest tends to be relatively brief compared to the times when an artist truly needs to examine for themselves, why they want(ed) to be painters, writers, dancers, or musicians etc. People ask: “Why are you an artist; why do you paint?” for reasons that vary from casual conversation, fascination, boredom, distraction, incredulity or concern for health and welfare. They ask out of politeness when they don’t know what else to say and have never interacted with an art species before. They quiz out of impatience for what they perceive as a difficult, fiscally challenged career. They ask because they want to know what it’s like to sustain a dream or because you both met in the laundry room. I’d rather not spill my guts out in most of these situations. Not every encounter with important questions warrants intimate disclosure. For some scenarios, it’d be wiser to just survive the exchange and protect one’s privacy by ensuring all viscera remain intact. When that’s the case, any answer–including a fake or outdated one– will do. It’s actually quite fun to try out or invent all kinds of possible response. The novelty and guilty pleasure of lying reduces the pressure of having to come up with a definitive answer, especially for artists who ultimately, don’t really care why they make art as long as they keep doing it. Surprisingly, I find that legitimate replies emerge of their own accord when I play around like this.
“I paint to continue a family tradition passed down through generations.”(I’m the only visual artist in my family)
“I’m an artist because I had so many dreams about swimming in David Hockney pools, the bed started to smell like chlorine.” (never happened)
“Making art is one way of being in the world.”(sounds familiar)
The truth is, artists have several reasons for choosing their profession, many of them deeply personal, complicated and sometimes painful. Perhaps that’s why part of me thinks few people have any real business asking such loaded questions– even when no harm or discourtesy was intended. There’s no doubt an unexpected query from a stranger or otherwise can challenge us to an honest, deeper exploration. Not all artists are shy about divulgence either; some engage comfortably in dialogue, regardless of content. But when artists need to investigate their own motives for creating art, usually it involves some form of soul-searching. The answers to “Why am I doing this?” provoke more questions for those who finally have to admit they make art for false reasons instead of their own, such as living out the agenda of a dead parent. This is not to say that heart-breaking or truthful answers should cease all production. Artists willing to consider Big Questions during crucial stages, give themselves a chance to accept, repair, adjust or celebrate where they are in their lives, and where they need or want to go next. Indeed, after discoveries are made, the question that frequently appears after ‘why do I make art?’ is ‘do I still want to continue?’
For the record, I make art because I can’t think of anything better I want to do with the time I have left on earth. That’s my story and I’m sticking to it. For now.
WHEN
is another christian cross of mine to remind all that I am a born again Christian woman and adhere to the Holy Bible especially the King James version of it, and including the commandments of GOD as written in Exodus chapter 20; and the words of JESUS as recorded in the New Testament.
As always this blog and all content on it belongs exclusively to me Gloria Poole, RN, artist of Missouri and I own all rights to it. I do not have a son, and I have only 2 grown daughters named Jennifer and Leigh who also have minor children of their own. Copyright notice 7 February 2015 at 12:36pm: This blog and all content, all words, all photos and all art on it were created and posted by me Gloria Poole , RN, artist of Missouri and Georgia. Usually I sign the art I create as simply Gloria since that is my first name I was born with; but on pencil drawings I often also sign my born with surname of Poole. I am also known on the web and in real life as Gloria Poole; Gloria J Poole; Gloria Poole, RN, artist; and on the web as : gloriapoole; gloria-poole; gloria.poole; Ms Gloria Poole; gloriapoole.RN; gloriapoole_RN; gloriapooleRN at yahoo; gloria0817; gpoole817; artist-gloriapoole; gloriapoole-paintings; artist-gloria; Poole,Gloria; gloriapoole1749; and other variations of my real, born with, and legal name of Gloria Poole. For the record, I am a white, twice divorced Christian woman and the mother of two grown daughters who are named Jennifer and Leigh. I am also a prolife activist, blogger, artist in all mediums; photographer for my own purposes, Registered Nurse with a license in Missouri but before that for most of my life in the state of Georgia, U.S. citizen born in the state of Georgia; University of Georgia alum, Georgia Baptist College of Nursing alum, writer, illustrator, author. This blog may not be downloaded, nor copied individually or collectively as a whole; nor have domains forwarded to it that do not belong to me, nor may the photos or art on it be reproduced or saved to disk by anyone . I create all content on this blog and I, Gloria Poole, own all rights to this blog collectively and individually as single posts. The telephones listed on this account belong to me and are in my apartment in Missouri or in my possession at all times. Some of my numbers are wired, landline telephones and some are mobile phones. This blog and all blogs that I create and that contain my words and or art and or photos that I create bel*og exclusively to me Gloria Poole, of Missouri and Georgia. Copyright. Gloria Poole /gloriapoole /gloria-poole /gloria.poole/ Ms Gloria Poole/ Poole Gloria at my own, private apt in Missouri which is not shared with anyone and neither is my equipment nor phones shared with anyone, and nether is my isp account shared with anyone. Gloria Poole, RN, artist; at my apt in Missouri on 25 March 2015 at 9:51am.
Monday, February 23, 2015
Personhood is the civil rights issue of this century and Tapestry of LIFE promotes it.
The topic of personhood status for the preborn humans is the number
one issue of the upcoming elections. That it is way past time for it to
become the top of the agenda for all Christian, Jewish, Muslim voters
who believe in THE GOD of all, to rise to the challenge of shepherding
it through Congress as a public law, is obvious to all prolife
activists. The genocide of abortion has to end. It is better for it to
end by act of Congress as it declares "legal personhood" on the humans
in the womb, than through a civil war. But I think a civil war will come
if Congress fails to give legal protection via the Constitution in the
form of including preborn humans in the 14th Amendment since by
definition humans in the womb are HUMAN.
Let us examine the facts:
1) Medical science established that a new human being is created when
the human male sperm enters the human female egg. That is documented in
literally dozens of medical books, texts on anatomy and physiology, what
academia calls the "hard sciences'. I published a list of medical
references on another blog of mine at http://gloriapoole.livejournal.com
and it is in the archived posts. Of course, any bona-fide medical
library has hundreds of books on anatomy & physiology, obstetrics,
neonatalogy, surgery in the womb, human reproduction human devlopment.
2) The law of the species is that each species reproduces only its own kind. That is my words of that law but that is the gist of it. In other words, a being created by a human man and a human woman is HUMAN, and cannot be anything but HUMAN.
3) Human cells of any sort have human DNA and human chromosones and they can be distinguished from any other species on earth by examining them under a microscope. Human gamete cells from the ovaries and testicles of humans are life giving cells and they are very much alive and they swim through the tubes of men and women to accomplish their predetermined task of creating a new human. Human sperm [or any sperm for that matter] do not just sit there in the ejaculate of the male. They are alive and they swim to their destiny to find the female egg and penetrate it to create a new human being at the split second the sperm enters the egg. And that is obvious because from that split second in time the egg changes rapidly, closes in around te sperm, starts dividing itself to create new cells and expanding itself very very quickly into a ball of cells then it implants itself, [nestles down into the lining of the uterus of the woman] and continues its multiplication and development. I drew some pencil sketches of a few of the stages of human development years ago, and I re-posted them to a site of mine : https://sites.google.com/site/ArtistIllustrations, with my hand-written notes on the pages explaining what they are. You may have to deepen your contrast to see them well because they are in pencil. Humans do not become human at some point in time. They are HUMAN from the moment the human sperm enters the human egg and the two merge.
4) The premeditated destruction of human life is forbidden by GOD HIMSELF in Exodus 20:13, as written "thou shalt not kill" in Exodus 20:13, KJV, and by JESUS who said, "even so, it is not the will of your FATHER [GOD] in heaven that one of these little ones should perish. " Matthew 18:14, KJV.
5) GOD HIMSELF warned that HE avenges innocent human blood in many verses in Bible, and one of the most compelling of those verses is from Genesis 9:6, KJV, as written, "whoso sheddeth man's blood, by man shall his blood be shed; for in the image of GOD, made HE [GOD] man. "
6) The premeditated destruction of humans in the womb is commonly called abortion by people without medical knowledge. However, that is almost never the term used in operating rooms or abortuaries. The coding terms were changed decades ago to conceal the numbers of killed babies. In operating room paperwork it is labeled "elective termination of pregnancy"; or "evacuation of uterine contents"; or "intrauterine dilatation and curettage" or "removal of products of conception", depending upon whoever is filling in the paperwork. Abortionists using real operating rooms realized decades ago that if they labeled on paperwork that it was an elective abortion, they would get no help with their task of killing from bona-fide professionals. So, they lie to trick them.
7) The techniques of propaganda have been fine tuned by groups that kill for centuries. When it was a so-called "right" to kill a black person, they called it asserting control over their property. When it was a so-called right to kill Jews they called it "the appropriate treatment for their condition". When it was a so-called right to kill Indians and force them onto small reservations as outcasts, it was labeled "protecting the U S from indigenous people" or something similar. Since Roe v Wade, they killers of the humans in womb label it "choice" and "women's rights". I am a woman and an educated woman at that, and I state emphatically that woen do not have any inherent right to kill their offspring. I also know that the scriptures address that topic in several passages including the book of Revelation.
8) The U S Constitution already gave "persons' the right to life in the 14th Amendment and I quote it: "Amendment XIV
Section 1.
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.
GOOD lawyers realized at the time that it is the way to reverse Roe v Wade by declaring humans in the womb as "legal persons". I quote: "The State of Texas made this argument in Roe. Justice Harry Blackmun, who delivered the opinion of the court, responded to their argument by stating, “If this suggestion of personhood is established, the appellant’s case, of course, collapses, for the fetus’ right to life would then be guaranteed specifically by the Amendment.” And more from same article at http://cowgernation.com/2015/02/20/three-simple-reasons-to-outlaw-abortion/ :
with quote: "Whether via a Human Life Amendment to the US Constitution or a Supreme Court ruling overturning Roe v. Wade, support for the banning of abortion has never been stronger. But should abortion really be outlawed? I’d like to present three simple reasons why it should. First, it ends a life. Second, it harms society. And finally, it violates fetal rights." And quote: "The State of Texas made this argument in Roe. Justice Harry Blackmun, who delivered the opinion of the court, responded to their argument by stating, “If this suggestion of personhood is established, the appellant’s case, of course, collapses, for the fetus’ right to life would then be guaranteed specifically by the Amendment.” And "But the Constitution does not confer upon the federal government a specifically enumerated power to grant or deny “personhood” under the Fourteenth Amendment. The power to recognize or deny unborn children as the holders of rights and duties would instead be “Reserved to the States respectively, or to the people,” according to the Tenth Amendment. The Roe opinion and other Supreme Court cases recognize this function of state sovereignty. At the time Roe was decided, almost all states held unborn children to be persons under state property, tort, and criminal law. As an effect of the unanimity of the states, the Fourteenth Amendment compels federal protection of unborn persons." and "As President George W. Bush declared, “The promises of our Declaration of Independence are not just for the strong, the independent, or the healthy. They are for everyone – including unborn children.”
9) All women who have ever been pregnant know beyond a shadow of doubt that the being inside them is growing constantly; and women are not as stupid as the killing group Planned Parenthood pretends they are. Some women are evil and know they are killing a separate human being in an abortion, and because they sold their soul to the devil they go over to the devil's side . Killing of innocents is not from GOD and was never from GOD. In the Bible, GOD warns not to kill repeatedly.
I, Gloria Poole, RN,artist of Missouri and Georgia, am publishing this post in support of #personhood amendment for all humans including those in the womb. I intend to keep pushing this idea for as long as it takes, and in every way possible. You may follow me on twitter via @ProlifeNurse and or @personhood1 or on my name twitter accounts of @gloriapoole or @gloria_poole or via my twitter accounts @Tartan_Bliss or @tweetie0817. I tend to categorize my tweets just as I categorize my blogs and websites.
You can read more of my #publichealth teachings on my https://gloriapoole-RN-artist.blogspot.com. Also, you should know that all telephones and or telephone numbers associated with this blog and any blog or site of mine and or account of mine belong to me Gloria Poole, RN, artist of and in Missouri, and are in my possession in Missouri at all times. Some are landline phones and some are cell phones.
I am adding in here symbols of me to make a visual to identify ownership of this blog.
2) The law of the species is that each species reproduces only its own kind. That is my words of that law but that is the gist of it. In other words, a being created by a human man and a human woman is HUMAN, and cannot be anything but HUMAN.
3) Human cells of any sort have human DNA and human chromosones and they can be distinguished from any other species on earth by examining them under a microscope. Human gamete cells from the ovaries and testicles of humans are life giving cells and they are very much alive and they swim through the tubes of men and women to accomplish their predetermined task of creating a new human. Human sperm [or any sperm for that matter] do not just sit there in the ejaculate of the male. They are alive and they swim to their destiny to find the female egg and penetrate it to create a new human being at the split second the sperm enters the egg. And that is obvious because from that split second in time the egg changes rapidly, closes in around te sperm, starts dividing itself to create new cells and expanding itself very very quickly into a ball of cells then it implants itself, [nestles down into the lining of the uterus of the woman] and continues its multiplication and development. I drew some pencil sketches of a few of the stages of human development years ago, and I re-posted them to a site of mine : https://sites.google.com/site/ArtistIllustrations, with my hand-written notes on the pages explaining what they are. You may have to deepen your contrast to see them well because they are in pencil. Humans do not become human at some point in time. They are HUMAN from the moment the human sperm enters the human egg and the two merge.
