Whatever you do that involves others requires a shift from "me" to "we" thinking.  Simple in theory, harder in practice.

Keeping everyone happy—and challenges to that—are usually based on three fundamentals, in most instances. Here is a brief  "how to" overview of fundamentals that seem to matter:

Consider:
1. How and why you’ve come together. Are goals similar?
2. What the rules might be—what’s  right and wrong, ethically, morally, circumstantially.
3. Where clarifications are necessary (if rules are bent), so misunderstandings don’t happen, and one party isn’t misled.

Be:
1. Fair and honest
2. Open and respectful
3. Flexible and considerate

…as best you can.  Most people know when they are taking advantage of someone else, and the person being taken advantage of knows too!  Don’t keep (the idea of) a relationship going at any cost in the hope that it’ll get better—because you’re the one who’ll be paying afterwards.

Upsets come from:
1. Being out of synch/selfishness—one person putting their own needs first (saying and doing differently or vice versa).
2. Expectations of both parties not being expressed or agreed upon (in advance or as they shift).  Avoidance isn’t a solution, just a way to upset someone else.  
3. Distractions being allowed to take over (one person changing their priorities, but not telling the other, and not putting in equal effort).

Long distance relationships have higher stakes and extra obstacles:
1. Trust, openness and communication matter even more.
2. Out of site should not be out of mind. (Excuses are easy!)
3. Practical, financial, and emotional realities are all stretched, tested, and differ.

Bottom lines:
1. It’s not all about you!  Never was!
2. Everyone has limited time and energy. Please don’t waste another’s!
3. Consequences happen.  We might not realize at the time how we affect someone else, but a lot of damage can come about from what might be considered "trivial."  As much as you might not be hurting, someone else could be in agony…

Cliché but apt: "Put the shoe on the other foot!"  We all have hopes and dreams, and it takes courage to make oneself vulnerable—even though life is short, and there are only so many opportunities for happiness.  If you know that you are jeopardizing someone else’s well-being by not being upfront and playing things out because it suits you, think again…

Alas!  If things are "too good to be true," they too often can be…  No matter how one conducts oneself in other circumstnaces (or is seen to be to the oustide world), it’s daily enounters, and opporunities for genuine intimacy that reveal who they really are and can be (or not).
 
The most powerful, wealthy, or good-looking among us have the greatest responsibilities and weaknesses, since they may have more possibilites to get away with things. Because of who they are or what they have (regardless of where it comes from) and their bigger-picture "do good" deeds, they can raise the loudest alarm bells!  Entitlement may be an outcome, but not a justification…  

Though news of the the "John Edwards Sex Scandal" is only just breaking, and details and coverage aren’t all clear, this is just another example of what we see not always being what we get.  Or, what we imagine could be possible (and wonder why not) actually being so.  Role models are hard to find, and "everyday people" imitate and get away with much more (than before) just because they can.  Sad, but true, this is something that’s become almost unremarkable socially.

Those who may be seen to have "less going for them" are invariably more reliable—and better at "playing nice!" On-line daters, take heed when making selections!  What impresses and allures on screen, might not in real life!

These days, individuals can end up more isolated and self-involved than ever, with the shift from a "me-focus" to a "we-focus" proving difficult. Attention of any type, even if it’s harmful, tends to allure. This is when judgment gets clouded and mistakes are made. Age-old problems, like manipulation, take on fresh force.  No matter how technologically savvy we are—how many "friends" we have on Facebook—basic human-to-human "communication glitches" abound. These need to be dealt with in real-world time, and have real-world consequences. 

Manipulation comes from those whom we least suspect and expect  It creeps up and masquerades as kindness and generosity. Then, suddenly, there’s a wakeup call—a financial, emotional, or physical price to pay to the person who claims to be offering assistance/friendship "out of the goodness of their heart." Alas! The one who’d encouraged us to count on them really had their own agenda all along.  But, ultimately, even this manipulator loses too. The relationship needs to be severed and things can never be the same again. Trust and respect is gone, as well as a whole lot more. Time to move on, as this poetic reflection explains…

Dear Manipulator

You were so nice, so kind
I was so blind

Disengaging was hard to do
But it enabled me to grow

When self-esteem is down and we don’t have adequate support networks, we are all the more vulnerable and susceptible to those who survive/thrive on manipulative behavior.  Manipulatolrs usually seek attention to help assuage their own wounds, longings, and lackings.  Exagerated gestures and finding ways to become indispensable may be a ploy to help the manipulator appear valuable to others, as well as important in the wider world.  But, tension mounts when the manipulated feels trapped or deceived.  Self-protection (hopefully) kicks in.  Breaking free takes courages.  It also leads to loss. But loss leads to learning.  Know better for next time!

Earlier blog entries that discuss related topics include:

Reciprocity, Feb 8, 2008

Give to Give, (poem), Sept 5, 2007

Keep Your Word, July 25, 2007

A and B List Friends, July 8, 2007

Friends Help Friends, December 7, 2006

With my constantly changing routines and busy travel schedule, I usually find it hard to commit to extra-curricula classes.  Also, I am not a "gym person".  But, this past week, a neighborhood offering met my needs and interests admirably.  Roots’ flagship store in Rosedale has free one-class passes for their yoga studio.  Stimulated by the first class, I decided to take advantage of a "summer special"—unlimited classes for a week for $20. Though classes are reduced in number for the season, there were enough to meet my needs, and four out of five were enjoyable—especially the pilates. The studio is low-key, no mirrors or fancy accessories, and appears to have a regular clientele (all female).  Positioned at the back of the building (away from Yonge Street) the view of tree-tops through the window is well-planned and soothing.  And, eventually, you stop noticing the rattles of the subway line down below.  Definitely a positive experience!

Have you heard of WAYN (Where Are You Now?)? An interesting concept! I hadn’t until I got repeated e-mails from them a few months ago. Apparently, an acquaintance had added me as a "friend" and I needed to confirm that we do, indeeed, know each other. The first notification said I had three messages waiting for me. Then, a matter of hours later, I got another notification stating that I needed to "confirm friendship" and that I had 11 messages waiting for me. (I didn’t respond.) And, just as WAYN stopped e-mailing, another unknown (to me) Canadian/Ontario social networking site began, Two Ones.  Another "acquaintance," apparently, wanted me join him there. Only two notifications this time. (Again, I didn’t respond.) How many on-line social/networking groups can one join, and be active with on an on-going basis—especially if invitees who already know each other (and are seldom in contact) off-line?  More to the point, how much time is it possible to spend on-line?  What’s happened to old-fashioned ways of going out and making "real live friends"—spending actual time with people you’ve known for a while , or would like to meet in person.  As many others have done, for professional reasons, and due to "friends’" urging, I joined Facebook, Myspace, and Linked In.  However, I have only been moderately active with one of them—Facebook.  This is the site that where the majority of people I know (or one might believe I know) seem to be active, for one reason or another… 

Little wonder there needs to be public service announcements advising against drinking and driving (while operating water vehicles).  The LCBO (Liquor Control Board of Ontario) occupies prime real estate in popular lakeside locations.  In Killarney and Port Carling, their properties are waterfront.  Look at Port Carling’s pick-up dock (in the photo posted above).  On a recent road trip through Northern Ontario, no matter the basics communities seemed to lack, government liquor stores appeared prominent and dominant.  Maclean’s Canada Day double issue, with a feature offering the "startling facts" about Canadians vs Americans" gave interesting statistcs. Apparently, 27% of Canadians conusme alcholhoic drinks "at least ‘a few times a week’" compared to 19% of Americans.  Also, 1.3% of Canadians’ household expenditure goes on alcohol compared to 1% of Americans’.

