VICE AND VIRTUE/dVerse

VICE AND VIRTUE

 

Vice and virtue

Have their appeal

I see myself

Perfect

I alone can judge

And I judge others

By my standards

 

As you can see

My feet

Are dainty

My legs

Curvy

 

A perfect woman

To be sure

My Breasts

Voluptuous

Peek out

From my beautiful dress

 

My face perfect

My hair the same

Of course, I am the one

To judge others

Who could do it better

 

I have no vices

I don’t drink or smoke

I am the one

My sole purpose

Is to judge others

 

July 18, 2018

 

 

 

USA THE GREAT/poets united midweek motif – great

USA THE GREAT

 

In school

We learned

The United States

Was great

 

But so many things

We were not told

No one spoke of

The treatment

Of the native people

 

No one spoke of

Corruption

Of political leaders

No one spoke

Of the treatment

Of people of color

 

No one spoke

Of the treatment

Of Mexican people

Of women

Of children

Of animals

Was it all kept

In a dark closet

 

Only communicated

In whispers

So we could

Pat our chests

And talk about

How great we are

 

If we were ever great

Today it is hard to find

 

July 18, 2018

 

 

 

BLOG OF THE WEEK ~ A CHAT ABOUT ART WITH ANNELL LIVINGSTON ~ POETS UNITED/Sherry Blue Sky

Monday, July 16, 2018

BLOG OF THE WEEK ~ A CHAT ABOUT ART WITH ANNELL LIVINGSTON

Our friend Annell Livingston is well known to us as a poet, but recently some interest was expressed in hearing about her life as an artist, an idea I liked very much. So today we will follow Annell’s artistic journey through the years, and enjoy some of her glorious paintings. As you know, Annell lives in Taos, New Mexico, under the gaze of Taos Mountain, a landscape that finds its way into her artistic expression, in words and on canvas.

Fragments Geometry and Change #249  

40”x40”  acrylic on canvas

Sherry: Annell, when did you first begin your journey as an artist? Did you draw and paint as a child?

Annell: Yes, Sherry, I guess I always did draw and paint.  It has always been my passion.  I cannot be happy if I am not able to express myself.

IMG_9305.jpg Nest Drawing Adobe  

27″x27″  graphite and gouache  on paper

Sherry:  I love your exquisite bird’s nest illustrations. And the bright colours taken from the pottery and art of Santa Fe in some of your earlier work. Would you tell us a bit about those early years of painting?

Annell: Sherry, there are many ways to draw, but the bird’s nest drawings are what I would call studies.  I actually draw from the bird’s nest, and try to get every twig and leaf the bird might use in the construction of the nest.  It is something humans can’t do.

I have used the grid in my work since 1986.  In 2004 a dealer who represented my work in Santa Fe, New Mexico, asked me to do some still life for her gallery.  And it took me three years to think about what I might paint.  I wanted to do something different, but something that represented New Mexico.  Works that represented “Place”,  since New Mexico is heavily influenced by Mexico.

I began to collect the early pottery, and colorful weavings of Mexico.  (The weavings of Mexico are considered the most colorful in the world.)  I used local fruit and flowers.  I wanted the work to be expressive, rather than “right.”   My work is hard edged, and at the time I loved working on oriental paper. I went to Japan and met Mr. Hosino, a master paper maker.  He guaranteed his paper for one thousand years, and I loved the idea that my work would last as long as the paper it was painted on.

Sherry: How wonderful that you travelled to Japan to verify your source of paper!

IMG_7736.JPG 16″x16″   gouache on oriental paper

Still Life With Deer and Yellow Cup

Here is a still life I set up in the studio.  The yellow cup is right there in front. I would draw from the still life, and then paint.

Sherry: I am enjoying this so much! I love your colorful still life!

Annell:  I loved making these works, they were such fun.  And the viewer can look at the work, and he can see what the artist is doing, and he can say, “Well, you know, I wouldn’t have done it that way.”  This kind of work invites the viewer into the work.   A dialogue is set up.