4) The premeditated destruction of human life is forbidden by GOD HIMSELF in Exodus 20:13, as written "thou shalt not kill" in Exodus 20:13, KJV, and by JESUS who said, "even so, it is not the will of your FATHER [GOD] in heaven that one of these little ones should perish. " Matthew 18:14, KJV.
5) GOD HIMSELF warned that HE avenges innocent human blood in many verses in Bible, and one of the most compelling of those verses is from Genesis 9:6, KJV, as written, "whoso sheddeth man's blood, by man shall his blood be shed; for in the image of GOD, made HE [GOD] man. "
6) The premeditated destruction of humans in the womb is commonly called abortion by people without medical knowledge. However, that is almost never the term used in operating rooms or abortuaries. The coding terms were changed decades ago to conceal the numbers of killed babies. In operating room paperwork it is labeled "elective termination of pregnancy"; or "evacuation of uterine contents"; or "intrauterine dilatation and curettage" or "removal of products of conception", depending upon whoever is filling in the paperwork. Abortionists using real operating rooms realized decades ago that if they labeled on paperwork that it was an elective abortion, they would get no help with their task of killing from bona-fide professionals. So, they lie to trick them.
7) The techniques of propaganda have been fine tuned by groups that kill for centuries. When it was a so-called "right" to kill a black person, they called it asserting control over their property. When it was a so-called right to kill Jews they called it "the appropriate treatment for their condition". When it was a so-called right to kill Indians and force them onto small reservations as outcasts, it was labeled "protecting the U S from indigenous people" or something similar. Since Roe v Wade, they killers of the humans in womb label it "choice" and "women's rights". I am a woman and an educated woman at that, and I state emphatically that woen do not have any inherent right to kill their offspring. I also know that the scriptures address that topic in several passages including the book of Revelation.
8) The U S Constitution already gave "persons' the right to life in the 14th Amendment and I quote it: "Amendment XIV
Section 1.
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.
GOOD lawyers realized at the time that it is the way to reverse Roe v Wade by declaring humans in the womb as "legal persons". I quote: "The State of Texas made this argument in Roe. Justice Harry Blackmun, who delivered the opinion of the court, responded to their argument by stating, “If this suggestion of personhood is established, the appellant’s case, of course, collapses, for the fetus’ right to life would then be guaranteed specifically by the Amendment.” And more from same article at http://cowgernation.com/2015/02/20/three-simple-reasons-to-outlaw-abortion/ :
with quote: "Whether via a Human Life Amendment to the US Constitution or a Supreme Court ruling overturning Roe v. Wade, support for the banning of abortion has never been stronger. But should abortion really be outlawed? I’d like to present three simple reasons why it should. First, it ends a life. Second, it harms society. And finally, it violates fetal rights." And quote: "The State of Texas made this argument in Roe. Justice Harry Blackmun, who delivered the opinion of the court, responded to their argument by stating, “If this suggestion of personhood is established, the appellant’s case, of course, collapses, for the fetus’ right to life would then be guaranteed specifically by the Amendment.” And "But the Constitution does not confer upon the federal government a specifically enumerated power to grant or deny “personhood” under the Fourteenth Amendment. The power to recognize or deny unborn children as the holders of rights and duties would instead be “Reserved to the States respectively, or to the people,” according to the Tenth Amendment. The Roe opinion and other Supreme Court cases recognize this function of state sovereignty. At the time Roe was decided, almost all states held unborn children to be persons under state property, tort, and criminal law. As an effect of the unanimity of the states, the Fourteenth Amendment compels federal protection of unborn persons." and "As President George W. Bush declared, “The promises of our Declaration of Independence are not just for the strong, the independent, or the healthy. They are for everyone – including unborn children.”
9) All women who have ever been pregnant know beyond a shadow of doubt that the being inside them is growing constantly; and women are not as stupid as the killing group Planned Parenthood pretends they are. Some women are evil and know they are killing a separate human being in an abortion, and because they sold their soul to the devil they go over to the devil's side . Killing of innocents is not from GOD and was never from GOD. In the Bible, GOD warns not to kill repeatedly.
I, Gloria Poole, RN,artist of Missouri and Georgia, am publishing this post in support of #personhood amendment for all humans including those in the womb. I intend to keep pushing this idea for as long as it takes, and in every way possible. You may follow me on twitter via @ProlifeNurse and or @personhood1 or on my name twitter accounts of @gloriapoole or @gloria_poole or via my twitter accounts @Tartan_Bliss or @tweetie0817. I tend to categorize my tweets just as I categorize my blogs and websites.
You can read more of my #publichealth teachings on my https://gloriapoole-RN-artist.blogspot.com. Also, you should know that all telephones and or telephone numbers associated with this blog and any blog or site of mine and or account of mine belong to me Gloria Poole, RN, artist of and in Missouri, and are in my possession in Missouri at all times. Some are landline phones and some are cell phones.
I am adding in here symbols of me to make a visual to identify ownership of this blog.
HTTP
GOD!
I, Gloria Poole,RN, artist, residing in Missouri but born in
state of Georgia, USA, am continuing my push to get a personhood
amendment added to the U S Constitution. Every state in the country has a
personhood chapter now and the momentum is gathering heft as it rolls
across the nation. The 14th amendment already gives "persons" certain
guarantees including the right to life in the 14th Amendment and I quote it: "Amendment XIV
Section 1.
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.
All must read of the news from Iowa because it is excellent definition of personhood : http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senate. Quote : Iowa's pending bill : "The new definition of “person” under Senate File 478 would be “an individual human being without regard to age of development, from the moment of conception, when the zygote is formed, until natural death. "And it amends the state code to make no allowances for abortion. Thanks to these sponsors of it : "The proposed legislation is sponsored by state Sens. Jason Schultz (R-Schleswig), Rick Bertrand (R-Sioux City), Bill Anderson (R-Pierson), Jerry Behn (R-Boone), Brad Zaun (R-Urbandale), Mark Segebart (R-Vail), Amy Sinclair (R-Allerton), and Randy Feenstra (R-Hull)."
Read more at http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senateRead more at http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senate
From http://personhood.org/index.php/policy/587-human-life-review-features-personhood-alliance-vp, quote : "Gualberto Garcia Jones is the National Policy Director for the Personhood Alliance and the Executive Director of the International Human Rights Group. He is a graduate of the George Washington University Law School and the University of Wisconsin in Madison."
Quote: "Dr. Jerome Lejeune, a French pediatrician and geneticist known as the “Father of Modern Genetics”, firmly stated, "After fertilization has taken place a new human being has come into being. It is no longer a matter of taste or opinion…it is plain experimental evidence. Each zygote has a very neat and unique beginning, at conception". As he concludes, Dr. Lejeune believes that personhood begins at conception. Dr. Legeune was well known to the fetal personhood conversation because of his strong stance in conjunction with the Pro-Life group."https://storify.com/eriknelson/fetal-personhood
I am a Registered Nurse and worked in that role for years in a variety of positions including Administrative Supervisor of a trauma-designated hospital and Medical Peer Review, and the operating room. I have a very good upclose and personal knowledge of how cesarian sections are performed because I scrubbed on them. I have a very good knowledge of how bona-fide medical doctors who are surgeons feel about abortionists because I asked them, observed them, noticed their distaste of the whole subject. I write many of the blogs I write/ created/ maintain/own as Registered Nurse with its accompanying knowledge and education and experience. This blog post is one of those. It is way past time for the U S Congress to include the humans in the womb in the legal status as "persons" thus bringing them under the safety "umbrella" of the rights guaranteed by the U S Constitution and its Amendments including the 14th Amendment.
For those readers who have no scientific knowledge, college core classes or any sort of education on the topic of the human in the womb, I am providing a list of medical references that you can use to educate yourself.
Medical textbooks:
1) Early Pregnancy
2) Fetal Therapy
by Mark Kilby,Anthony Johnson,Dick Oepkes
3) Obstetrics & Intrapartum Emergencies
by Edward Chandrahara,& Sabaratnam Arulkumaran
4) Analgesia,Anesthesia & Pregnancy
by Steve Yentis & Surbhi Malhotra
5) Pregnancy after Assisted Reproductive Technology
by Eric Jauniaux & Botros Rizk
6) Atlas of Oocytes, Zygotes & Embryoes in Reproductive Medicine
by Marc Van den Bergh & Thomas Ebner, & Kay Elder
7) Infertility Counseling
by Sharon Covington & Linda Hammer Burns
8) Ectopic Pregnancy
by Isabel Stabile
9) Gametes
by J.G. Grudzinskas & J.L. Yovich
10) GenEthics
by Kurt Bayertz & Susan L Kirkby, & H Tristam Englehardt,Jr
11) Prenatal Care
by Marie McCormick & Joanne Siegel
12) Ethical issues in Maternal -Fetal Medicine
by Donna Dickenson
13) Preterm Labour
by Jane Norman & Ian Greer
14) The Fetal Matrix
by Peter Gluckman & Mark Hanson
15) Environmental impacts on Reproductive Health & Fertility
by Tracey Woodruff, Sarah Janssen,Louis Guillette,Jr, & Linda Giudice
16) Biology & Pathology of the Oocyte
by Alan O Trounson & Roger G Gosden
17) Biology & Pathology of the Trophoblast
byAshley Moffett, Charlie Lake & Anne McLaren
18) The Sperm Cell
by Christopher J De Jonge & Christopher Bartlett
19) Infertility & Assisted Reproduction
by R Botros, m B Rizk, Juan Garcia_-Velasco,Hassan Sallam & Antonis Makrigiannakis
20) The Healthy Embryo
by Jeff Nisker, Francoise Baylis, Isabel Karpin,Carolyn McLeod, Roxanne Mykitiuk
21) Gametes--The Oocyte
by J. G. Grudzinskas & J.L. Yovich
22) Textbook of Clinical Embryology
by Kevin Cpward & Dagan Wells
23) Handbook of Human Oocyte Cryopreservation by Eleonora Porcu & Patrizia Ciottis, & Stefano Venturoli
24) Neonatalogy
by Richard A Polin & John M Lorenz
25) Handbook of Obstetric Medicine
by Catherine nelson-Piercy
26) High Risk Pregnancy--Management Options
by Phillip J Steer, Carl Weiner, Bernard Gonik, Caroline Crowther, & Stephanie Robson
27) Dewhurst's Textbook of Obstetrics & Gynaecology
by Keith Edmunds
plus many,many more.
Some of my teaching sites of mine, that include information I learned as Registered Nurse and or teach as R.N.:
https://sites.google.com/site/ArtistIllustrations/; my pencil drawings of stages of human development in womb
https://sites.google.com/site/wordslife/
https://sites.google.com/site/wordslife2/
https://sites.google.com/site/AmbassadorforLife/Home
https://sites.google.com/site/gloriapooleRN/optimumhealthisachievable
https://sites.google.com/site/optimumhealthisachievable/
https://sites.google.com/site/gloriapoolern/
https://sites.google.com/site/myRNteachingwebsites/.
And my other #prolife #personhood blogs that are each unique created one by one by me to educate on the many issues are:
https://prolife-nurse.blogspot.com
https://save-the-baby-humans.blogspot.com
https://gloriapoole-RN-artist.blogspot.com
https://publishing-life.blogspot.com
https://news-for-life.blogspot.com
https://words-that-work-LLP.blogspot.com
https://real-women-have-babies.blogspot.com
Ownership of blog and Copyright information:
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.
All must read of the news from Iowa because it is excellent definition of personhood : http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senate. Quote : Iowa's pending bill : "The new definition of “person” under Senate File 478 would be “an individual human being without regard to age of development, from the moment of conception, when the zygote is formed, until natural death. "And it amends the state code to make no allowances for abortion. Thanks to these sponsors of it : "The proposed legislation is sponsored by state Sens. Jason Schultz (R-Schleswig), Rick Bertrand (R-Sioux City), Bill Anderson (R-Pierson), Jerry Behn (R-Boone), Brad Zaun (R-Urbandale), Mark Segebart (R-Vail), Amy Sinclair (R-Allerton), and Randy Feenstra (R-Hull)."
Read more at http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senateRead more at http://www.theiowastatesman.com/1833/new-personhood-bill-offered-in-senate
From http://personhood.org/index.php/policy/587-human-life-review-features-personhood-alliance-vp, quote : "Gualberto Garcia Jones is the National Policy Director for the Personhood Alliance and the Executive Director of the International Human Rights Group. He is a graduate of the George Washington University Law School and the University of Wisconsin in Madison."