Apple raises the bar on customer service and satisfaction, encouraging repeat business and spontaneous purchases. Win-win for everyone!

With their Procare and One to One assistance, you can get Apple technical support (for 15 mins) and/or personal instruction (for one hour) weekly.  Annual fees are very reasonable, and trainers savvy, friendly, and versatile.  Also, depending on location, canine assistants have been known to enjoy participating too!  

Lev and Sage are always eager to learn, and happy to observe from their travel bag.

Lev (as editor in chief of this blog) is pensive. 

Sage (as editor in chief of the DocSusan website) takes his job seriously (sometimes).

p.s.  Please note that the Eaton Centre Apple Store will be "undergoing renovations" mid-August for 10 weeks, so their space and services will be reduced during that time.

Tis the season when artists get solicited to apply to art shows.  And, when you’re juried in (supposedly chosen by noteworthy judges, due to your artwork being of a particular standard) it’s easy to feel chuffed.  In fact, the excitement might help you overlook how much you then have to pay to register (on average, between $1000 and $3000) exclusive of accommodation, transportation, importation tarifs, printing, and other costs.  

Having participated in three international shows, back to back (December 2007 - April 2008), Florence Biennale, Toronto Art Expo, The Artist Project (Chicago), I’ve had ample chance to discover the expectations and disappointments such experiences can generate.  While the organizers make money (mostly from the artists), artists can feel short-changed and become frustrated for a variety of reasons:

1.  Feedback isn’t seen to be responded to, or remedied, when things go wrong, or aren’t as suggested.
2.  Conditions (for setup and takedown) can be as exhausting as they might be chaotic.  There are a lot of logistics, but not every protocol is logical.
3.  Booth location might be unfair (yielding unequal opportunities)—attached to seniority of participants, favoritism, or the luck of the draw.
4.  Advertising and ticket sales (on the show’s part) might be insufficient.
5.  Inconsistencies (who gets away with showing/selling reproductions) or expands beyond their allotted physical space could be overlooked.
6.  Excess charges for sundries, like lighting, electricity, flooring and furniture, usually supplied by third parties (that aren’t as good quality as advertised) can mount up, unnecessarily.
7.  Out-of-towners travel expenses receive little, if no, subsidy.
8.  Shipping (from out-of-town) is problematic, organizers neither subsidizing charges nor helping resolve practical/procedural complications.

Of course, the above is just a partial list.  The photos included below (taken at The Artist Project, 08) reveal additional glitches. All photos were taken during show hours, and this is just a small selection:

1. Busy aisle (but booth 4123A was almost the only booth not in an aisle).  Caution:  Object to being isolated. Neighbors matter!

2. Display and cleaning closet alongside each other. Caution:  What’s next to you is important.

3. Empty café opposite the booth.  Caution:  A café might appear like an attraction, but only if people go to it…

4. Garbage bin infront of display frequently. Caution:  Nice to have amenities close by, but not that close…

5. Endless cleaning stuff passing in front.  Caution:  In an out-of-the-way booth, distractions like these don’t make things any better!

6. Open closet and show guests, side-by-side.  Caution:  Not every booth can be ideally placed, if organizers are maximizing on floor space (and revenue).

7.  Traffic flow to the aisle marked "exit" (misses the booth completely).  Caution:  Organizers might argue that this is not a "problem," but when they bypass the booth, themselves, distributing "feedback forms" it’s a little ironic.

8.  Raised wall joints that make hanging difficult.  Caution:  After-the-fact, you might be told that these could have been attended to.  But, by whom and how at a time when any "special request" makes it seem like you’re a "fuss-pot"?

Typically, show organizers, no matter the stature of their show, appear unconcerned about responding to individual artist feedback post show, or prepared to compensate for problems.  Instead, it seems, their focus is on group solicitations for follow-up shows (expanding revenue options). There are plenty of fresh artists eager to exhibit their work who’d be thrilled to have it accepted (regardless of organizational issues and expense)!

With all the thunderstorms of late, there’s also been a lot of rainbows.  Hopefully, that means (a lot of) good luck is on its way.  Check out this rainbow on a usually drab section of Yonge Street (close to Yonge/St Clair).  An ordinary evening can become special in an instant, if we’re open to acknowledging it…

Older dogs are like well-worn gloves. They fit perfectly, but shouldn’t be taken forgranted.   We don’t know when they’ll fall apart, or how. But, if we are careful with them, they can enjoy long happy and healthy lives.  

As shown throughout the DocSusan blog and website, Lev and Sage are my best friends, room-mates, editors, studio assistants, exercise coaches, and a whole lot more.  Most days, all is well with them. They know my quirks and I know theirs. But, as they’ve gotten older, I’ve become a little more cautious and concerned at the least sign of illness. Because of their size and age, I realize that things can happen very quickly, and signs and symptoms must be taken seriously and acted on without delay. On April 2nd 08, I posted a blog entry about this, Veterinary Emergencies. Three months later, I’m already reporting fresh developments…

From the end of May through June, Sage had had a strange sneeze. First it was every few days. Then it was a couple of times a day, and only coming from his left nostril. His eating and walking seemed normal, and he was sleeping well at night (not snoring, as others with congestion might). However, I was still anxious. Round one of trips to the vet led us to Children’s Benadryl.  Doctor Rachel Wolfson, a dedicated young vet at Rosedale Animal Hospital was very attentive.  As well as presribing this allergy medication, she also took bloodwork. We stayed in touch as Sage’s condition, despite clear bloodwork (and the Benadryl) didn’t seem to change. Doctor Cindy Kneebone at East York Animal Hospital added homeopathy to the mix, as well as giving Sage a head Xray, where nothing unusual was found. For three weeks after this, we carefully monitored developments. Then, finally, no improvement, and with more obvious discomfort shown by Sage—not being able to walk more than a few steps without sneezing—we sought specialist help.

Doctor Doug Mason at Toronto’s Veterinary Emergency Clinic gave us a same day appointment, and performed investigative surgery. After a Catscan and numerous other tests, an abscess (and related build-up) were removed from behind one of Sage’s teeth (which had to come out). A complete course of antibiotics and pain killers followed. Now, we are looking more closely at Sage’s entire mouth and gums, to determine if other teeth need to be extracted or not. Doctor Sharon French, a veterinary dental specialist who consults with Toronto Zoo (and is also at Toronto’s Veterinary Emergency Clinic) is now involved with Sage’s case, and has prescribed Maxiguard Oral Cleansing Gel.  So far, so good. We like her, and her approach!

Apparently, gum disease is not an uncommon problem with older small dogs, like Sage.  Unfortunately, undetected, it can be life-threatening.  I realize, because of the expediency and caring of a diverse group of of vets, and my constant vigilance and concern, Sage’s life has been saved.  I caution other pet owners not to overlook any of their pets’ symptoms, however fussy they may believe other people think they are. Our pets mean so much to us!