 

Sherry: I can see that. I have seen some paintings that may have arisen out of your Santa Fe inspired work – the same still life and colors, but set on a grid. Was this a stepping stone on the journey?

Annell: You never know what you might learn from a project.  Actually these works took me to a series of work I called One Day In The Life.  I began to think about how you could tell the story of a man’s life, by focusing on a small period of time.  The two works above are “a day and a night”  of One Day In The Life.

IMG_9759  Still Life/Deconstructed/Reconstructed #48  

22″x22″  gouache on w/c paper

A series I called Still Life/Deconstructed/Reconstructed followed, and it was very important, as I allowed me to graduate with gouache (which is a very difficult thing to do) and weave the work together.  If you follow each color, you will see it moves from mid-tone to lighter.  Which showed me the way to continue to the current work, Fragments Geometry and Change.

Sherry: I have been watching this evolution, with interest. Annell, for those who do not know, there was a tragic event in your life when you lived by the ocean. One year after your husband’s death by drowning, you made a huge life change, moving to Taos. Would you tell us a bit about that move? Did you think the desert would offer you a fresh canvas?

Annell:  Sherry, I just needed a new point of view.  I had lived on the Third Coast of Texas all my life.  It was hard for my friends to see me grieve. I needed a place I could howl,  and I found it on the mesa above Taos.  My work was represented in Taos and in Santa Fe; it just seemed right to me.   So I moved to the dry desert.  You can’t drown in the desert.  It is not that I was afraid I would drown; it was just time for a change.

Taos Mountain

Sherry: It is beautiful there. Would you tell us a bit about working on a grid?

Annell: Actually I had been working with the grid since 1986.  If at first you don’t succeed, try, try again.  And at first I didn’t succeed.  So I kept trying to find a way to allow the grid to be a part of my work.  It was around 1990, I went into the studio and closed the door…alone with myself, I determined what I had to say that was special, that was my own.  What made me different than everyone else.

For me, the visual arts, are a language, and the artist is saying something every time he touches his brush to his canvas.  For the artist, we spend many years learning techniques, but then we have to learn who we are and what we have to say.   This could take from five minutes to a lifetime.  It is not just about painting a pretty picture.

_MG_0730 Fragments G&C  #130  20″x30″

gouache on w/c paper

_MG_0181  Fragments Geometry & Change  #165  2014

30″x30″  gouache on 300 lb w/c paper

IMG_0027 Fragments Geometry & Change #183

30″x30″  gouache on w/c paper

Annell: Sherry, it is especially good of you to let me show several of the grid paintings.  You might think as you narrow your options, the work would be boring.  But actually as we narrow our options, we are forced to be more creative.

Sherry: It is my pleasure, Annell. Your work is fascinating. I can see what a journey your work is. And how different each canvas is. The longer I look, the more color and movement I see in each canvas.

In a recent interview by Ann Landi at Vasari21, you stated, “My work is not so much about the external world, but about finding that place where internal and external  worlds meet. I call the series Fragments because my thoughts and memories are like fragments. Nothing seemed really whole, but the pieces came together to be the experience of my life.” I really appreciate that quote.

~ the place where internal 

and external worlds meet ~

In your life you have had a heartbreaking series of losses, first your husband, then your mother, and, in 2014, the tragic loss of your son, Jim. You move through your grief with such dignity and grace, Annell. I so admire you.

It seems to me, it must be peaceful and comforting to go into your studio, bend to your canvas and enter into the grid, hour after hour. Would you tell us a bit about this?

Annell: For me, painting is what is called active meditation.  There is a certain ritual to it.  And I go to the studio every day.  I begin the day writing, and then go to my work.  I don’t finish all I know at the end of the day, therefore the work waits for me, and I can go right into it, no time wasted wondering what I will paint today.

IMG_0535.jpg  Fragments Geometry and Change #247

36″x36″  acrylic on canvas

Sherry: Oh, I love the red square in the centre of this painting. Not long ago, you wrote a poem about what it is to be an artist. I would love to include it here, if I may.