Quote: "Dr. Jerome Lejeune, a French pediatrician and geneticist known as the “Father of Modern Genetics”, firmly stated, "After fertilization has taken place a new human being has come into being. It is no longer a matter of taste or opinion…it is plain experimental evidence. Each zygote has a very neat and unique beginning, at conception". As he concludes, Dr. Lejeune believes that personhood begins at conception. Dr. Legeune was well known to the fetal personhood conversation because of his strong stance in conjunction with the Pro-Life group."https://storify.com/eriknelson/fetal-personhood
I am a Registered Nurse and worked in that role for years in a variety of positions including Administrative Supervisor of a trauma-designated hospital and Medical Peer Review, and the operating room. I have a very good upclose and personal knowledge of how cesarian sections are performed because I scrubbed on them. I have a very good knowledge of how bona-fide medical doctors who are surgeons feel about abortionists because I asked them, observed them, noticed their distaste of the whole subject. I write many of the blogs I write/ created/ maintain/own as Registered Nurse with its accompanying knowledge and education and experience. This blog post is one of those. It is way past time for the U S Congress to include the humans in the womb in the legal status as "persons" thus bringing them under the safety "umbrella" of the rights guaranteed by the U S Constitution and its Amendments including the 14th Amendment.
For those readers who have no scientific knowledge, college core classes or any sort of education on the topic of the human in the womb, I am providing a list of medical references that you can use to educate yourself.
2) Fetal Therapy
by Mark Kilby,Anthony Johnson,Dick Oepkes
3) Obstetrics & Intrapartum Emergencies
by Edward Chandrahara,& Sabaratnam Arulkumaran
4) Analgesia,Anesthesia & Pregnancy
by Steve Yentis & Surbhi Malhotra
5) Pregnancy after Assisted Reproductive Technology
by Eric Jauniaux & Botros Rizk
6) Atlas of Oocytes, Zygotes & Embryoes in Reproductive Medicine
by Marc Van den Bergh & Thomas Ebner, & Kay Elder
7) Infertility Counseling
by Sharon Covington & Linda Hammer Burns
8) Ectopic Pregnancy
by Isabel Stabile
9) Gametes
by J.G. Grudzinskas & J.L. Yovich
10) GenEthics
by Kurt Bayertz & Susan L Kirkby, & H Tristam Englehardt,Jr
11) Prenatal Care
by Marie McCormick & Joanne Siegel
12) Ethical issues in Maternal -Fetal Medicine
by Donna Dickenson
13) Preterm Labour
by Jane Norman & Ian Greer
14) The Fetal Matrix
by Peter Gluckman & Mark Hanson
15) Environmental impacts on Reproductive Health & Fertility
by Tracey Woodruff, Sarah Janssen,Louis Guillette,Jr, & Linda Giudice
16) Biology & Pathology of the Oocyte
by Alan O Trounson & Roger G Gosden
17) Biology & Pathology of the Trophoblast
byAshley Moffett, Charlie Lake & Anne McLaren
18) The Sperm Cell
by Christopher J De Jonge & Christopher Bartlett
19) Infertility & Assisted Reproduction
by R Botros, m B Rizk, Juan Garcia_-Velasco,Hassan Sallam & Antonis Makrigiannakis
20) The Healthy Embryo
by Jeff Nisker, Francoise Baylis, Isabel Karpin,Carolyn McLeod, Roxanne Mykitiuk
21) Gametes--The Oocyte
by J. G. Grudzinskas & J.L. Yovich
22) Textbook of Clinical Embryology
by Kevin Cpward & Dagan Wells
23) Handbook of Human Oocyte Cryopreservation by Eleonora Porcu & Patrizia Ciottis, & Stefano Venturoli
24) Neonatalogy
by Richard A Polin & John M Lorenz
25) Handbook of Obstetric Medicine
by Catherine nelson-Piercy
26) High Risk Pregnancy--Management Options
by Phillip J Steer, Carl Weiner, Bernard Gonik, Caroline Crowther, & Stephanie Robson
27) Dewhurst's Textbook of Obstetrics & Gynaecology
by Keith Edmunds
plus many,many more.
https://sites.google.com/site/ArtistIllustrations/; my pencil drawings of stages of human development in womb
https://sites.google.com/site/wordslife/
https://sites.google.com/site/wordslife2/
https://sites.google.com/site/AmbassadorforLife/Home
https://sites.google.com/site/gloriapooleRN/optimumhealthisachievable
https://sites.google.com/site/optimumhealthisachievable/
https://sites.google.com/site/gloriapoolern/
https://sites.google.com/site/myRNteachingwebsites/.
And my other #prolife #personhood blogs that are each unique created one by one by me to educate on the many issues are:
https://prolife-nurse.blogspot.com
https://save-the-baby-humans.blogspot.com
https://gloriapoole-RN-artist.blogspot.com
https://publishing-life.blogspot.com
https://news-for-life.blogspot.com
https://words-that-work-LLP.blogspot.com
https://real-women-have-babies.blogspot.com
Ownership of blog and Copyright information:
https://gloriapoole.blogspot.com, DOR
Wahoo! The #personhood train is rolling across United States and Tapestry of LIFE is on-board:update
Introductory statement: This blog was begun by me Gloria Poole,
[and I am RN, artist, writer, author, photographer, cartoonist,
illustrator, UGA alum, GBH College of Nursing alum, personhood promoter]
when I lived in Colorado for a few years and had a TV show by the same
name there. I divorced a second time in Oct 2007 and moved to Missouri
in Oct 2009. I morphed the TV show to an online blog when I was injured
[on purpose by then-husband with initials DBP] and it is still my blog
with my beginnings. However my name changed from the time I began this
blog because I removed the Pappas name from my name forever at the time
of the final divorce decree in Oct 2007 from male DBP, and I resumed my
maiden name including my surname of Poole. All of that is
necessary to write for two reasons: I received alerts on my name telling
me in summary that either bad people are trying to ruin me with
information totally made up or that an imposter who was using my name
[via identity theft} was arrested in Florida. I do not yet know which is
the accurate situation. But I am not from Florida and never lived in
Florida and never had a Registered Nurse license in Florida. And Gloria
Poole is my born with name.
Now, back on topic:
The #personhood momentum is gathering speed like a snowball rolling downhill! People all across the United States and the world are realizing that humans in the womb are HUMAN from the moment the HUMAN sperm enters the HUMAN egg. There is nothing else that a human sperm and a HUMAN egg can create but a HUMAN. That is a fact.
This is very good #personhood news that shows that Christians are waking up to the words of JESUS in Matthew 18:14, King James Holy Bible as written : "Even so, it is not the will of your FATHER [GOD] in heaven that one of these little ones should perish. "
From http://christiansforpersonhood.com/about/ is this quote: "Purpose
The purpose of Christians for Personhood is to glorify God the Father, and the Lord Jesus Christ, Who is God the Son, in the power of God the Holy Spirit, by seeking to Establish Justice for pre-birth human beings, in law, at fertilization, and that without exception, because God’s Word says: “Thou shalt not kill (murder),” Exodus 20:13, KJV."
And here is more evidence of the fact that the movement to declare humans in the womb as "legal persons" covered by the U S Constitution's 14th Amendment is gaining ground:
Quote: "Dr. Ben Carson For President: Pro-Life Neurosurgeon Believes Abortion Is ‘Human Sacrifice’ http://blogs.addyourblog.com/blog_post/dr-ben-carson-for-president-prolife-neurosurgeon-believes-abortion-is-human-sacrifice-videos.
South Carolina personhood amendment has been introduced: "SC PERSONHOOD CONSTITUTIONAL AMENDMENT H.4093 Introduced in SC House April 29, 2015, Companion to S.719 "http://christiansforpersonhood.com/tag/rep-bill-chumley/
As a Registered Nurse and prolife Southern Baptist born again Christian believer [woman, white; single again] I urge all readers to rethink their opinions and to get on the side of human life and on GOD's side of the issue. I truly believe that unless "we, the people of the United States" demand a Constitutional amendment to protect the innocents in the womb from premeditated destruction at the hands of predators, that there will be another Civil War in the U S over this issue. I also think that abortion is a ritualistic form of child sacrifice forbidden by the Holy Bible and the commandments of GOD; and that all true believers must decide WHOM they will serve: THE GOD who is alive forevermore in heaven and makes humans in the wombs or the false gods of feminism, idolatry, love of money, false "empowerment".
Quoting the "Amendment XIV
Section 1.
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws."
The personhood amendment would amend the U S Constitution to include humans in the womb in the 14th Amendment protections.
You can educate yourself on the issues of human life by reading other blogs I write/own and using the medical resources I provided:
https://prolife-nurse.blogspot.com
https://save-the-baby-humans.blogspot.com
https://real-women-have-babies.blogspot.com
https://words-that-work-LLP.blogspot.com
https://gloriapoole-RN-artist.blogspot.com
https://news-for-life.blogspot.com
https://sites.google.com/site/ArtistIllustrations; which are pencil drawings I drew to illustrate some of the stages of human development.
http://gloriapoole.livejournal.com [in archives is a list of medical textbooks that you can study at libraries and or medical libraries of Universities
http://gloriapoole-UK.livejournal.com [see archives]
https://publishing-life.blogspot.com
And also remember that I paint, draw, an sketch almost every day and put #art, #sketches, #contemporary #paintings I create on other blogs of mine. You can read more about that and see some of the art I created on this blog of mine and see more art I created on the links of that blog. It is necessary to include this information for purposes of copyright of art that is signed by me with my born with name of Gloria; and or Gloria Poole; but also the names Tapestry of LIFE and words that WORK.
The #personhood momentum is gathering speed like a snowball rolling downhill! People all across the United States and the world are realizing that humans in the womb are HUMAN from the moment the HUMAN sperm enters the HUMAN egg. There is nothing else that a human sperm and a HUMAN egg can create but a HUMAN. That is a fact.
This is very good #personhood news that shows that Christians are waking up to the words of JESUS in Matthew 18:14, King James Holy Bible as written : "Even so, it is not the will of your FATHER [GOD] in heaven that one of these little ones should perish. "
From http://christiansforpersonhood.com/about/ is this quote: "Purpose
The purpose of Christians for Personhood is to glorify God the Father, and the Lord Jesus Christ, Who is God the Son, in the power of God the Holy Spirit, by seeking to Establish Justice for pre-birth human beings, in law, at fertilization, and that without exception, because God’s Word says: “Thou shalt not kill (murder),” Exodus 20:13, KJV."
And here is more evidence of the fact that the movement to declare humans in the womb as "legal persons" covered by the U S Constitution's 14th Amendment is gaining ground:
Quote: "Dr. Ben Carson For President: Pro-Life Neurosurgeon Believes Abortion Is ‘Human Sacrifice’ http://blogs.addyourblog.com/blog_post/dr-ben-carson-for-president-prolife-neurosurgeon-believes-abortion-is-human-sacrifice-videos.
South Carolina personhood amendment has been introduced: "SC PERSONHOOD CONSTITUTIONAL AMENDMENT H.4093 Introduced in SC House April 29, 2015, Companion to S.719 "http://christiansforpersonhood.com/tag/rep-bill-chumley/
As a Registered Nurse and prolife Southern Baptist born again Christian believer [woman, white; single again] I urge all readers to rethink their opinions and to get on the side of human life and on GOD's side of the issue. I truly believe that unless "we, the people of the United States" demand a Constitutional amendment to protect the innocents in the womb from premeditated destruction at the hands of predators, that there will be another Civil War in the U S over this issue. I also think that abortion is a ritualistic form of child sacrifice forbidden by the Holy Bible and the commandments of GOD; and that all true believers must decide WHOM they will serve: THE GOD who is alive forevermore in heaven and makes humans in the wombs or the false gods of feminism, idolatry, love of money, false "empowerment".
Quoting the "Amendment XIV
Section 1.
All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws."
The personhood amendment would amend the U S Constitution to include humans in the womb in the 14th Amendment protections.
You can educate yourself on the issues of human life by reading other blogs I write/own and using the medical resources I provided:
https://prolife-nurse.blogspot.com
https://save-the-baby-humans.blogspot.com
https://real-women-have-babies.blogspot.com
https://words-that-work-LLP.blogspot.com
https://gloriapoole-RN-artist.blogspot.com
https://news-for-life.blogspot.com
https://sites.google.com/site/ArtistIllustrations; which are pencil drawings I drew to illustrate some of the stages of human development.
http://gloriapoole.livejournal.com [in archives is a list of medical textbooks that you can study at libraries and or medical libraries of Universities
http://gloriapoole-UK.livejournal.com [see archives]
https://publishing-life.blogspot.com
And also remember that I paint, draw, an sketch almost every day and put #art, #sketches, #contemporary #paintings I create on other blogs of mine. You can read more about that and see some of the art I created on this blog of mine and see more art I created on the links of that blog. It is necessary to include this information for purposes of copyright of art that is signed by me with my born with name of Gloria; and or Gloria Poole; but also the names Tapestry of LIFE and words that WORK.