Unfortunately, veterinary interventions come at a price. Future blog articles will look at typical pet healthcare costs.  It is sad to know how many dogs are put to sleep, owners (understandably) unable to keep up with the bills for  treatment, or prepared to administer (complicated) medications.

p.s.  End of August update: Our claim through PetCare (all parts of it, including those not related to dental/mouth conditions) was denied.  There will be a lot more in future blog entries about this, as well as a closer look at veterinary practice, procedures, and accountablity, as well as insurance company savvy.

Long solo drives (like Chicago-Toronto) require easy snacking and easy listening.  When there’s no one sitting next to you to pass treats, change a CD, or take over the driving, it’s important to know how to be self-reliant.  Experience has taught me to eat right and light.  Pringles’ small Grab and Go containers (2.8oz/80g) are about as easy a solution as possible for a quick tasty bite that doesn’t make the steering wheel sticky.  They’re also easy to get out of the pack—wedge between the legs and don’t crumb. The Sour Cream and Onion have just enough seasoning, without leaving a strong after-taste.  For entertainment, the Ipod works great—that is if you’ve programed a play-list.  No CDs to change or screen to look at. Just plug in and go!

Summertime in Canada, (particularly Ontario), at first glance, seems to divide the population into two:  those who have cottages and those who don’t.  Those who have cottages enjoy miles of private shorelines.  Those who don’t can find it hard to gain access to a lot of areas—no parking allowed without resident permit and scant public facilities.  Even when a beach is public, regulations can be prohibitive—with limited hours, no pets, parking and entry charges, and more. A  Sunday afternoon trip to West Kirby, last month, prompted me to think about summertime phenomena and marvel at the old-world charm and simplicity of the setting—few obvious restrictions and daytrip fun for all without fees or memberships.  Please look below to glimpse (on-going) pleasures of British yesteryear:  families, dogs, adult kids, fisherman, and sailors welcome.

Keep your eyes open—and camera handy—wherever you are, even close to home.  Nature will surprise, delight and astonish if you give her time and consideration.

Some things are easy to pass by. Others make us stop and pay attention:

• Tree stumps by a dried up river bed:  Connecticut, US, November 07

• Frost coated fallen apples:  Liverpool, UK, December 07

Earlier this week, I was excited to be part of a quartet that attended Dirty Dancing, at the Royal Alex Theatre in Toronto.  We took advantage of a mid-week special (four tickets for the price of three), making a spontaneous same-day purchase.  Sometimes, the best night’s entertainment happens when you don’t have long-term plans for it, but break routine.

Not only were the sets and costumes superb, but the cast was consistent and well-chosen.  This wasn’t the kind of show that had you wondering when the interval was going to happen. And beyond the actual performance, we were also struck by deeper story-lines, like that of a nuclear family with two adult-children.  

Siblings often have distinct personalities (and outcomes), and the daughters, Frances and Lisa, were excellent examples of this.  Sometimes, one child can be seen to do no wrong, and the other child, no right.  One has "higher goals" and she is misunderstood. The other ’s behavior is less commendable, but she’s more likely to get away with it (though not grow from her mistakes).  Also, parents often seem to forget their own pasts when making suppositions and demonstrating differential treatment.  Not knowing (or attempting to learn) all the facts, and making judgments for the wrong reasons can be problematic, unless non-family members have a chance to intervene.

Though much of the music was familiar, and there was a strong urge to want to go home and get dancing lessons, this staging of Dirty Dancing, it was clear, offered more than the immediately obvious.  Seeing the movie years ago, I’d been more focused on visual and auditory effects.  This time around (perhaps helped by the stellar performances of the leads) it was refreshing to be able to consider deeper messages and meanings. Lively afer-show discussion ensued!

Yet another accolade for Liverpool this month!  The Tate’s Klimt exhibit is a hit.  Last Monday, as an artist walking through, I became tearful in some places, identifying in different ways with practice, process, product, and response.  It was only on entering the gift store that I was disappointed.  A poster of the spectacular painting, "The Three Ages of Life," in my mind, had desecrated the original work.  It was up there for sale with only two stages of life—mother and child.  The old lady (old age) had been removed. 

As I start to make reproductions of my own artwork, I am extremely sensitive to what the artist might have thought about this crop.  A third of his vision had been removed without his consent or knowledge, and the greater meaning behind the piece damaged completely. Speaking to the manager of the gift store, I got an explanation.  It was all about commerce—financial returns.  She stressed how everyone cuts up Klimt, showing me images in a book of how fashion designers had made prints from excerpts of his work. This "nothing unusual" piece of merchandise (the two-thirds print) would sell better (allegedly have more mass market appeal) and bring income to the Tate.  It sounded like the message she was trying to give was that because the money would be coming back to the Tate (was not for "commercial benefit") that it was acceptable. As our conversation continued, the manager went on to tell me that postcards displaying the whole piece had already sold out, and there would be more later, once other images sold to make space again.

The postcard image that had sold out has been inserted at the start of this blog entry.  The two thirds image from the poster was also available at the store on a mini greeting card, and is inserted below.

 
The day after my visit to the Klimt exhibit (last Monday), the friends I’d been with there called to let me know that others were upset by the Klimt crop. The Guardian had just published a letter by a Maureen Everhsed which they’d headed "Age old problem."

I have been touched, today, by all the remarkable tributes to Tim Russert, NBC Bureau Chief and Moderator of Meet the Press.  Most Sunday mornings, his voice has been "background entertainment" while I’ve done household chores.  He was a fixture whom it was hard to imagine wouldn’t grace television news and debate well into old age. 

Tim’s sudden heart attack yesterday was yet another reminder to all of us that life is precious and we can’t have complete control, especially over its endings.  When someone as unique and admired as Tim is gone from our world in moments, without warning or preparation, we are stunned and ache.  From President Bush to regular viewers, everyone seems to have a reflection to offer, a deep fondness for this role model and outstandingly successful professional who remained a very down-to-earth family man and personal friend to so many.  My sincere condolences to all those dear to him.  He will be sorely missed.

At times like this, it’s hard not to think of more private individuals too, and their endings—those who haven’t enjoyed public success or recognition in their lives, those without family and friends who’ve supported and encouraged them. When their time comes, will it be recognized how their lives were meaningful or how much they could be missed?   How might things have played out differently for them, given a chance, voice, or simple luck?

It’s clear that we all leave our mark on the world in different ways, others’ impressions shaped by how we’re remembered or forgotten.  The following poem is dedicated to those who pass in greater silence and anonymity.  Maybe there was more to say about them, but there was no one to say it? Maybe their lives could have been happier and more fulfilled, but there was no one to spur them on? What might they have said if they could have written their own eulogies?  Perhaps this is one possibility?

AFTERWARDS

It was all up to me.

It’s like Liverpool hit the fast-forward button all of a sudden!  As somebody who hasn’t lived there for more than a quarter of century, its a lot easier for me to see this.  First came the Albert Dock complex, then the Capital of Culture, and now Liverpool One. 

Though there’s still hard hats, cranes, and construction everywhere, on a beautiful sunny day, this week, I was thrilled to see my hometown revived and bustling.