THE PAINTING IS THE INVENTION OF THE PAINTER

As a painter I invent everyday
I create something new
Something never seen
In exactly the same way before
You ask, but what am I to think
And I will answer
That is up to you

I pick the color
I mix the paint
I apply the paint
I allow the painting to come alive
And I need the viewer to have his own thoughts
To complete my work

But the viewer has to slow down
Be open
Take a fresh look
Be aware of his thoughts
Go with it
Perhaps it is based on a memory
Or a thought forgotten long ago
Suddenly it is in this moment
The thought is renewed
Seen in a different way

There is a dialogue
Between the viewer and the painting
Something is revealed
You will tell me
How your Grandmother cared for you
The first time you flew
The little dog you had when you were small
You will tell me about your love
And when you first met
Your story will be unique

April 18, 2018

Sherry: I like the idea of a dialogue between the artist and the one viewing the painting. There was another poem in 2011 that lends itself to this conversation. Let’s take a peek:

Soul Journey
As an artist
To improvise
Is what I do

Can I say how it is done
Probably not
Starts with an idea
We have don’t know
How to do it
We don’t even know
What we want
But we try
We try to discover
It is trial and error
It is “what if”

We seek patterns
Related to every
Kind of creativity
We look for clues on how
To be self-creating
Self-organizing
Authentic

All art is improvisation
Some we present
Whole and at once
Some we present
Revised and restructured
We seek our own way

It begins with an idea
And we stumble
Through the journey
The finished piece you
See or hear
Is but a relic or trace of the
Journey that has
Come and gone

All art is performance
Even when you are the
Only one in the studio
For all is revealed in
The finished product
It is a record of the
Process of improvisation

The process comes
From the deepest
Part of ourselves
It is a spiritual path
It is about us
About the deep self
It is a soul journey

2011

Sherry: Would you talk about about this soul journey, my friend?

Annell: I am not sure about the “soul,” and don’t think I have ever seen one, but someone dear told me, it is the authentic you, of you.  And that is what I try to do in my work.  To be authentic.  I do my very best.  I sign my work, I put my name on it, at the end of the day.

 

 

Sherry: Taos so often creeps into your poems, the beauty of the landscape woven through your words. Do you feel the influence of the desert in your painting as well?

Annell:  When I first came here, I wondered would I get tired of the scene.  And after over 20 years, I can say, “no”. I am still thrilled, by mountains, the Rio Grand, and the forever sage brush across the mesa.

 

This is the sun rise over Taos Mountain.  Sometimes the sun rises are as colorful as the sun sets.

Sherry: One could never tire of such a landscape. What a blessing, to live there!

 

This is a sun set looking west.

Sherry: The beauty is truly spectacular. It calls to me much as the ocean does. The power of that sky, the colors of the sunrises and sunsets – perfect for an artist! I would like to close with a photo of Taos in a most beautiful sunset, and with a poem you wrote to celebrate the beauty of your beloved mountain.

 

TAOS, NEW MEXICO

Taos, New Mexico
My chosen home
Beyond what we might call beautiful
Perhaps there are no words for it
On the mesa
I can see
The sun rises in the east
Above Taos Pueblo
Lights Taos Valley
And the mountains that circle
Sets in the west
Glorious end of day
The low flat light
Crawls over sage brush
Reflects off adobe houses
Where everyday people
Go about their everyday lives

April 20, 2018

Sherry: You truly live in a beautiful place, Annell. Thank you so much for this wonderful chat. We so enjoyed hearing about your work as an artist, and visiting your beloved Taos.

Friends, Annell’s website is at  www.annelllivingston.com

The Color Book : Poems and Paintings

is available here.

Annell’s Red Shoes Artists Book Project

is available here.

My friends, we hope you enjoyed this chat about art, Annell’s wonderful paintings and poetry, and the beauty of the Taos landscape. We enjoyed bringing it to you. Do come back and see who we talk to next. Who knows? It might be you!