Deadlines
May 26, 2011
Saturday, May 21, 2011 was purportedly, the end of the world according
to some factions. I spent it in our co-op gardens with other members of
my Landscape Committee. I thought: if these are final moments, I’m
satisfied with where I am and what I’m doing. Admittedly, part of those
actions included uh, mass murdering an entire lawn area of dandelions
with a fancy tool that felt more like an efficient toy. Considering the
occasion, one could say this was overkill. But forget-me-nots, also
proliferating in the courtyard, were transplanted to bald spots around
the building perimeter and flowering shrubs cleared of detritus. In
general, we all engaged in communal acts designed towards impressions of
beauty. It’s striking how doomsday in Canada, fell on a date with many
people away from their homes because of the Victoria Day weekend. Most
of them probably had no idea of the prediction; or if they knew–
dismissed, cared little, or joked about it. I certainly did. Two
committee members were interrupted from a discussion on the logistics of
compost delivery by my solemn announcement of our impending fate. One
lifted her teacup and saluted the sky with a cheerful: “Oh well ” The
other remarked what a nice day for it and decided she’d better get going
on her garden then.
The whole business had me thinking about deadlines. What do artists do with them, especially as we age? There are deadlines for submission entries and exhibition dates when work needs to be finished. There is that length of time a practioner will allow themselves to pursue their craft, before they decide if they want to continue with it or try something else. Some artists notice as they get older, that their health and bodies start to decline at the same time when their work also gets better. Talk about racing a proverbial clock. I spoke about these concerns to a friend, another painter. We are around the same age; have had similar health issues and the attendant expenses. “Don’t think about it,” she says. “Just do it. You’ll find a way.” She’s right of course. Although it’s very likely I’ll still keep thinking about it. If anything, I have faith in the human capacity for resourcefulness. Obviously, near my own expiration, I could easily be too far gone to care about anything for all this to matter. But as long as I’m conscious, there’s always choice.
It is sobering however, to hear assessments that insist our conclusion has already begun– due to the global increase in natural and man-made disasters such as tsunamis, oil spills, earthquakes, carbon emissions and volcanoes. Despite the miscalculations of several historical Judgement Days (another is scheduled for Oct.21st,2011), it’s hard to ignore the present ecological fragility of our planet. We have an accelerated human population in contrast to the rapid decline of other species. Many people imagine themselves engaged in very friendly sex should the world terminate. Not burning or screaming or deluged. I use to sneer at this because it was usually a male scenario. As an artist though, I understand the potential courage waiting below that attitude. At the end of days, people all over the world see themselves making love their final act. Most artists, by the very nature of their profession, commit equally life-affirming gestures, every time they work in good faith, whether or not their efforts yield success. I’m very pleased we are all still here. There was never any doubt. If our demise was imminent on May 21st, I’m glad I was an artist. What a way to go.
The whole business had me thinking about deadlines. What do artists do with them, especially as we age? There are deadlines for submission entries and exhibition dates when work needs to be finished. There is that length of time a practioner will allow themselves to pursue their craft, before they decide if they want to continue with it or try something else. Some artists notice as they get older, that their health and bodies start to decline at the same time when their work also gets better. Talk about racing a proverbial clock. I spoke about these concerns to a friend, another painter. We are around the same age; have had similar health issues and the attendant expenses. “Don’t think about it,” she says. “Just do it. You’ll find a way.” She’s right of course. Although it’s very likely I’ll still keep thinking about it. If anything, I have faith in the human capacity for resourcefulness. Obviously, near my own expiration, I could easily be too far gone to care about anything for all this to matter. But as long as I’m conscious, there’s always choice.
It is sobering however, to hear assessments that insist our conclusion has already begun– due to the global increase in natural and man-made disasters such as tsunamis, oil spills, earthquakes, carbon emissions and volcanoes. Despite the miscalculations of several historical Judgement Days (another is scheduled for Oct.21st,2011), it’s hard to ignore the present ecological fragility of our planet. We have an accelerated human population in contrast to the rapid decline of other species. Many people imagine themselves engaged in very friendly sex should the world terminate. Not burning or screaming or deluged. I use to sneer at this because it was usually a male scenario. As an artist though, I understand the potential courage waiting below that attitude. At the end of days, people all over the world see themselves making love their final act. Most artists, by the very nature of their profession, commit equally life-affirming gestures, every time they work in good faith, whether or not their efforts yield success. I’m very pleased we are all still here. There was never any doubt. If our demise was imminent on May 21st, I’m glad I was an artist. What a way to go.
Eyes of the Beholder
February 15, 2013
Georgia O’keeffe painted flowers so others could see how she saw them.
She painted them big and up close; the viewer would be surprised– stop
and take a look.
– “I will make even busy New Yorkers take time to see what I see of flowers.”
But she was dismayed when people read all kinds of explicit sexual imagery in her work.
– “Well– I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and write about my flower as if I think and see what you think and see of the flower– and I don’t.”
Exposure is a given for any exhibiting artist. Some of us feel more comfortable or sensitive about it than others. When work is shown, both art and artist are now open to speculation. We go public no matter how private we are as individuals. Despite press releases, artist statements and project summaries, it’s hard to predict how viewers will think or feel about what they see. Many artists don’t want to control how spectators experience their work and avoid unsolicited explanations or guidance. They consider a variety and range of opinions, natural procedure. This attitude benefits both artist and onlooker. It demystifies, relaxes the viewing process– which allows further interest to develop. Gallery visitors may even feel confident enough to share feedback with the artist who finds the information useful for future reference. However, what about those of us who admire the generosity of such an approach but wish we could do it more often? How do we deal with reactions to our work that we find weird, dubious, or even a bit awkward? This differs from critique or analysis which evaluates the quality or success of a work by certain standards– even though criticism is often influenced by subjective response. What happens when we cannot fathom how someone arrived at their conclusions? And even when they enjoy, identify with or relate to our work, the emotional intensity towards it is rather astonishing or questionable...
At my last exhibition, I sat the gallery one weekend. A couple stopped on their way out. He asked if I was the artist. When I nodded his partner regarded me with grave concern and said: “It’s not very happy, is it?” I stifled a laugh– no disrespect was intended, but I thought humour existed in my work too and suggested they take another glance. Later, they both agreed with me; all sobriety vanished and replaced with cheerful goodbyes. Sometimes though, an artist is responsible for how their work was perceived. Peculiar receptions or misunderstandings happened due to problems with execution: perhaps another method, choice of images, or materials was better suited to their purpose. A concept or theme needed extra time to be resolved or taken further. “Bonsai Stylus” is the small painting of a pen on the upper right corner of my home page. It’s the icon link to my images website. At one show, a guest remarked that she found the piece quite “phallic.” Excuse me? A miniature landscape grows on top of the pen. On the bottom, scribbles extend from the tip to mimic roots. At least that was the idea. After hearing these details, the woman looked again. She then claimed that because the pen was enlarged, it emphasized the “shaft” quality of my object and the scribbles emerging from the “ballpoint“ resembled pubic hairs. I concede that the scrawls and roots could have been more skillfully rendered to look like what they were suppose to be. But the pen only reads pen to me. “I don’t know– maybe I just have a dirty mind,” she shrugged. I too have gazed at art produced by others with the same misconceptions, assumptions and associations people have not only stared upon mine– they’d make Georgia O’keeffe cringe in the afterlife. Years ago, a unit became available in an artists housing co-op. Volunteer members conduct interviews with potential candidates in their own suites. My appointment occurred in a lovely space the artist had converted into a loft. The walls were covered with drawings– as if in preparation for a show, which she confirmed. So far, I got that right. My impression of her work: loose, colourful images of a repeated, vortical, funnel shape. They reminded me of contractions, a birthing process– both actual and figurative, a sense of emergence I couldn’t help but connect to female sensibilities. I once completed a similar series after a number of sessions with a Jungian analyst. I thought for sure this artist was currently in therapy; her display an expression of emotional energies released through the process. I’m very glad I kept my mouth shut. No idea if my assessment was correct but an interview for an apartment was hardly the place to ask. She could have just as easily been inspired by the cosmos: an homage to the galaxies, supernovas and interplanetary forces that govern our universe. Another incident involved my admiration for someone else’s work after attending several retreats based on teachings around the Medicine Wheel. I saw totemic elements and shamanic qualities everywhere in her paintings. She listened graciously to my observations and comments, thought they were interesting, but eventually told me her approach was not consciously related to those influences.
It is possible to “redirect” a viewer’s attention towards a greater comprehension and therefore appreciation of one’s own work that will enrich their experience as well. An artist who candidly appraises their own efforts will recognize areas where changes or adjustments could have strengthened what they were trying to do, or at least, reduced misunderstandings. Seeking additional opinions also determines whether a perplexing response was unique to a sole individual or widespread. However, even supremely accomplished art elicits an assortment of reactions. Ultimately, it isn’t really about the work; how people respond reveals more about themselves, where they are coming from at any given time. The challenge for artists dismayed by odd encounters is to fortify and maintain this awareness if no further developments such as unwanted attentions ensue.
After the incident with “Bonsai Stylus” I shoved my painting in front of anyone’s face. “What’s this?” I demanded. “What does it look like?” Although initially startled and nervous because they thought it was a test, most decided to have fun with it. “A tree grows in penmanship.” “A pen leaking ink.” “It’s a pantry, no– pentree! ” “Bic pen grows into Big Pen.”
– “I will make even busy New Yorkers take time to see what I see of flowers.”
But she was dismayed when people read all kinds of explicit sexual imagery in her work.
– “Well– I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and write about my flower as if I think and see what you think and see of the flower– and I don’t.”
Exposure is a given for any exhibiting artist. Some of us feel more comfortable or sensitive about it than others. When work is shown, both art and artist are now open to speculation. We go public no matter how private we are as individuals. Despite press releases, artist statements and project summaries, it’s hard to predict how viewers will think or feel about what they see. Many artists don’t want to control how spectators experience their work and avoid unsolicited explanations or guidance. They consider a variety and range of opinions, natural procedure. This attitude benefits both artist and onlooker. It demystifies, relaxes the viewing process– which allows further interest to develop. Gallery visitors may even feel confident enough to share feedback with the artist who finds the information useful for future reference. However, what about those of us who admire the generosity of such an approach but wish we could do it more often? How do we deal with reactions to our work that we find weird, dubious, or even a bit awkward? This differs from critique or analysis which evaluates the quality or success of a work by certain standards– even though criticism is often influenced by subjective response. What happens when we cannot fathom how someone arrived at their conclusions? And even when they enjoy, identify with or relate to our work, the emotional intensity towards it is rather astonishing or questionable...
At my last exhibition, I sat the gallery one weekend. A couple stopped on their way out. He asked if I was the artist. When I nodded his partner regarded me with grave concern and said: “It’s not very happy, is it?” I stifled a laugh– no disrespect was intended, but I thought humour existed in my work too and suggested they take another glance. Later, they both agreed with me; all sobriety vanished and replaced with cheerful goodbyes. Sometimes though, an artist is responsible for how their work was perceived. Peculiar receptions or misunderstandings happened due to problems with execution: perhaps another method, choice of images, or materials was better suited to their purpose. A concept or theme needed extra time to be resolved or taken further. “Bonsai Stylus” is the small painting of a pen on the upper right corner of my home page. It’s the icon link to my images website. At one show, a guest remarked that she found the piece quite “phallic.” Excuse me? A miniature landscape grows on top of the pen. On the bottom, scribbles extend from the tip to mimic roots. At least that was the idea. After hearing these details, the woman looked again. She then claimed that because the pen was enlarged, it emphasized the “shaft” quality of my object and the scribbles emerging from the “ballpoint“ resembled pubic hairs. I concede that the scrawls and roots could have been more skillfully rendered to look like what they were suppose to be. But the pen only reads pen to me. “I don’t know– maybe I just have a dirty mind,” she shrugged. I too have gazed at art produced by others with the same misconceptions, assumptions and associations people have not only stared upon mine– they’d make Georgia O’keeffe cringe in the afterlife. Years ago, a unit became available in an artists housing co-op. Volunteer members conduct interviews with potential candidates in their own suites. My appointment occurred in a lovely space the artist had converted into a loft. The walls were covered with drawings– as if in preparation for a show, which she confirmed. So far, I got that right. My impression of her work: loose, colourful images of a repeated, vortical, funnel shape. They reminded me of contractions, a birthing process– both actual and figurative, a sense of emergence I couldn’t help but connect to female sensibilities. I once completed a similar series after a number of sessions with a Jungian analyst. I thought for sure this artist was currently in therapy; her display an expression of emotional energies released through the process. I’m very glad I kept my mouth shut. No idea if my assessment was correct but an interview for an apartment was hardly the place to ask. She could have just as easily been inspired by the cosmos: an homage to the galaxies, supernovas and interplanetary forces that govern our universe. Another incident involved my admiration for someone else’s work after attending several retreats based on teachings around the Medicine Wheel. I saw totemic elements and shamanic qualities everywhere in her paintings. She listened graciously to my observations and comments, thought they were interesting, but eventually told me her approach was not consciously related to those influences.
It is possible to “redirect” a viewer’s attention towards a greater comprehension and therefore appreciation of one’s own work that will enrich their experience as well. An artist who candidly appraises their own efforts will recognize areas where changes or adjustments could have strengthened what they were trying to do, or at least, reduced misunderstandings. Seeking additional opinions also determines whether a perplexing response was unique to a sole individual or widespread. However, even supremely accomplished art elicits an assortment of reactions. Ultimately, it isn’t really about the work; how people respond reveals more about themselves, where they are coming from at any given time. The challenge for artists dismayed by odd encounters is to fortify and maintain this awareness if no further developments such as unwanted attentions ensue.