Please check out some of the posters inserted below that tell a little more about this new landmark.

Better still, go visit Liverpool.  You will be surprised, delighted, and entertained.  The shopping isn’t bad either…

When more carefully manicured cities, like Toronto, feel bereft of ambiance and energy in comparison, it’s clear something is working right in Liverpool.  The graphic design for its construction posters (inserted above), also helps with mood.  I couldn’t think of a city where the heart symbol fits better. You can say a lot else about Liverpudlians, but you can’t deny their friendliness, directness, humor, spirit and heart.  HeArTs off to them!  

Christopher Hart (no heart-typo) made this interesting comment in a Times Culture supplement after Paul McCartney’s recent Liverpool concert, "It’s a battered and bleeding heavyweight of a city, struggling to haul itsel off the canvas.  But it has an astonishing charisma—and I can still hear the sound of 35,000 voices ringing in my ears, singing about "times of trouble" and "all the lonely people" and "take a sad song and make it better."

A comment on the Liverpool 08 home page by Alexei Sayle states, "I’ve been all over the world looking for excitement, and it turns out that the most thrilling town I’ve ever visited is the one I was born in."  Right now, many non-resident Liverpudlians will find it hard not to agree!

With extended trips to Chicago in April and May, I have a growing list of recommendations for visitors. Even without much time to get out and about, because of "show schedules," I’ve been very impressed by what this city has to offer, and the well-known friendliness and kindness of locals.
 
You can’t have a bad meal, as the following easy-dining eateries demonstrated (in no particular order):

• Fulton’s On the River (fish)
• Ben Pau (Asian)
• Tizi Melloul (Mediterranean)
• The Brick House (fun)
• Shaw’s Crab House (fish)
• Lou Malnatis (pizza)
• McCormick & Schmick’s (fish)

And, for take-out, Fox and Obel (gourmet foods), close to Navy Pier, is hard to beat.

Spectacular architecture is everywhere. Don’t miss the legendary architectural boat tour that has the best views. You might even notice a city kayaker alongside.

Then, for a spot of exercise, check out the incredible East Bank Club (Oprah’s gym). A friend kindly invited me to a yoga class there.  The studio it was held in overlooked the river as the sun went down, making the experience all the more pleasurable.

And, for animal-lovers, missing pets or thinking of adoption, a visit to The Anti-Cruelty Society (157 Grand Avenue) is encouraging.  It occupies a whole city block and has a "transparency policy," domestic animals in-care viewable through all windows. 

Alternatively, a quick walk through Lincoln Park Zoo, in easy-reach of downtown, offers a more exotic break.

Nature and entertainment aren’t forgotten outside of parks, either—even on ("Magnificent") Michigan Ave.  Check out the Saturday afternoon street-performers. And then there’s all those shops…

But, if you are in town for "business," like I was, there’s other priorities, and staying at the Holiday Inn Merchandise Mart Plaza helped—consistently a comfortable, caring, and convenient environment.

Though I haven’t tried it yet, a Segway Tour is on my list of "must-dos" for next time.  I’d also like an evening out on Rush, which seems like a lot of fun…

With all Chicago’s summer festivals, as well as museums, galleries, parks, and lakefront, I really look forward to more visits to this super-friendly city, that’s clearly a shining example to others in so many ways.

Many tourists seem to be impressed with Toronto’s cleanliness. However, unfortunately, its warmth, joie de vivre, welcome, and energy aren’t quite as remarkable.  Locals point out obstacles too, like in Peter Kultenbrouwer’s May 10, 08 National Post article about Yonge-Dundas Square, "A public square that isn’t public."

"That’s nice!", "Well done!"  "Good for you!" "Great job!" "Keep up the good work!" Kudos is always appreciated, with a little encouragement going a long way.  However, it’s not always forthcoming—especially at times when needed most, and from those we’d like to have issue it.  And then there’s that magical two-word phrase, frequently forgotten, "Thank you!"  

Whether you’ve cooked for dinner guests, made matches between acquaintances, or looked after a friend’s cat, it’s always nice to be acknowledged and appreciated.  But, the more you give out, too often, the less this happens.  Feeling overlooked and taken for granted, continually, can take its toll—make us behave in ways we might not instinctively.  Enter the era of the "cautious" and "jaded."  Sadly, the notion of "once bitten, twice shy", can ring louder than ever.  

Self-absorption, becoming a predominant character trait in western society, today, it’s not surprising that "Please" is missing from many people’s requests.  And, without a "Please," it’s unlikely there’ll be a "Thank you."  Positive change happens one person at a time—personal displays of good manners and respect helping more than might be realized.  Seeing how giving the gift of a "Please," Thank you," or "Well done" can boost someone else’s spirits, can be a great first step in feeling better about yourself too!

Sometimes, a charter is the only way to go, like it or not. Flying during the Christmas rush (unless we have a choice not to) might not be a good idea, as this poem tells…  

The Charter Flight

Screaming, screaming kids
Anxious chatter
Little air
Heavy care

Or, under stress
Easier to expect less.

In case you’re wondering which airline this poem was written on, it was Air Transat.

At the end of December (07), I was on a another transatlantic flight.  I’d just visited a family member who was sick and ended up sitting next to someone who was returning from her mother’s funeral. Personal experience with funeral trips, as well as long-distance illness concerns, compelled me to pull out my notebook and record these poetic reflections.

Planes

Planes are for vacations
celebrations

Planes are for all kinds of reasons
Of life, reveal the many seasons.

In 2007, I seemed to take a number of plane flights back to back.  Flying Toronto - Munich, in November, I put pen to paper, and wrote this poem.  It’s always interesting to have a little notebook in bag when traveling, all kinds of interesting reflections to record…

 

It was great to be back in Boston last weekend, albeit just for an overnight visit.  This city stirs so much positive energy for me.  Good friends and an environment that’s quaint, cultured, and progressive seems to entice locals as well as travelers.  Spring blossoms and time with special friends, of course, were bonuses!  

The last time I was in Boston was Labor Day weekend, and much has changed since then.  Soon-to-be landmarks are now open—or almost:

• The Liberty Hotel, on Charles Street, with its bars and restaurants.

Check out the unique refurbished jail cells, with "light shows."  Then, go downstairs for a meal at Scampo. The food is well-prepared and presented. It’s just the acoustics that need a little work.  You may lose your voice tying to have a conversation with dining companions!

• The Mandarin Hotel, on Boylston Street

• The New Apple Store, on Boylston Street scheduled to open today (May 14, 08).

Although I (like many others) have found the Macbook Air to have a few unexpected kinks, I am still a big fan of everything Apple, and this is a super location.

Saturday lunch was at Stephanie’s. But, unfortunately memories were better than actualities.  Somewhat disorganized and dirty, and not quite as delicious, I wondered what was happening there. Sunday breakfast was at the Panficio Cafe. Clean, efficient, and very delicious, this is definitely a must-try.

Boston has something for everyone, and it certainly loves its parades.  I came across two of them, by chance.  On Saturday, "Youth Pride" on Boston Common.  On Sunday, "Duckling Day Parade," along Charles Street and on to Boston Public Garden.