Posted by Sherry Blue Sky at 12:30 PM

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Labels: Past Poetry Blogs of the Week

2 comments:

  1. Kim RussellJuly 16, 2018 at 1:10 PMReply
  2. Thank you so much Sherry and Annell; I enjoyed this interview so much and love the artwork and poetry. You can really see the influence of New Mexico on her art. May I suggest using one of Annell’s pieces of artwork as a visual prompt some time in the future?
  3. Sarah RussellJuly 16, 2018 at 1:50 PM
  4. What a wonderful interview! Annelle, your work is o

THE HEART KNOWS WHAT THE HEART WANTS/the sunday whirl poets united poets pantry

 

THE HEART KNOWS WHAT THE HEART WANTS

 

Right on the edge

Hold on tight

Knuckles white

There is nothing easy

About letting go

 

Slipped on gravel

Stumbled

Into the rabbit hole

Easy peasy

An unexpected path

 

The accusations

Spread thick

Like peanut butter

And jam

New patterns created

 

Tying knots

And untying knots

Is no simple task

Unkind words spray

Across the universe

Hit the target

 

Someone said

“Think twice”

When considering

The uncertainties of love

Climb steady

Stay low

Trim your sails

 

July 15, 2018

 

 

 

 

Wordle #360

 

A FISHING-PERFECT DAY IN SEPTEMBER/imaginary gardens with real toads

36578769_930357150476076_257303167056740352_n

Toril Fisher Fine Art

 

A FISHING-PERFECT DAY IN SEPTEMBER

 

There is a loneliness

About the sea

No one as far as you can see

Only the sound of the waves

And the wind…

 

The boat broke anchor

You swam for it

I was told, “the sea

Boiled before it was over”*

 

It was September

The day warm

A fishing-perfect day

No one knew just how it happened

 

You were lost in a moment

Gobbled up in an instant

You did not return

Your life complete

 

July 12, 2018

 

*This comes from Through the Looking Glass — Lewis Carroll/ “And why the sea is boiling hot– And whether pigs have wings.”

 

CITIES LARGE AND SMALL/poets united midweek motif – city

CITIES LARGE AND SMALL

 

Cities large and small

Gathering places

Hurry up

Places to go

People to see

 

Everything by the clock

Urban sprawl

You must fly over

To see it all

 

I wonder

It is no place for animals

It does not support life

It robs us of our humanity

 

Crazy making

Hustle bustle

Never ending

Like a great ant mound

Structure for termites

 

Intersections

A giant grid

Hold on

Don’t give up

 

The light turns red

Stay on the sidewalk

No place to roam

The sun sets on glass and steel

 

July 11, 2018

 

 

 

 

 

 

 

 

WHERE IS PEACE/imaginary gardens with real toads tuesday platform

WHERE IS PEACE

 

Where is peace

On a stormy night

Bombs exploding

Lightening flashing

 

My heart is tender

But afraid

I feel my way with

My fingertips

 

Thunder crashing

I cover my ears

Water seeps

Under the door

 

We were warned

Run away

Run away

But where will we go

 

Perhaps as long

As we can imagine peace

Even when the world does not

We can strive for it

 

A quiet morning

No ill will toward anyone

Even the birds are still sleeping

No one stirs

 

And yet the very next moment

Everything can change

The future is unknown

Perhaps peace only comes

In the in between

 

July 6th, 2018

 

FIREWORKS IN PRETTY COLORS TAKES OUR MINDS OFF THE CHILDREN/imaginary gardens with real toads camera flash

FIRWORKS IN PRETTY COLORS TAKES OUR MINDS OFF THE CHILDREN

 

Morning is filtered through the curtains

The sun already high in the sky

The world waits for me

As it waits for no one

 

What is it I am waiting for

Still in my night gown

Here I sit on the side of the bed

A river runs through

 

The water level low

There is promise of rain

Clouds form on the horizon

Children locked in cages

 

If I am quiet

I can hear their cries

It is a secret of sorts

The press is kept at a distance

No pictures allowed

 

Bad things happen in secret

What about the least of us

Who will care

Who holds the key

Who will unlock the cages

 

 

July 5, 2018