After the incident with “Bonsai Stylus” I shoved my painting in front of anyone’s face. “What’s this?” I demanded. “What does it look like?” Although initially startled and nervous because they thought it was a test, most decided to have fun with it. “A tree grows in penmanship.” “A pen leaking ink.” “It’s a pantry, no– pentree! ” “Bic pen grows into Big Pen.”
Eye-Drawing
November 7, 2010
My cat has been stalking me. I decided to stalk her back– with a
sketchbook. Nothing distracts potential ambush like a black book and
drawing implement whipped out in front of her face. I furiously scribble
impressions of feline interruptus curioso before she twitches again.
It’s been a while since I resumed the sketchbook. My work involves
mainly thumbnail drawings– and then it’s straight to canvas with
occasional stops to transfer images from tracing paper. With the
reinstatement of the sketchbook, came the faculty of “eye-drawing.” It’s
become my secret pleasure. I do it at work, on the subway, in
restaurants or walking down the street. Blame it on the cat, but the
looking and seeing required to draw anything again, has spilled out into
the world; refreshed my vision. Eye-drawing is performed without art
tools or supplies; yet an artist still needs to be present with what
they observe. It’s an exercise where everyone is viewed as a possible
drawing and how the results appear in the imagination. To prevent this
from turning into a prurient activity, I regard all who captivate my
interest with respectful appreciation. This actually isn’t hard,
provided I take casual, neutral glances and don’t stare. During art
school, attractive models were always a challenge to draw because I
found them least interesting. It was harder to glean human essence
overlaid by the glamour of good looks. With eye-drawing, I became once
again, more intrigued by prominent noses, girth, set mouths etc. The
fictional conté crayon described what animated the physicality of a
person much better when they had unusual or outstanding characteristics.
Often I just focused on body parts: hands (my favourite), profiles,
torso views. These were easier to do because lengthy observation was
less noticeable. Stop lights choreographed one-minute gestures from
pedestrians waiting for signal changes. Bank tellers, cashiers, service
attendants offered longer poses. Bus routes and the passengers within,
transformed into a cornucopia of models in extended positions. I used up
whole sticks of phantom charcoal on Toronto Transit alone. Then things
got weird. Sometimes I mentally x-rayed others through their clothes, to
discern structural anatomy underneath, and drew from there. The
strangeness had nothing to do with a “I see naked people” kind of thing.
I began to feel towards my subjects, a mixture of tenderness and
melancholy. By “stripping people down”, I exposed myself to their
humanity in mass proportions. I saw a television show once, about a
character who developed the superpower to hear everyone’s thoughts. She
was overwhelmed not just by the noise, but also the revelation of so
much longing, anguish and fear. My experience felt similar except on a
visual level. I understand now why life-drawing sessions need to be
contained by the structure and intent of a learning or studio
environment. What the hand interprets from visual perception, as well as
time limits set for poses, regulates how much information is processed
in a given period. It’s a good system; I appreciate it more than ever.
Haven’t suspended eye-drawing completely though; just cut back. Whenever
a tidal sense of over-identification with the humanity in front of me
threatens to engulf, I pause from tracing the figure in my mind.
Instead, I gently think: there goes another work of art.
Black Outfits and Berets
November 20, 2011
Non-artists often tell me I’m lucky because I’m doing what I want to do.
Generally, I agree with that. Without art, I’m just another library
worker obscured by rows of books. However these remarks usually come
from individuals who made choices in their own lives that lacked
fulfillment, or else they have yet to discover what it is they really
want to do. When people consider my artist life as an alternative to
their frustrated one, it might not be art they actually long to pursue,
so much as something authentic they can finally believe in, enough to
devote their time. To them, an artist represents freedom, a sense of
identity and meaningful vocation. How does one find a balance between
sharing the reality of being an artist without discouraging those
interested from gaining their own experience? If there’s real
unhappiness or crisis in front of me, I’m careful about my response. I
want to tell the truth: my decision to be an artist was a good one. I’d
recommend it to anybody who feels compelled or curious to explore what
it has to offer. An involvement with art provides benefits on many
levels. From sheer pleasure to the interpretation of universal truths
shared with others– art is useful. I would never deny its potential for
enrichment to those contemplating a change or seeking answers. But my
opinion is biased because art happens to be right for me.
Romantic notions, even glamour surrounds the mystique of being an artist. Refugees from ordinary life do arrive at industrial lofts to follow a dream or at least their version of one. I’ve encountered neighbours who enjoyed being around artists and creative energy, more than they cared to produce work themselves. Others, timid and anxious at first, eventually thrived when being part of an artistic community motivated and supported their efforts. For 14 yrs. I rented lofts in warehouses and lived illegally in all of them, including one apparently owned by the Mafia. For several years, my wardrobe was totally black– the berets as well. I met new people, got exposed to their work, was invited to parties and events. On the surface, it sounds stimulating, adventuresome, more fun than say, being controlled or defined by other peoples’ rules, demands or values. But the real reason I lived in my studio was economic. I couldn’t afford a separate workplace from my residence while the housing I could afford was limited or ill-suited for large scale explorations. Those lofts also had safety issues, were noisy, and frequently stank of gag-worthy solvents. Black clothes were not a fashion statement but a laundry one. It was just easier to dump everything in one wash without paying attention to special garment care. Besides, I thought time wasted on fussing over what to wear was better spent art-making, especially on filthy premises. Invitations to many parties occurred by default. They thundered either above, below, next door or down the hall from me. Smoke, drink and drugs were a given which was ironic because to this day, I still don’t smoke, drink or do drugs– and didn’t then. In fact, party animal here, preferred (gasp!) sleep more than any chance to talk over loud music, or the privilege of feigning appreciation for an improv band. Longevity in such environments depended on one’s intentions and/or the depth of a commitment. I must emphasize: not every dedicated artist has gone this route. No law decrees loft-living a prerequisite towards becoming a “real” artist. Artists work anywhere they can find space. They may rent studios with others for workspace only and have separate home addresses– with or without roommates as well– or make do with the living room in an apartment or house. However for those who sleep in commercial spaces, unless there’s a good reason to stay, the deprivations alone will drive out tenants who can better research their options elsewhere. If the externals of bohemian life demand fortitude even from the serious artist, imagine the inner, psychic, soul-hammering challenges provoked in tandem with a creative process.
Artists do what they must in order to facilitate various stages in their career. This may involve a grand gesture, or leap of faith into unknown, untested territory. It could also be a quiet, but no less potent resolve to finally allow themselves space and time to practice their craft, without disturbance or distraction from significant others they have no desire to abandon for the sake of art. Whatever the act, it’s importance can change over time or go in another direction. Even flamboyant artists have returned to lives that look an awful lot like the one an earnest, yet vulnerable seeker is anxious to leave. Although I still enjoy the vitality of a colourful neighbourhood like Queen St. West, and the eccentric behaviour of its denizens, other factors inspire me to work now. Many artists who have been at it for a while lead unassuming lives that pretty much resemble everyone else’s. At least on the outside. They have grandkids, take calcium supplements and wear orthotics. They’re too old to cope without plumbing. The difference is what they bring back to the places they left and what continues to go out into the world from their endeavors.
A group from my co-op came to my last solo show. Astonished at the amount of work, they never knew this was what I did, as one woman put it, “in that little apartment.” Ultimately, what I’d reveal to someone who compares their dissatisfied life to mine, is that truly, I am quite dull by any social standards. Other than art, I don’t do much or go anywhere, except for my job. If they’re still attracted to some fantasy about what constitutes an artist’s life, I’d suggest they try making art first. Give creative expression a chance to address the source of malcontent. If allowed, the process does have the potential to guide and inform them towards what is genuinely needed for their own unique situation.
Romantic notions, even glamour surrounds the mystique of being an artist. Refugees from ordinary life do arrive at industrial lofts to follow a dream or at least their version of one. I’ve encountered neighbours who enjoyed being around artists and creative energy, more than they cared to produce work themselves. Others, timid and anxious at first, eventually thrived when being part of an artistic community motivated and supported their efforts. For 14 yrs. I rented lofts in warehouses and lived illegally in all of them, including one apparently owned by the Mafia. For several years, my wardrobe was totally black– the berets as well. I met new people, got exposed to their work, was invited to parties and events. On the surface, it sounds stimulating, adventuresome, more fun than say, being controlled or defined by other peoples’ rules, demands or values. But the real reason I lived in my studio was economic. I couldn’t afford a separate workplace from my residence while the housing I could afford was limited or ill-suited for large scale explorations. Those lofts also had safety issues, were noisy, and frequently stank of gag-worthy solvents. Black clothes were not a fashion statement but a laundry one. It was just easier to dump everything in one wash without paying attention to special garment care. Besides, I thought time wasted on fussing over what to wear was better spent art-making, especially on filthy premises. Invitations to many parties occurred by default. They thundered either above, below, next door or down the hall from me. Smoke, drink and drugs were a given which was ironic because to this day, I still don’t smoke, drink or do drugs– and didn’t then. In fact, party animal here, preferred (gasp!) sleep more than any chance to talk over loud music, or the privilege of feigning appreciation for an improv band. Longevity in such environments depended on one’s intentions and/or the depth of a commitment. I must emphasize: not every dedicated artist has gone this route. No law decrees loft-living a prerequisite towards becoming a “real” artist. Artists work anywhere they can find space. They may rent studios with others for workspace only and have separate home addresses– with or without roommates as well– or make do with the living room in an apartment or house. However for those who sleep in commercial spaces, unless there’s a good reason to stay, the deprivations alone will drive out tenants who can better research their options elsewhere. If the externals of bohemian life demand fortitude even from the serious artist, imagine the inner, psychic, soul-hammering challenges provoked in tandem with a creative process.
Artists do what they must in order to facilitate various stages in their career. This may involve a grand gesture, or leap of faith into unknown, untested territory. It could also be a quiet, but no less potent resolve to finally allow themselves space and time to practice their craft, without disturbance or distraction from significant others they have no desire to abandon for the sake of art. Whatever the act, it’s importance can change over time or go in another direction. Even flamboyant artists have returned to lives that look an awful lot like the one an earnest, yet vulnerable seeker is anxious to leave. Although I still enjoy the vitality of a colourful neighbourhood like Queen St. West, and the eccentric behaviour of its denizens, other factors inspire me to work now. Many artists who have been at it for a while lead unassuming lives that pretty much resemble everyone else’s. At least on the outside. They have grandkids, take calcium supplements and wear orthotics. They’re too old to cope without plumbing. The difference is what they bring back to the places they left and what continues to go out into the world from their endeavors.
A group from my co-op came to my last solo show. Astonished at the amount of work, they never knew this was what I did, as one woman put it, “in that little apartment.” Ultimately, what I’d reveal to someone who compares their dissatisfied life to mine, is that truly, I am quite dull by any social standards. Other than art, I don’t do much or go anywhere, except for my job. If they’re still attracted to some fantasy about what constitutes an artist’s life, I’d suggest they try making art first. Give creative expression a chance to address the source of malcontent. If allowed, the process does have the potential to guide and inform them towards what is genuinely needed for their own unique situation.
Gratitude Now and Then
August 7, 2010
Several years ago, I sold a large painting. Relieved that I didn’t have
to arrange transport (don’t drive), happy to afford some needed
expenses, and generally pleased with the unexpected sale (it was in an
artist-run space), something else kicked into the midst of this
euphoria. The client was actually on the Board of Directors. The mind,
the mind– it started: she’s buying it out of compensation for damage to
the work I don’t know about. She wants a favour and my painting is
leverage. (I knew she was involved in many organizations). This is a
whim. She’ll change her mind. What if she goes through with it and has
regrets? My work will just go into storage and languish in the
collective unconscious of forgotten possessions.
The cheque arrived in the mail along with a lovely note, describing the foyer location where the work now hung so that it was the first art seen upon entrance. A month later, I got a friendly letter of personal thanks for a small donation I made to her charity because despite all evidence to the contrary, I still could not believe there wasn’t a catch. The same day I cashed her cheque, I mailed a donation out of precaution, in case she had future considerations about me for memberships or volunteer work. I will never know if that action was justified. If it was– clever me; if not, how sad.
Is there some reflex that programs artists to doubt good fortune? Why is it so hard for some of us to truly accept a blessing when it finds us? Are we so accustomed and habituated to struggle and disappointment that should moments of reprieve and grace arrive, we are genuinely unable to appreciate them? Or is it just human nature to remember mostly, the bad and the negative? After all, it’s easier to subordinate a good experience because it weighs less heavily upon us.