A quick Google search to find other artists’ impressions of Toronto Art Expo (08) led me to the Artists Toronto blog.  After agreeing with some of the commentaries posted there about the event, I thought I’d look into membership.  Sharon Barr welcomed my "application."  What happened next was curious.  10 days later, she sent me a friendly-solicitation for ideas to help grow their site.  Suggestions wanted included the donation of e-mail lists and industry connections as well as initiative to devise a group show.  26 days later, I received an anonymous  "jury" rejection from a personal e-mail address that had the name "Jones" in it. A quick Facebook search enabled me to deduce that It was Stan Jones who’d provided the "glad tidings." It simply stated:  "It is the consensus of our committee that the images you have submitted for approval do not meet the subjective objectives of our committee."  I wasn’t sure what that actually meant, or what they could really be looking for.  All I was aware of were inconsistencies.  Note the time line for communications.  Application, solicitation, rejection.  Also note that they don’t have a 2-week application response turn-around, as posted.  One would expect elitism/run-arounds in the wider art world, but not from a parochial group that touts itself, in correspondence, as a "viable grassroots undertaking." By the way, you’ll find the Artists Toronto blog piece about Toronto Art Expo under the header "The Big Spring Art Shows."  The date given for it, right now, is March 8, 2009.  Of course, we know it must be 2008—and will likely be corrected, eventually.

p.s. Since posting this blog entry, I have received clarification from Mr. Jones about the AT "committee."  Apparently, it has five members (including him).  He states, "’Subjective objectives’ reflect the consensus of our jury in what we feel is a degree of artistic merit that we’re collectively comfortable with.  But it is only our opinion."  Unfortunately, still no explanation of the application, solicitation, rejection procedure.  Only a remark about  familiarity with "entrepreneurial drive."  If they do really intend their site to be "the main connection between Toronto artists and the art loving community" (as announced on their home page), they’ve demonstrated an interesting modus operandi with a target audience.
Perhaps it’s personal artist-artist-friendly experiences in the US, Europe, and beyond that make me all the more sensitive to Toronto artists’ (unnecessary) obstacles.

Children enjoy my artwork, at The Artist’s Project, too—strollers being rolled up to low hanging pieces, like Majesty and Flirt, the Giraffes.

Men really seemed to like my painting, Passion.  One man was happy to pose  for photos.  He just happened to be wearing a shirt that color-coordinated.  Pink-obsessed little girls were also drawn to this piece.

All thoughts (for me) lead back to Kilimanjaro at some point.  Once you’ve completed this ascent, it’s hard to forget it.  I was thrilled to have a friend tell me about the OLN screening of the IMAX movie, To the Roof of Africa, March 16, 08.  Two things struck me about this movie, in particular.  Firstly, what wonderful weather conditions the group seemed to have!  (The struggle my own group had experienced against the elements was incomparable.)  Secondly, how right the guide, Jacob, was with his remark that Kilimanjaro is a place where ordinary people do extraordinary things—leave their everyday lives to stand in a place between heaven and earth.  Since every climb is unique (conditions, obviously, do vary) it’s important to be properly prepared:  tealize that the movie may make things look a little simpler than they might actually be for most, physically and emotionally. 

In North America, 24/7 schedules make it hard for us to keep up with ourselves.  Every day of the week is the same and work hours seem to have no beginning or end.  We have to be "on" all the time—with a Blackberry or cell, even while walking the dog or at the grocery store.  We think we’re saving ourselves time—trying to create more space for leisure—but are we really?  There’s always something else to do and another qualification to have.  It’s not just knowing how to do what we do, it’s knowing how to present and sell it.  And for that, you probably need writing or computer skills (that might have nothing to do with the job in hand) as well as a factory connection in China. Slowing down and switching off aren’t usually an option if you want to get ahead.  No time for bed!  Then there’s the relationship you don’t have, which frees up more time for work and disables you further from having any personal life at all.  Then there’s the diet you can’t stick with because convenience food is convenient.  Also, if you’re in the middle of a home renovation, you probably won’t have your kitchen fixed, properly, for at least another year.  Whatever can go wrong offers new challenges—takes time beyond the 24/7 that you don’t have in the first place. There once was a movie about working 9 - 5.  Can you believe it?!

April 1, 2008, I switched on the The View half-way through a "Hot Topic" discussion.  It appeared to acknowledge dismay among 45s to 50s who haven’t accomplished what they’ve hoped to.  Factors that don’t make them feel any better were described as including lack of community and so many people being alone (especially women).  

Being so intensely engaged in my "Animal Magic" painting project (just switching on the television for "background"), I was aware I’d postponed posting blog entries that have been in the works for a while. This episode of The View prompted me to want to add to the discussion.  Relationship (or lack of relationship) disappointments, misperceptions, and day-to-day struggles are common to us all, which is why I believe it’s good share them. 

This blog entry’s "warm topic" draws attention to why some singles might ellicit more sympathy than others, and how perceptions might help shape realities…

Definitions:
1. The "Single Because" is single again.
2. The "Just Single" has always been single.
3. The "(Im)Perfectly Single" doesn’t like to be defined…

Some candid and common assumptions about each type:

The "Single Because" can prompt perceptions that include:
1.  Did succeed at one time
2.  Has been proven worthy
3.  Has had something to offer (and can again)
4.  Has suffered a "loss" that should be remedied (replaced)
5.  Needs help because of a changed situation
6.  Will benefit from being in relationship

The "Just Single" can prompt perceptions that include:
1.  Hasn’t tried hard enough
2.  Isn’t worthy of more
3.  Doesn’t offer enough
4.  Has no "special needs"
5.  Is not a priority
6.  Could be "difficult" in a relationship

The "Single Because" is widowed, divorced, or separated.  Both the "Just Single" and the "Single Because" might be single parents. The "(Im)Perfectly Single" might have "options," but still keeps on looking for that "impossibly-perfect other"—even if less than perfect, personally.  Perhaps that’s why the description, "Player," is easily substituted.  A "Player" is often charming, generous, good-looking, and smart.  But there’s usually a flip side:  self-absorbed, inconsiderate, insensitive, and cowardly, too.  Instead of focusing on, and trying to stick to one (really liked) other, this person can’t commit:  either "fades away" or ends things abruptly, a million excuses as to why things cannot work.

Those who seem to ellicit most sympathy, socially, are widowed or single parents.  The genuine distress their situations frequently cause can’t be denied.  But, some do know how to take advantage of circumstances—get extra help and attention that might not have come their way otherwise…

No matter one’s single status, a recent book, by Pari Livermore might be enouraging to those seriously searching, especially if female.  Called How to Marry a Fabulous Man, its Today Show feature told a little about Ms Livermore and her one-of-a-kind philanthropic dating service and philosophy, as well as her "31 ways to meet, catch, and keep Mr. Right." 

Even after studying beginner Italian for three semesters at the Toronto’s Italian Cultural Institute, and buying a bunch of self-help books and tapes, I wasn’t confident enough to speak the language once in Florence (for the Biennale). However, this didn’t detract from my enjoyment of being there, and sensing what was said and written—taking in the ambiance, mood, and energy. In Italy, la dolce vita (the good life) is energizing, especially when a stark Canadian winter sets in.  At a quick glance, here is some of what seems to matter:  art(s), food, hairdressers, individuality, laughter, playfulness, style, uniqueness

Food tastes different—fruit and vegetables smell like they’re supposed to (haven’t been forced or altered), and time is taken over meals. Friends gather in large groups and share what’s on the table—at home and in restaurants.  There’s a lot there, but servings are adequate, not excessive.  People learn how to dine, course by course, and interact while eating, from an early age.  They also are seen out walking on a daily basis.

There may be chaos surrounding organized events and activities, but everything gets done, just in time, and happens how it’s supposed to.  Along the way, it might be realized that biggest isn’t necessarily be best.  More intimate gatherings and personal/neighborly relationships prevail.  Instead of being home alone, many are out doing their daily grocery shop, or frequenting destinations in easy reach, by foot.  The streets bustle with locals engaged in habitual activities that have existed for generations:  going to mass, errecting and taking down market stands, or standing up for an aperitif and antipasto at a corner bar. Even well-known bursts of rain don’t stop everyday life, or visitors.

A few local tried and proven recommendations in Firenze include:  Carlo Bay: haircare; Cellai: hotel accomodation; Grom: gelato;  Madova: gloves; Muniaciello: pizza, cocktails, music, Rivoire: lunch, pastries, home-made chocolate; Zaza: fun, central trattoria; Zechhi: art supplies.

Walking through the Yonge/St. Clair Centre (Toronto) to purchase a treat at Timothy’s, Easter Friday morning, I wasn’t surprised to notice that Ziggy’s/St. Clair Market (Loblaws flagship supermarket) was closed (grills down).  What did catch my attention was their display of floral merchandise that wasn’t locked away. Even if there are hidden cameras, and this is the way things are left daily, I still find it remarkable.  Perhaps that’s because I grew up in Liverpool.  Even though it’s the European Capital of Culture for 2008, most stores (and their goods) still have to be boarded up when businesses aren’t open.

Painting for The Artist Project, I have animalkind on my mind.  And, whatever is on one’s mind can pop up, by coincidence, in other places.  The leapyear edition of the Tonight Show (February 29) was a wild-animal enthusiast’s delight.  An avid cat-lover, Jay showed fearlessness romping and head-butting with a lion cub, massaging hyenas, and cuddling with baby leopoard-kind.  After backing off from a a mongoose, he wasn’t phased to see his stage "marked" by a feline guest who was just doing what animals do. Even human guest human, Patricia Arquette, was coaxed to talk about her fondness for dickdicks—interesting to her because they mate for life and always poop in the same spot.  In just moments, Dave Salmoni’s animal parade, Patricia Arquette’s explanations, and Jay Leno’s playful jests had transported me back to the African bush. I felt truly privileged to have been able to see all animal types in their natural settings—and to be painting some of them now.  Jay Leno proved his versatilitiy and power yet again.  No wonder the media is abuzz as to what he’s going to be doing next, and at what price.  The Tonight Show (and painting into the wee hours) won’t be the same without him!

There are more international art fairs and artists than ever. While visitors may only witness final happenings, what goes on behind the scenes for artist participants can present a totally different picture (no pun intended). In Italy (at the Biennale), logistical idiosyncracies went with the territory.  In Toronto, for an established local event, like Art Expo, perhaps my expectations were too high.  When event dates were moved up, just before Christmas (with tardy website adjustments, and a clash with a competing art show), other surprises weren’t yet in the air. (Please see an earlier blog entry, "Change of Date, Change of Fate:  Toronto Art Expo 08 Snowed Under," March 16, 08)

Reminders were included in Art Expo e-communications assuring that "no other" show goes to Art Expo’s lengths to make things easy for those exhibiting.  However, return e-mails, phone calls, and receipts, were difficult to obtain. Also, pre-show move-in wasn’t happy. Arriving for a mandatory end-of-the-day slot, it was disappointing to discover that recommended (rented) booth equipment wasn’t in place, making eventual set-up uncertain and tense. (I am very grateful to those who took non-job related initiatives, well into the night, to help postion my display prior to the next morning.)

Art Expo artists incur heavy costs for the privilege of participation, no matter show actualities. Here’s my own tally:
Sums Paid to Rime Canada:  $1957
• Amount for the smallest booth (5 x 15 feet):  $1695
• Amount for participating in the Toronto Life Advertisement option:  $265
Sums Paid to "Recommended Decorators":  $859.34
Booth’s basic fixtures (not included in booth registration fee, and outsourced):
• Showtech:  rental of 2 high ceiling mounted floodlights (secured at a greater distance from the booth than anticipated):  $540.14
• Stronco Show Services:  rental of a 5 by 15 foot strip of (poorly cut) grey carpet, no underlay:  $166.95
• Canfence:  rental of a custom-made (yet rusty and broken) fencing enclosure on which to hang the artwork:  $152.25
Sums Paid to the Toronto Convention Center:  $55
• Parking Pass:  $55
(Internet connection not taken because it was $895 +5% gst for wired access, and $395 for wireless access)

Different art shows, I now realize, can be lighter on the wallet, and suggest less possibilities for set-up stress/additional costs. Take, for instance, the Artist Project (Toronto), which happened the same weekend as Art Expo.  Here are their booth rates: 5 X 10 $600 + $300 = $900; 5 X 15 $900 + $400 = $1250; 5 X 20 $1200 + $400 = $1600; 10 X 10 $800 + $400 = $1200; 10 X 15 $1200 + $600 = $1800; 10 X 20 $1600 + $800 = $2400. A note from the Artist Project’s user-friendly Website clarifies inclusions: "We have negotiated a great price for the gallery style hard-wall system. The cost for this rental is included in the price of your booth. This system will facilitate a smooth and easy move-in; all you need to do is hang your artwork  and provide your electrical and lighting. As well, these walls will ensure a high-end, professional looking show…"

Right now, I’m looking forward to exhibiting at The Artist Project, Chicago, April 24 - 29, 08.  So far, the greatest administrivia difficulties and financial expenses connected with this show pertain to cross-border protocols and logistics.  Shipping to an out-of-the-country event, and determining far-from-home transportation, accomodation, and on-site necessities presents fresh challenges and adventures…

If this blog becomes a little less active over the next few weeks, please understand.  Now, back up to the painting studio!

For Toronto Art Expo’s opening night, I wore one of my home-made crochet creations. Many times, we make hand crafted clothes and then feel too afraid to wear them.  But, for special occasions like an art exhibit, I thought it might be fun to do so.  This crocheted outfit had many commenting that I looked like my paintings!

For more Susan-of-a-kind crochet creations please check out the crochet gallery linked to a previous blog entry, (Crochet for Stress Reduction, Fashion, and Fun, December 25, 2006).

This Sunday morning (today) was crisp but spring-like. Woken by birds singing and seeing the snow melt, I couldn’t help but think back to last Sunday morning—having to dig myself out of the house.  Last Saturday night, I abandoned my car at the Metro Toronto Convention Centre parking lot because we were in the midst of a snow storm—weather conditions that didn’t bode well for Toronto Art Expo attendance.  Originally, Toronto Art Expo was supposed to be held this weekend (March 13 - 16) and these dates could have worked out better had they been kept.  