No doubt, perils exist for naive, unsuspecting or inexperienced artists. It’s natural to become vigilant and circumspect out of self-preservation. Remember the internet scam with the diplomat from India eager to buy from every artist who had a website? If you Googled him, there was a legitimate person, replete with photo ID, personal history and a short description about his interest in art. Problem was, his wallet had been reported missing according to the RCMP. Then there was this odd practice new galleries adopted a few of years ago. For a fee, they were willing to retain your dossier and support materials. Lots of galleries do this for free! Imagine– a venue that doesn’t offer a show, but keeps, loses, ignores, or neglects to return your submission and SASE for a price. In all fairness– again, the stress that up till then, galleries did this without charge– the emphasis on a broad-based clientele who consulted these “files” on a regular basis, served as a thin attempt to convince the artist of a benefit without chicanery or fraud. Far be it from me to advocate that artists relinquish their guard. In business transactions, many of us have neither agents nor representatives to act on our behalf. This does force us to take care of ourselves. We will have to question and investigate a dubious opportunity, compare experiences– if only to mass warn other artists by email or public notice, when a “scam du jour” prowls for targets. Besides, no one converts from a mistrustful, anxious, cynic into Sunshine-Lollipops overnight (medication aside).
However, art is no different from any other potential in life to lose our innocence. When perpetual, long-term suspicion unknowingly becomes the default response– for some, it encroaches upon the pleasure of being an artist. We need to protect more than our chances of being taken advantage of by another, if scepticism and caution dominate our commercial dealings– even when justified. Something else must ensure that whatever soulful element compels us as artists, continues to survive and flourish. Eight years ago, I applied to several recommender galleries for Exhibition Assistance. All declined. I moaned about this to a sculptor friend who then asked if I’d ever received one of these grants before. The question stopped me dumb. I forgot– I’ve had six of them! To his credit, instead of muttering something like “what a princess,” my friend also paused when I sheepishly told him. Finally all he said was, “You’ve dipped too often from that well.” Now would be a good time to plead a case for gratitude. It is so underrated. Often, all it takes is a periodic review, of an overlooked evidence of gifts taken for granted, or regrettably, scorned. I’ve heard artists describe how they were so absorbed in their struggles, a little bit of luck became just that: meagre, insignificant, transient, and forgettable compared to the challenges of, and resources needed to be a professional artist. One painter actually found “crumbs” more of a distraction and stress, because of the hope and expectations they raised. Too much time and distance would often lapse between distributions. She had to ignore or dismiss them, just to get on with her work. I’m all for any harmless method that produces work. I admire those who measure both success and failure with equanimity, without undue influence from either. But sometimes, an artist just has to suck it up, admit and enjoy the validations received, whether they like to or not. We have a right to appreciate luck or a good result from our efforts. This entails doing math to literally, count the blessings when the tendency is to disparage them for being inadequate, or a wicked temptation towards false hope. So what if someone buys a big painting with the intent to later, solicit a donation of work towards a fund-raising auction in support of pediatric research? I’m an adult; I can dance with that. I’d probably agree to such an auction anyway, but I can also refuse (and feel like a dung beetle, but it is an option).
Gratitude helps to balance rote, defensive reflexes. It loosens the crick I got in my neck from trying to watch my back. Anything that puts heart back into my work will do. It doesn’t even have to be a conventional standard of recognition or acclaim such as a monetary gain, critical praise, or an invitation to a prestigious Biennale. Little things make a difference : being offered a ride to an out of town opening. Cadmium Red on sale so I still had money left for broccoli. Art books given to me from an estate. When I forage in my background, what another artist might consider “crumbs” reveals some of the most nourishing, thankful memories to date. Finding a subsidized place to live and paint in a beautiful neighbourhood. The part-time job that gives me an unexpected venue to show my work. A Christmas card from a shy woman who attended one of my shows. In it she writes that seeing my work made her want to paint and now she has a piece on display at the same gallery. The mailbox I painted with songbirds for a sick friend; the happiness she says it brings her every time she comes home from chemotherapy. Et cetera.
The cheque arrived in the mail along with a lovely note, describing the foyer location where the work now hung so that it was the first art seen upon entrance. A month later, I got a friendly letter of personal thanks for a small donation I made to her charity because despite all evidence to the contrary, I still could not believe there wasn’t a catch. The same day I cashed her cheque, I mailed a donation out of precaution, in case she had future considerations about me for memberships or volunteer work. I will never know if that action was justified. If it was– clever me; if not, how sad.
Is there some reflex that programs artists to doubt good fortune? Why is it so hard for some of us to truly accept a blessing when it finds us? Are we so accustomed and habituated to struggle and disappointment that should moments of reprieve and grace arrive, we are genuinely unable to appreciate them? Or is it just human nature to remember mostly, the bad and the negative? After all, it’s easier to subordinate a good experience because it weighs less heavily upon us.
No doubt, perils exist for naive, unsuspecting or inexperienced artists. It’s natural to become vigilant and circumspect out of self-preservation. Remember the internet scam with the diplomat from India eager to buy from every artist who had a website? If you Googled him, there was a legitimate person, replete with photo ID, personal history and a short description about his interest in art. Problem was, his wallet had been reported missing according to the RCMP. Then there was this odd practice new galleries adopted a few of years ago. For a fee, they were willing to retain your dossier and support materials. Lots of galleries do this for free! Imagine– a venue that doesn’t offer a show, but keeps, loses, ignores, or neglects to return your submission and SASE for a price. In all fairness– again, the stress that up till then, galleries did this without charge– the emphasis on a broad-based clientele who consulted these “files” on a regular basis, served as a thin attempt to convince the artist of a benefit without chicanery or fraud. Far be it from me to advocate that artists relinquish their guard. In business transactions, many of us have neither agents nor representatives to act on our behalf. This does force us to take care of ourselves. We will have to question and investigate a dubious opportunity, compare experiences– if only to mass warn other artists by email or public notice, when a “scam du jour” prowls for targets. Besides, no one converts from a mistrustful, anxious, cynic into Sunshine-Lollipops overnight (medication aside).
However, art is no different from any other potential in life to lose our innocence. When perpetual, long-term suspicion unknowingly becomes the default response– for some, it encroaches upon the pleasure of being an artist. We need to protect more than our chances of being taken advantage of by another, if scepticism and caution dominate our commercial dealings– even when justified. Something else must ensure that whatever soulful element compels us as artists, continues to survive and flourish. Eight years ago, I applied to several recommender galleries for Exhibition Assistance. All declined. I moaned about this to a sculptor friend who then asked if I’d ever received one of these grants before. The question stopped me dumb. I forgot– I’ve had six of them! To his credit, instead of muttering something like “what a princess,” my friend also paused when I sheepishly told him. Finally all he said was, “You’ve dipped too often from that well.” Now would be a good time to plead a case for gratitude. It is so underrated. Often, all it takes is a periodic review, of an overlooked evidence of gifts taken for granted, or regrettably, scorned. I’ve heard artists describe how they were so absorbed in their struggles, a little bit of luck became just that: meagre, insignificant, transient, and forgettable compared to the challenges of, and resources needed to be a professional artist. One painter actually found “crumbs” more of a distraction and stress, because of the hope and expectations they raised. Too much time and distance would often lapse between distributions. She had to ignore or dismiss them, just to get on with her work. I’m all for any harmless method that produces work. I admire those who measure both success and failure with equanimity, without undue influence from either. But sometimes, an artist just has to suck it up, admit and enjoy the validations received, whether they like to or not. We have a right to appreciate luck or a good result from our efforts. This entails doing math to literally, count the blessings when the tendency is to disparage them for being inadequate, or a wicked temptation towards false hope. So what if someone buys a big painting with the intent to later, solicit a donation of work towards a fund-raising auction in support of pediatric research? I’m an adult; I can dance with that. I’d probably agree to such an auction anyway, but I can also refuse (and feel like a dung beetle, but it is an option).
Gratitude helps to balance rote, defensive reflexes. It loosens the crick I got in my neck from trying to watch my back. Anything that puts heart back into my work will do. It doesn’t even have to be a conventional standard of recognition or acclaim such as a monetary gain, critical praise, or an invitation to a prestigious Biennale. Little things make a difference : being offered a ride to an out of town opening. Cadmium Red on sale so I still had money left for broccoli. Art books given to me from an estate. When I forage in my background, what another artist might consider “crumbs” reveals some of the most nourishing, thankful memories to date. Finding a subsidized place to live and paint in a beautiful neighbourhood. The part-time job that gives me an unexpected venue to show my work. A Christmas card from a shy woman who attended one of my shows. In it she writes that seeing my work made her want to paint and now she has a piece on display at the same gallery. The mailbox I painted with songbirds for a sick friend; the happiness she says it brings her every time she comes home from chemotherapy. Et cetera.
Stretching Canvas, Throwing Clay, Jogging Memory: Art and Exercise
June 7, 2010
Walking along Harbord Street the other day, I noticed, jogging towards me, a woman pushing an odd piece of equipment. She was dressed in a sleek body suit and cap. The object guided in front looked like one of those chariot bikes where someone almost lies on their back and the front wheel is held at the end of an arm bar–an elusive disc the rest of the bike tries to catch. Closer, I realized there was indeed someone inside this contraption: her baby. Cute little thing was dressed in a toque, wrapped in blankets and set deep enough into this hi-tech stroller to prevent spillage should mum hit a fault or swing a curb. The goal I presumed, involved daily exercise for the woman combined with quality time spent with her child in fresh air.
As the future intimates less and less time at our convenience, with more demands to meet, there is a challenge to find both time and energy saving solutions. Artists are no different. If we don’t hire apprentices, assistants or others, we definitely need to be physically able to execute our own work. The more we can do it with some degree of health and fitness, the longer we can sustain effort. This is problematic for artists who struggle financially and can’t afford expensive classes or equipment. Less than adequate nutrition and a general lifestyle neglect of one’s constitution makes many artists vulnerable to illness, fatigue and overall malaise.
But do artists need to be fitness gurus or engage in some training program? I don’t think it hurts. If done in moderation and tailored to professional demands, certain aspects of endurance, strength, flexibility, timing, balance and hey–even speed can serve an artist in their craft.
I felt an obligation to research possibilities using the same qualities of imagination and craftiness I would otherwise employ in my work, yet kept in mind a necessary budget. I scanned the studio for potential opportunities to integrate an exercise routine within the daily practice of my art. For example, I noticed 8 ounce jars of Liquitex/Onyx/Golden acrylics could substitute for weights. Standing erect, jars gripped in palms facing up, arms straight out, I bent my elbows until the jars touched my shoulders. This not only flexed and pumped the upper arms but gave good shake and mix to the chartreuse pigment inside the containers when done ten-fifteen times. If I turned the wrists out while the jars were still at shoulder level, I could push up overhead in alternate repetitions. To be effective though, I really had to secure the lids to avoid full spectrum showers. Another exercise involved using a stretcher for cardiovascular workouts. Before installing the crossbar, (while there’s still that big square hole of space) I could do enough step/hops into and out of the picture frame to make an aerobics instructor curious but proud. Tripping was a problem as well as skipping. I almost whacked the TV and my poor cat warming on top of it when I tried to test it for a potential (hard) jump rope. Nixed that idea.
As I waited for paint to dry, nothing, nothing compared to the wooden tip of a bristle brush poised on my index finger as a test for balance and coordination. Zen moments arrived when the brush remained perfectly still. I increased the difficulty by rising up and down on my toes. Mastery took practice.
These are but a few examples from a painter’s studio. I have no idea what innovation and potential lies with say, sculptors who truly hoist their bronze, lumber or stone. How about the dexterity to mimic rowing from the printmaker’s press or the photographer who truly must hike and climb for outdoor shots? These people must need some regimen to maintain health and fitness for such demands. (I actually do set aside time daily for tai chi (my god, is it slow) and walking).
Drawing in the Shadows of Light
March 14, 2012
In my first year, newly dispatched from art school, I adopted a mandate
to create work that was positive and uplifting. Bright, warm colours,
whimsical subject matter and lyricism dominated my canvasses. Other
artists my age seemed drawn to the same range and calibre of intention .
It made sense to apply freshly honed skills and learning in a way that
correlated with the affirmative gestures of creative activity. Below
pools of consciousness though, lurked an old maxim that whispered: "You
have to suffer for your art."
There is a prevalent belief that only pain, struggle, and difficulty will coax artistic genius to swim up from its guarded depths. The tragic lives of many artists appear to support this. I question, though, whether there is a misconception about the role suffering plays in an artist’s life. Many of us are quite familiar with the particular trials associated with creative professions. They include but are no means limited to, the relatively marginal status of the artist in conventional society. The challenge of coming up with ideas, of discovering work that we really want to do. Personal sacrifices in comfort, security. Self-doubt regarding one’s skills and ability to complete the necessary tasks for our projects. The difficulty of finding appropriate sources of funding, promotion and exhibition venues. Disillusion and discouragement that arises when discrepancies occur between our goals for desired success and actual achievement. Apart from irregular, spotty or little financial gain– disinterest, misunderstanding and sometimes unexpected harassment can result as negative feedback generated by our work.
Internal conflicts are equally taxing and demanding of an artist’s psyche and coping skills as much as career disappointment and obstacles. Artists manifest the rich inner world of ideas, emotion and spirit. In the studio, we have the power to control, revise, add and subtract, each according to our volition. Life is rarely so co-operative or facile. Stress and tension emerge when the sovereignty of creative practice conflicts with life’s vagaries, its abrasive reality, uncertainty and instability. For some of us, reconciliation between the generative quality of artistic production and the despairs of suffering become a life-long struggle. Recovery and endurance are often delayed when the causes for suffering continue longer than the time and resources necessary for healing.