When Mr. Peter Maguire (President of Rime Canada/Organizer of Toronto Art Expo) confirmed the date switch (off-line, just before Christmas, and on-line, well into January) from March 13 - 16 to March 6 - 9, 08, I was uneasy.  Apparently, there were two main reasons for the date-change:  to catch March break big-spenders before they left on vacation, and to upstage Toronto’s Artist Project’s first-year, which Maguire didn’t want to have poach his audience a week in advance.  

Sometimes, calculations and manipulations just don’t work.  Mother Nature is more powerful than humankind.  What is meant to be will be, rash or reasonable decisions and changes having little influence over outcome.

Irony:  A week after the event, receipts still haven’t been issued by Toronto Art Expo for expenses already paid (despite pre-show requests).  However, on the Saturday of the actual event weekend, reapplication packages were hand-delivered to each participant’s booth for next year (2009). Then, on the Sunday two paper warnings appeared.  The first note stated that 5 pm would be the cut-off time for resign-up.  Those who didn’t do so by then would be subject to re-jurying and possible price increase.  They’d also lose seniority over booth allocation.  The second note extended the deadline till 6 pm because of "traffic on the floor."

As I sat quietly in my booth (few attendees in evidence) musing about how Toronto Art Expo 08 (at least from what I’d witnessed) seemed doomed from the start, any notion of feeling pressure/anxiety to sign up (and pay up) for a repeat performance seemed a little silly.

On the coldest of winter days, Poodle pals, Lev and Sage, are very good at finding the sunniest spot in the house and luxuriate in its warmth.

I am exhibitng my spring fine art collection "From Doodlemania to Organic Art" at Toronto Art Expo, March 6 -9, 2008 (Toronto’s Metro Convention Center). After the event, I will offer behind-the-scenes tidbits pertaining to this "happening" and its organization on this blog.  What artist participants experience and what the general public notices, will likely be interesting (and different)… Participating at the Florence Biennale had predictable bumps (some of which are already recorded on this blog).  Showing artwork in a foreign country with different ways and standards is always an adventure!  In Toronto, however, and due to the heavy costs of participating at an event that’s not in its infancy, my expectations have been higher…  Let’s see what happens!

My booth is 401 u/l.  It’s on the upper level, in the far back left-hand corner, at the bottom of aisle A and adjacent to the toilets.  Please stop by and say "Hello!"  Hang out for a while!  Look for sping colors and feelings. I hope to create a "cozy, welcoming corner":  a little sanctuary tucked away in an overwhelming, large, noisy hall.  

Painting through a  "long, cold, lonely winter," this "Litttle Darlin’" has been crying out for spring—imagining it in a myriad of shapes and colors. (Please click the link just given and listen to the You Tube song that you’ll find there!)

The paintings on display, I hope, will lift the spirits, and hearts, of Art Expo visitors.  Oh, and, by the way, most of them are for sale!  The Art Expo mandate is that only originally work can be displayed and sold there.  Reproductions are available to order, outside of the show…

Dental Hygiene is important, for caninkind as well as humans.  However, too often this gets overlooked, especially as dogs age and have greater health risks. The routine to change smoke detector alarms when the hour moves forward or back is a good one.  Special days have a way of triggering us to remember special routines.  This year, Valentine’s Day was all the more significant for me, and will be in the future—as "Poopals Appreciation Day."  Lev and Sage had a trip to the vet to get their teeth cleaned.  Anne, the technician at East York Animal Clinical did a wonderful job, and Dr. Cindy Kneebone prescribed a potion to facilitate tartar removal year-round. No brushing required!  Leba III is a totally natural spray in solution—for humans as well as dogs.  It’s too early to gage long-term results, but we’re hoping so far so good.  Take a look at Sage’s clean teeth in the slightly hard-to-see snapshot above!  (Sage wouldn’t keep still.)

p.s. Please note:  a November 08 Google Search, "complaints about Leba 111" led the searcher to this blog entry.  In view of Sage’s dental demise (around the same time) it’s now unclear how much this product actually helps.  Optimism is always good, but reality can be a greater teacher…

p.p.s. Please check out this newer blog entry:  48-Hours of Caring for Sick and Elderly. Sage Makin, Little Wonder-Dog’s Recovery in Images, November 10, 2008.

This morning, I can hear the birds singing, a treat I’ve not been aware of in a long time.  It’s a sunny but crisp Sunday, and I think I can feel spring in the air.  I don’t know if this is true, but can only hope that we could actually be in for some milder weather and related mood changes.  To quote a familiar Beatles’ song, "It’s been a long, cold, lonely winter."  In a climate like Toronto’s, when snow is heavy, situations arise that would be unusual elsewhere, like the one described here…

Adequate and accessible parking for the genuinely disabled is essential, but not when be hazardous.  For too long, vehicles with disabled stickers (not necessarily disabled drivers) have been allowed to park on busy mid-town cross streets, like Balmoral.  These roadways that get even narrower when snowbanks pile up, like this past February. When a Wheel-Trans vehicle tried to squeeze between a parked Mini (with disabled sticker) and an iced over snowbank there was a wedging, and neither vehicle could be moved without tow truck assistance and police intervention.  Consequence, the street was inaccessible to regular traffic for three hours.  What are the chances  that a Wheel-Trans vehicle should squish a car displaying a disabled sticker.  Perhaps there’s a message in the irony?

Police vehicle cutting off the "accident area, parked vertically—shows how narrow the street is

Typical family size SUV arriving at "accident area"—shows the street can only really accommodate one lane of traffic

Typical street traffic congestion:  snow or no snow

You don’t have to look very far to see Londoners are going "green."  Their awareness and habits are revealed in a few quick snaps from my overnnight visit there last September.  

An electric car

Organic food businesses, as advertised on this van

City of Westminster recycling at Covent Garden

A carbon neutral taxi

A wooden playground

There’s also a free magazine for pick-up in the doorway of many stores, called New Consumer.  I chanced on its fifth birthday edition last September (07).

If you own a Macintosh computer and live in Canada, beware!  You will not be able to get technical support, and it doesn’t look like this situation is going to change, now or in the future.  AOL Canada, it seems, prefers to lose long-standing/loyal members. I was told by an AOL Canada supervisor, today, that it has been an "AOL business decision" not to service their Mac users in this country (for the last few years, already). The supervisor I spoke to suggested that if I am paying for a service that’s not working for me (such as the one he is employed by—AOL Canada), I should cancel it completely. In fact, he offered to give me the next month for free till I can sign up with another e-mail provider, and arrange to have my e-mails forwarded.

Looks like AOL Canada has no intention to remedy what their supervisor described as "dwindling numbers of AOL/Mac Canadian users." In fact its own employees are openly discouraging  With the launch of the new MacBook Air, this is indeed a pity!   AOL Canada users should not expect to be able to access US technical support, either. If you take the initiative to contact them, you will be told that they don’t service Canadian accounts, once you reach a technician who’ll say that your account can’t be found. However, when you punch in your account details, the (automatic) voice response system that transfers callers to technicians (on receipt of that information) will announce that your account has been found (ie. assistance will be forthcoming)!