Personally, I don’t believe artists have to suffer for their art; but they do need to stay open enough to feel, and ultimately, that does include both the pleasures and the pains. Nobody needs to go out of their way to deliberately seek out trouble, put their health and safety at risk, inflict harm upon themselves (or have others do it to them) for the sake of a good painting. There are enough custom-built opportunities in one lifespan for broken-heartedness to emerge as a given, if we are at all engaged in life and responsive to our experiences. Life involves suffering. The trajectory from birth to death will at some point, include anything from our own ageing, losses in family, friends and other relationships, betrayals, accidents, illnesses and the mysteries of chance and bad luck. The ability to feel is what suffuses our creations with depth, meaning and soul. But the receptors which allow the joys and ecstasies of inspiration to enter and guide us, also permit the sorrows. It is what keeps us human and makes the art we do communicate as well as it can to others.
However, there is room for artists of the 21st century to be individuals who have come to terms with most of their complexes and neuroses. Our visions and ideas are needed for consideration in the world, especially if they at all offer alternative solutions, different perspectives or insight into problems at many levels of human existence. To facilitate this, staying sane, healthy and alive is an asset. For some artists, this means finding another way to process pain, other than self-destructive or addictive behaviours. One method lies in the act of creative self-expression itself: art can serve as catharsis for both the maker and viewer. It is possible to address issues and move a little closer to relief by rendering strife visible with line, shape and colour. But persistent, repeated representations of anguish sometimes have a reverse, deleterious effect. Instead of understanding or even education, continued assertions of despair can maintain or reinforce suffering as the status quo. That may be the reality for some lives. Yet art also teaches, heals, and motivates through humour, beauty, and joy as well as identification. Some of my best paintings have been accomplished through both the debilitating provocations of depression, and the warm, nurturing security of happiness. Peculiar also, is the satisfaction and delight derived from completing work that actually deals with emotional turmoil as a theme. Due to the sheer pleasure of art-making, other artists have also reported that, despite personally raw or horrific content employed in their work, the act of mixing colours, organizing spatial elements and drafting images still allowed them to enjoy themselves. Arguably, this transformative relationship between art and suffering is the kernel of truth behind the cliche and, paradoxically, what makes it a myth as well.
In Memoriam: The Dragon Boy 1988-2012
There is a prevalent belief that only pain, struggle, and difficulty will coax artistic genius to swim up from its guarded depths. The tragic lives of many artists appear to support this. I question, though, whether there is a misconception about the role suffering plays in an artist’s life. Many of us are quite familiar with the particular trials associated with creative professions. They include but are no means limited to, the relatively marginal status of the artist in conventional society. The challenge of coming up with ideas, of discovering work that we really want to do. Personal sacrifices in comfort, security. Self-doubt regarding one’s skills and ability to complete the necessary tasks for our projects. The difficulty of finding appropriate sources of funding, promotion and exhibition venues. Disillusion and discouragement that arises when discrepancies occur between our goals for desired success and actual achievement. Apart from irregular, spotty or little financial gain– disinterest, misunderstanding and sometimes unexpected harassment can result as negative feedback generated by our work.
Internal conflicts are equally taxing and demanding of an artist’s psyche and coping skills as much as career disappointment and obstacles. Artists manifest the rich inner world of ideas, emotion and spirit. In the studio, we have the power to control, revise, add and subtract, each according to our volition. Life is rarely so co-operative or facile. Stress and tension emerge when the sovereignty of creative practice conflicts with life’s vagaries, its abrasive reality, uncertainty and instability. For some of us, reconciliation between the generative quality of artistic production and the despairs of suffering become a life-long struggle. Recovery and endurance are often delayed when the causes for suffering continue longer than the time and resources necessary for healing.
Personally, I don’t believe artists have to suffer for their art; but they do need to stay open enough to feel, and ultimately, that does include both the pleasures and the pains. Nobody needs to go out of their way to deliberately seek out trouble, put their health and safety at risk, inflict harm upon themselves (or have others do it to them) for the sake of a good painting. There are enough custom-built opportunities in one lifespan for broken-heartedness to emerge as a given, if we are at all engaged in life and responsive to our experiences. Life involves suffering. The trajectory from birth to death will at some point, include anything from our own ageing, losses in family, friends and other relationships, betrayals, accidents, illnesses and the mysteries of chance and bad luck. The ability to feel is what suffuses our creations with depth, meaning and soul. But the receptors which allow the joys and ecstasies of inspiration to enter and guide us, also permit the sorrows. It is what keeps us human and makes the art we do communicate as well as it can to others.
However, there is room for artists of the 21st century to be individuals who have come to terms with most of their complexes and neuroses. Our visions and ideas are needed for consideration in the world, especially if they at all offer alternative solutions, different perspectives or insight into problems at many levels of human existence. To facilitate this, staying sane, healthy and alive is an asset. For some artists, this means finding another way to process pain, other than self-destructive or addictive behaviours. One method lies in the act of creative self-expression itself: art can serve as catharsis for both the maker and viewer. It is possible to address issues and move a little closer to relief by rendering strife visible with line, shape and colour. But persistent, repeated representations of anguish sometimes have a reverse, deleterious effect. Instead of understanding or even education, continued assertions of despair can maintain or reinforce suffering as the status quo. That may be the reality for some lives. Yet art also teaches, heals, and motivates through humour, beauty, and joy as well as identification. Some of my best paintings have been accomplished through both the debilitating provocations of depression, and the warm, nurturing security of happiness. Peculiar also, is the satisfaction and delight derived from completing work that actually deals with emotional turmoil as a theme. Due to the sheer pleasure of art-making, other artists have also reported that, despite personally raw or horrific content employed in their work, the act of mixing colours, organizing spatial elements and drafting images still allowed them to enjoy themselves. Arguably, this transformative relationship between art and suffering is the kernel of truth behind the cliche and, paradoxically, what makes it a myth as well.
In Memoriam: The Dragon Boy 1988-2012
Shut Up and Paint
sday, April 7, 2010
When I first moved into my present co-op, I joined the Landscape
Committee. We are fortunate enough to have splendid gardens, lovingly
maintained by volunteers. Notices for work parties are posted to invite
participation for annual clean-ups, plantings and special projects. One
day I was weeding the rock garden when another member approached me, and
proceeded to give a detailed account of the reasons why she couldn't
help out as much that year. It sounded like she was just too preoccupied
with other things going on in her life, which was perfectly
understandable. Things come up. Schedules conflict. People are too hung
over to venture out into the bludgeoning daylight of a Sunday morning.
Perhaps it had nothing to do with gardening at all; my neighbour simply
needed to discuss her problems at the time, and it distracted her from
an activity she normally enjoyed. However, I couldn't help but notice
that in the half hour spent describing all the obstacles to her love of
gardening, she could have just reached down and yanked out one of the
choke vines tickling the necks of our daylilies.
This made me wonder how discourse affects our work as artists, in every stage of the creative process: before work has started, while in progress, and after completion. Many artists discover that when they prematurely expose an idea for scrutiny, often their enthusiasm for it wanes. They lose the incentive to continue or sometimes, even to begin. It's as if the act of speaking about one's ideas has already finished the work. Negative, indifferent or judgemental reactions will also factor in discouragement. But I am aware that even when embraced by obvious support, revealing an idea still causes some us anxiety, resistance and inhibition. It may have to do with a fear that what we say about our work and what we finally produce won't match or worse, didn't help it. There is discrepancy or confusion between the end result and our intentions. Peoples' expectations may be disappointed or they start behaving towards us in peculiar ways. We ourselves might not be able to live up to our own ambition. If care is not taken, this vulnerability may invite an opportunity for verbal energy to subtly, replace creative energy and its expression-- especially if guilt for not attending to our craft, sneaks in there too. We fail to recognize that barring physical disability, time spent explaining why we can't paint, write, or compose etc., could have been used towards an actual effort. It gets very complicated.
It is an honour to meet artists who use dialogue to facilitate and generate their ideas, inspiration and motivation, but don't get overwhelmed, divided, or confused by it. They absolutely exist in this world. Words, conversation, verbal expenditure-- these are extensions of, or in service to their artist and not an impediment. They thrive on debate, impassioned exchange and guilessly chat about what they plan to do next-- and then really do it-- without a bead of angst. For those of us easily compromised by our own disclosures, the best solution is to shut up and paint, until it is unavoidable for us to speak. We will need to say something about our work at some point in our lives. Whether it's a project description for a grant application or an artist talk to introduce ourselves, we will be asked to provide information, clarification and insight into and about our work. Until then, we can take heart that even artists who are comfortable with articulation and do not dread or succumb to the " talk jinx" will choose brevity when prompted to elaborate on an entire body of work. They genuinely want to refrain from controlling the viewer's response with too much input. Besides, those who need to wait until work is truly done before talk-sharing with others, may find by then, that they don't have to say much about it at all. The work speaks for itself.
This made me wonder how discourse affects our work as artists, in every stage of the creative process: before work has started, while in progress, and after completion. Many artists discover that when they prematurely expose an idea for scrutiny, often their enthusiasm for it wanes. They lose the incentive to continue or sometimes, even to begin. It's as if the act of speaking about one's ideas has already finished the work. Negative, indifferent or judgemental reactions will also factor in discouragement. But I am aware that even when embraced by obvious support, revealing an idea still causes some us anxiety, resistance and inhibition. It may have to do with a fear that what we say about our work and what we finally produce won't match or worse, didn't help it. There is discrepancy or confusion between the end result and our intentions. Peoples' expectations may be disappointed or they start behaving towards us in peculiar ways. We ourselves might not be able to live up to our own ambition. If care is not taken, this vulnerability may invite an opportunity for verbal energy to subtly, replace creative energy and its expression-- especially if guilt for not attending to our craft, sneaks in there too. We fail to recognize that barring physical disability, time spent explaining why we can't paint, write, or compose etc., could have been used towards an actual effort. It gets very complicated.
It is an honour to meet artists who use dialogue to facilitate and generate their ideas, inspiration and motivation, but don't get overwhelmed, divided, or confused by it. They absolutely exist in this world. Words, conversation, verbal expenditure-- these are extensions of, or in service to their artist and not an impediment. They thrive on debate, impassioned exchange and guilessly chat about what they plan to do next-- and then really do it-- without a bead of angst. For those of us easily compromised by our own disclosures, the best solution is to shut up and paint, until it is unavoidable for us to speak. We will need to say something about our work at some point in our lives. Whether it's a project description for a grant application or an artist talk to introduce ourselves, we will be asked to provide information, clarification and insight into and about our work. Until then, we can take heart that even artists who are comfortable with articulation and do not dread or succumb to the " talk jinx" will choose brevity when prompted to elaborate on an entire body of work. They genuinely want to refrain from controlling the viewer's response with too much input. Besides, those who need to wait until work is truly done before talk-sharing with others, may find by then, that they don't have to say much about it at all. The work speaks for itself.
Hanging Up Brushes
December 21, 2009
A few years ago, I seriously considered quitting the art business.
Another venue had opened up in terms of writing. Compared to the trouble
required to maintain an art practice, writing seemed more portable,
convenient, and cheaper. It certainly took up less room. The first years
as a writer produced more promise and results than the emerging years
as a painter. I took it as a sign; time for a change.
What causes artists to finally, give up pursuit of their dreams? Often necessity demands more financial support than an artist's income provides, especially if there are dependants involved. Many juggle more than one job in addition to art-making. Some take temporary hiatus to pay off debts and resume the "real work" later. Others just don't return, discovering better opportunities and stability elsewhere. Health problems, allergies to materials, also play factors. Yet often, it is the enormous reality of how much is truly demanded--emotionally, mentally, spiritually, as well as physically-- of one's inner and outer resources. Passion, commitment, hard work and discipline are great assets. But so too, an ability to endure rejection, failure and success, or indifference. There are fickle and changing art markets, personal rhythms of inspiration and drought. Rottwielers who mistake site sculpture in public places for a hydrant.
In my case, the paintings increased every year while my income and junior one bedroom apartment stayed the same. Sending out manuscripts is easier than the process involved in art production, promotion and exhibition organization. What I hadn't anticipated as well, was slowing down as I got older. I honestly expected to burn through mid-career, knocking off successive paintings now that I was more established--at least in work habits. But the major error was assuming that as I became older and more experienced, I'd weather artistic challenge and vicissitude stronger and better. The disappointment of mailing submission packages on Monday only to have most return by Friday. The frustration of finally, finding a gallery willing to offer representation, yet ultimately unable to sell the work. Obtaining exhibition funding only to pay for dental surgery. I didn't get tougher, but the reverse: discouraged, worn and fatigued.
I'm still painting and writing. What allowed continuity operated beyond conscious choice or intention. After quitting, a period of relief ensued--not just in physical effort, but in expenses calculted from a monthly budget. With extra money normally allocated for art supplies, I planned improvements to my life. Ikea had a nice swivel chair I could now afford. It was certainly time to ditch the futon--for another one. I put a halt to the invasion of stretchers and canvasses my cats used as staircases to their heaven anyway. With the time, usually set aside for painting, I wrote and found it equally rich. I went for longer walks along the harbour. Since there was no need to return so soon, I dawdled by guard rails, belting out the movie theme song from "Titanic." As herring gulls witnessed, "my heart did go on..."
Then the twitching began. By twitching, I mean a restless sense of having time on one's hands even though that time is already accounted for. I started tracing fingers across old splashes of phthlao blue and quinacridone violet on a work table I'd cleaned and cleared. Inspecting a last jar of titanium white, the sight of whipped meringue peaks made me so hungry, I had to snap the lid back on before I did something inappropriate. Sable brushed lured me. I applied their soft tips over my cheeks like Revlon Wild Rose Blush. In back rows of the mind, teensy-weensy ideas began to wave. Soon, the ideas JUST WOULDN'T STOP COMING. Visions of whole paintings tumbled faster than I could scramble for thumbnail sketch pad. It felt similar to stories of people who go on long, overdue vacations--only to be assailed by a flu held in abeyance. The difference here, was an overwhelming, renewed urge to paint. Maybe it's another risk to being an artist; you do it for so long, the sensibility imprints onto genetic code. Maybe it's as simple as taking a break once in a while. Who knows? The truth is, I can't not paint. I tried though.
What causes artists to finally, give up pursuit of their dreams? Often necessity demands more financial support than an artist's income provides, especially if there are dependants involved. Many juggle more than one job in addition to art-making. Some take temporary hiatus to pay off debts and resume the "real work" later. Others just don't return, discovering better opportunities and stability elsewhere. Health problems, allergies to materials, also play factors. Yet often, it is the enormous reality of how much is truly demanded--emotionally, mentally, spiritually, as well as physically-- of one's inner and outer resources. Passion, commitment, hard work and discipline are great assets. But so too, an ability to endure rejection, failure and success, or indifference. There are fickle and changing art markets, personal rhythms of inspiration and drought. Rottwielers who mistake site sculpture in public places for a hydrant.
In my case, the paintings increased every year while my income and junior one bedroom apartment stayed the same. Sending out manuscripts is easier than the process involved in art production, promotion and exhibition organization. What I hadn't anticipated as well, was slowing down as I got older. I honestly expected to burn through mid-career, knocking off successive paintings now that I was more established--at least in work habits. But the major error was assuming that as I became older and more experienced, I'd weather artistic challenge and vicissitude stronger and better. The disappointment of mailing submission packages on Monday only to have most return by Friday. The frustration of finally, finding a gallery willing to offer representation, yet ultimately unable to sell the work. Obtaining exhibition funding only to pay for dental surgery. I didn't get tougher, but the reverse: discouraged, worn and fatigued.
I'm still painting and writing. What allowed continuity operated beyond conscious choice or intention. After quitting, a period of relief ensued--not just in physical effort, but in expenses calculted from a monthly budget. With extra money normally allocated for art supplies, I planned improvements to my life. Ikea had a nice swivel chair I could now afford. It was certainly time to ditch the futon--for another one. I put a halt to the invasion of stretchers and canvasses my cats used as staircases to their heaven anyway. With the time, usually set aside for painting, I wrote and found it equally rich. I went for longer walks along the harbour. Since there was no need to return so soon, I dawdled by guard rails, belting out the movie theme song from "Titanic." As herring gulls witnessed, "my heart did go on..."
Then the twitching began. By twitching, I mean a restless sense of having time on one's hands even though that time is already accounted for. I started tracing fingers across old splashes of phthlao blue and quinacridone violet on a work table I'd cleaned and cleared. Inspecting a last jar of titanium white, the sight of whipped meringue peaks made me so hungry, I had to snap the lid back on before I did something inappropriate. Sable brushed lured me. I applied their soft tips over my cheeks like Revlon Wild Rose Blush. In back rows of the mind, teensy-weensy ideas began to wave. Soon, the ideas JUST WOULDN'T STOP COMING. Visions of whole paintings tumbled faster than I could scramble for thumbnail sketch pad. It felt similar to stories of people who go on long, overdue vacations--only to be assailed by a flu held in abeyance. The difference here, was an overwhelming, renewed urge to paint. Maybe it's another risk to being an artist; you do it for so long, the sensibility imprints onto genetic code. Maybe it's as simple as taking a break once in a while. Who knows? The truth is, I can't not paint. I tried though.
Green Tinge
, March 21, 2010
During an interview after a World Track and Field Championship, the
winner of a 100 meters hurdles event was asked what advice her coach
gave to prepare her for the meet. She described how she was encouraged
to focus on her own game and not be concerned by anyone else’s rhythm or
race. Sounds like good advice. It’s applicable to artists as well,
especially those of us who are easily influenced by the difficult
distractions arising from professional envy and jealousy.
It is hard to avoid competition with other artists when we bring our work out into the world. Unless strange motives dictate, few proposals and applications are submitted to a gallery, jury or call for entry– with the unique intention of losing. Since rejection is a given in the field (for some, more often than others) the apparent success of a chosen few can stab us when others have achieved what we ourselves want. Who wouldn’t welcome decent gallery representation to free up time for the actual work while others do the promotion and sales? Who wouldn’t feel bolstered by the encouragement and recognition bestowed by sales, grants, and prize endowments, especially if they arrive during a timely period of struggle and despondence when there are kids to feed and the money has been tight? What ultimate dream than to make a living as a full-time artist? The ongoing frustrations and disappointments artists cope with often provoke and intensify charged perceptions about the accomplishments of others.
Have I ever been jealous of another artist? Absolutely. Not only that, I dare anyone to come up with more devious ways than I of pretending the sentiment is other than what it is. For example, acknowledgments are couched in language that alludes to privilege in an artist’s life, the insinuation being that without the financial support of spouse, the connections of nepotism, or god forbid, their looks, they would never garner achievement based on their own merit. Or, generalizations about the injustice perpetrated by systems that reward the bizarre, novelty, mediocrity or the same thing over and over again. Incomprehension at how final selections relate to themed shows and competitions where my own entry was declined.
However, both splendid artists and otherwise, have equally starved. I do know financially stable artists who facilitate and support the careers of those less advantaged by generously donating time and energy in volunteer service. Some even buy other artists’ work. In spite of righteous indignation, those very same "flawed" systems have also conferred upon deserving recipients– even in my own opinion. Indeed it’s complicated when success happens to artists whose work you not only esteem, but actually like as people because they are friends and colleagues. Torn between genuine happiness for their sake, yet tamping down the impulse to snatch the 1st prize cheque out their hands, just to sniff at what $1000.00 might really smell like before giving it back. Deeply pleased for someone who at last, found the right gallery and clientele but wistful because no gallery has expressed any interest in your own work. Glad for a colleague who can now paint full-time– yet personally, exhausted from two part-time jobs that leave you scraps of time and rags of energy, for your own creative projects.
But jealousy thrives even among artists who have comparable résumés. Tastes do change. What was once exciting and saleable becomes dated and predictable (and then keeps selling which really bugs us even more). Dealers release artists who are no longer profitable. Many galleries, even long established ones, fold. Procuring funding once, doesn’t always guarantee another. Unexpected criticism can savage our work. New artists emerge every year. I have noticed though, that even when some artists ultimately receive gains they’ve always longed for– they’re too irritated to enjoy them because of being so use to perpetual toil and disappointment. Perhaps it’s the awareness that when abundance suddenly prevails, it too is subject to impermanence.
Jealousy isn’t necessarily a bad thing as long as we don’t take it out on those (or anyone else) whose good fortune we hold accountable for our own perceived failures. Artists do report increased motivation, commitment and work ethic upon learning what their peers have accomplished. The "if they can do it, I can do it" mentality is applied towards their own goals. The best way I dealt with malingering, conflicted envy was to approach the unsuspecting object of my emotions (and it was always someone I knew) and congratulate them as soon as possible. Poisons would drain almost immediately. Or, when things weren’t going well in my career, instead of attending a colleague’s opening, I would stay away to avoid bringing misery as my guest to their special occasion. If I viewed the show a few days later, my admiration would be far more present and I could honestly tell them how much I enjoyed their work.
Jealousy is an understandable part of the human condition. Many artists can’t control their first gut reaction to the accolades won by others, or the circumstances in lives that seem blessed with greater charm than their own. I endure the corrosive effects of envy less now than when I was younger because I no longer have as much time or energy for it. When you reach an age where random parts of your person begin to stiffen and ache, it’s amazing how fast a wandering focus on other people, snaps right back into one’s own affairs. I’m too pre-occupied with how many years I have left where I can still physically paint; they need to be spent minding my own business. The volatility in our profession does offer a chance for attitudes to shift and adjust. If prosperity can change or conclude without notice, our less than stellar situations fall into perspective. The studio, our work resumes its place, becomes the one constant, what we come back to. Full-bodied engagement with our creative process delivers its own reward. We might even discover, a wider, kinder definition for what we once thought of as success.
It is hard to avoid competition with other artists when we bring our work out into the world. Unless strange motives dictate, few proposals and applications are submitted to a gallery, jury or call for entry– with the unique intention of losing. Since rejection is a given in the field (for some, more often than others) the apparent success of a chosen few can stab us when others have achieved what we ourselves want. Who wouldn’t welcome decent gallery representation to free up time for the actual work while others do the promotion and sales? Who wouldn’t feel bolstered by the encouragement and recognition bestowed by sales, grants, and prize endowments, especially if they arrive during a timely period of struggle and despondence when there are kids to feed and the money has been tight? What ultimate dream than to make a living as a full-time artist? The ongoing frustrations and disappointments artists cope with often provoke and intensify charged perceptions about the accomplishments of others.
Have I ever been jealous of another artist? Absolutely. Not only that, I dare anyone to come up with more devious ways than I of pretending the sentiment is other than what it is. For example, acknowledgments are couched in language that alludes to privilege in an artist’s life, the insinuation being that without the financial support of spouse, the connections of nepotism, or god forbid, their looks, they would never garner achievement based on their own merit. Or, generalizations about the injustice perpetrated by systems that reward the bizarre, novelty, mediocrity or the same thing over and over again. Incomprehension at how final selections relate to themed shows and competitions where my own entry was declined.
However, both splendid artists and otherwise, have equally starved. I do know financially stable artists who facilitate and support the careers of those less advantaged by generously donating time and energy in volunteer service. Some even buy other artists’ work. In spite of righteous indignation, those very same "flawed" systems have also conferred upon deserving recipients– even in my own opinion. Indeed it’s complicated when success happens to artists whose work you not only esteem, but actually like as people because they are friends and colleagues. Torn between genuine happiness for their sake, yet tamping down the impulse to snatch the 1st prize cheque out their hands, just to sniff at what $1000.00 might really smell like before giving it back. Deeply pleased for someone who at last, found the right gallery and clientele but wistful because no gallery has expressed any interest in your own work. Glad for a colleague who can now paint full-time– yet personally, exhausted from two part-time jobs that leave you scraps of time and rags of energy, for your own creative projects.
But jealousy thrives even among artists who have comparable résumés. Tastes do change. What was once exciting and saleable becomes dated and predictable (and then keeps selling which really bugs us even more). Dealers release artists who are no longer profitable. Many galleries, even long established ones, fold. Procuring funding once, doesn’t always guarantee another. Unexpected criticism can savage our work. New artists emerge every year. I have noticed though, that even when some artists ultimately receive gains they’ve always longed for– they’re too irritated to enjoy them because of being so use to perpetual toil and disappointment. Perhaps it’s the awareness that when abundance suddenly prevails, it too is subject to impermanence.
Jealousy isn’t necessarily a bad thing as long as we don’t take it out on those (or anyone else) whose good fortune we hold accountable for our own perceived failures. Artists do report increased motivation, commitment and work ethic upon learning what their peers have accomplished. The "if they can do it, I can do it" mentality is applied towards their own goals. The best way I dealt with malingering, conflicted envy was to approach the unsuspecting object of my emotions (and it was always someone I knew) and congratulate them as soon as possible. Poisons would drain almost immediately. Or, when things weren’t going well in my career, instead of attending a colleague’s opening, I would stay away to avoid bringing misery as my guest to their special occasion. If I viewed the show a few days later, my admiration would be far more present and I could honestly tell them how much I enjoyed their work.
Jealousy is an understandable part of the human condition. Many artists can’t control their first gut reaction to the accolades won by others, or the circumstances in lives that seem blessed with greater charm than their own. I endure the corrosive effects of envy less now than when I was younger because I no longer have as much time or energy for it. When you reach an age where random parts of your person begin to stiffen and ache, it’s amazing how fast a wandering focus on other people, snaps right back into one’s own affairs. I’m too pre-occupied with how many years I have left where I can still physically paint; they need to be spent minding my own business. The volatility in our profession does offer a chance for attitudes to shift and adjust. If prosperity can change or conclude without notice, our less than stellar situations fall into perspective. The studio, our work resumes its place, becomes the one constant, what we come back to. Full-bodied engagement with our creative process delivers its own reward. We might even discover, a wider, kinder definition for what we once thought of as success.