Also, MacUsers everywhere are, probably, well-aware of the incompatailities between Mac’s Leopard operating system and AOL.  Even though remedies are currently being tested, patience and waiting to see what happens might not be the best options. The inablity to access e-mail (and trying to sort out how to) wastes time, provokes inefficiency, and generates frustration! 

I do apologize for any interruptions in communications at the moment. Please understand that it’s due to the Mac/Canadian AOL connection (or lack of it), not moi! 

We research some hotels in advance.  Others, are found by chance.  When the Florence Biennale travel agent billeted me at the Hotel Cellai, I didn’t know what to expect, but ended up being surprised and delighted. This boutique hotel, I think, might enhance any arts enthusiast’s visit to Florence—epitomizes the Florentine spirit and its evolution. 

Originally, a small bed and breakfast, the premise has been in the Carvallo family for three generations—passing from grandmother to daughter to son.  Francesco, the current owner/manger credits his three decades of "international renaissance education" with strongly influencing his hotel’s remodeling and expansion.  The Cellai now has 70 rooms, and is brimming with artwork, ornaments, fine furnishings, and old-world charm. Each room is different from the next and the lounge areas are comfortable and intriguing.  Magazines and books are are in key locations throughout, opened on pages with special quotes, images and articles.  Also, various contemporary artists’ canvases are exhibited on a rotating basis in a living room area.

Although the hotel looks complete the way it is, Carvallo is in the process of adding three more common areas:  a billiard room (with a purple-clothed table).  Geometry is one of this designer’s passions, and the room’s intention will be to give a sense of the "forces of the universe." The second addition will be a "love room"—one that’s not really intended for use, but to be viewed as an installation of sorts, built around a red velvet sofa (from a 1890 - 1905 "pleasure house").  "It cost a fortune," Carvallo admitted, reminding that people will be looking at it, not sitting on it.  There’ll also be special mirrors (from another "pleasure house").  Finally, there’ll be Libertine prints, showing people flirting. The third, and final, new space, will be a wine bar with books and silk curtains.  20th century style will be set off to advantage here, with black and white photos from 1920 - 1970 being an important decoration (from Carvallo’s extensive personal collection).

Interior design, according to Carvallo, is like "a medicine" for him.  His own home celebrates the 1940s - 60s, but has paintings from the 17th, 18th, and 19th centuries as well.  Carvallo especially loves still-lives from the nineteenth century that have dark backgrounds and Italian origins—mostly from Florence and Naples.

Carvallo appears a modest and diligent man, and blushes when telling that his interior designs have been featured in niche magazines. He is also very excited about another space, adjacent to the hotel, that is also nearing completion.  It is to be called the "Spazio Bianco" (White Space).  This is where his designs will have a chance to leap into the contemporary world (beyond the 17th, 18th, 19th, and 20th centuries).  He loves the idea of covering centuries, room by room, as he has done so far.  The "Spazio Bianco" (White Space), as its name indicates, will be totally white and have a wooden floor, also painted white.  Carvallo is particularly looking forward to creating special effects in there.  The simplicity of the decor, he thinks, will offer unique possibilities, like to change the color of the air.  

The event space/gallery is 150 square meters, and will be the hotel’s cinema, if there’s no special event or exhibition happening.  Carvallo plans to show Italian black and white movies from 1948 - 1968 (from his personal collection).   He’s also looking forward to playing there once a week, with his band, "The Pink Freuds."  Carvallo is the vocalist.  In the band, there’s vocal, piano, guitar, electric guitar, and drum.  Apart from a female lawyer, all the other band members are male—and professionals with significant day jobs:  an architect, economist, town planner, and geologist (responsible for Florence’s public water systems).

Carvallo’s attention to detail shows everywhere, and not least in his agenda for the event space/gallery.  The product line "San Zanobi" (local oils and wines) will be available for tastings.  Then, once a month, vintage dresses will be shown, from a flee market close by.   And, there’ll be a salon-type atmosphere with literary readings and art shows.  Carvallo is "connected," so the offerings are guaranteed to be interesting!  Cecco Mariniello, the number one (and reclusive) Italian childrens’ book illustrator is the Cellai’s postcard designer—and, right now, these postcards are "giveaways"!

Carvallo doesn’t have a secretary, and says he makes all his own decisions and designs.  His days are long and guests catch him fluffing cushions early morning, or with papers all over his desk well into the evening. In the day, he drifts in and out, covered in dust from construction. Carvallo explains how, in Italy, "Everyone wants to change things themselves, and put in their soul…and then there’s Italian mothers who ‘kill’ Italian boys…"  His own mother, at 83,  went paragliding in Florida recently, and his father lived a healthy life until his passing at 90.  Carvallo’s mother still helps out at the Cellai, and he says he’s appreciative of that.  "Traditionally, Italian men talk but don’t do.  Women do…," he stresses.  Carvallo might just be an exception to his own rule!

Carvallo is hoping to open all his new additions this spring.  Then, he’s planning to start selling artifacts that he’s collected, as well as artworks from displays.

At the Florence Biennale, sitting at my exhibit most days, I had a lot of time to reflect on what was happening there.  I either doodled my thoughts in a sketch book or wrote them up as poetry.  Here’s a poetry sample:

Please take a moment to be in touch with a friend who doesn’t have a Valentine, and let that person know how much they mean to you/you care about them.  A simple phone call or e-mail may be just enough!  If you’re happy—and fortunate to have attention from a "special other"—try to be extra sensitive to whose circumstances are different.  Though Valentine’s Day (February 14), gives many a cause to celebrate (and for commercialism), more folks than seems fair feel uncomfortable as it looms. This poem tells a little more:

VALENTINE’S DAY

Loved?
I’m not sure about that

Happy Valentine’s Day!

Add to Valentine’s Day, Ontario’s first annual Family Day, four days later, February 18, 2008.  Apart from proving an inconvenience for some in the business world, this second "relationship-rejoicing" day may add to singles feeling more out-of-place (a significant percentage of the local population).  According to February’s Village Post, its very name is "puritanical," and just begs for satire!

 

Reciprocity can be tricky sometimes. There are those who give in order to receive, those who give in order to mutually benefit, and those who like to take but not give back.  Those who give to give, no strings attached, are exceptional.

In real life, we see this with dinners, gifts, phone calls, and so much else.  Certain individuals always seem to offer a whole lot more for a whole lot less.

In cyberspace, gaining "reciprocal links"—like having "friends" on Facebook—has become a supposed indicator of success, popularity, and networking ability.  In recent weeks, I’ve noticed an increase in offers to exchange links, so as to raise Google rankings. But, what might "virtual-reciprocity" imply to the non tech-savvy? Because we exchange a link and list another web address on our site, does it mean that we endorse it too? If we decline a request to exchange a link, what is the message that we’re giving back?  That we don’t like or approve of it?  Will someone list us without us having to list them?

Because, for now, I don’t have distinct link lists, I try to include as many links as possible in blog entries and website text.  Requesters who’ve taken time to review my sites usually understand—and see a place where they might be inserted.

A Florence Biennale artist who has just requested a reciprocal link exchange is Ann Haessel. A fiber artist from Alberta, Canada, you might like to check out her site.  Unfortunately, I did not get a chance to see her work at the Biennale.

Other entries on this blog also offer perspectives on RECIPROCITY.  These include: 

Give to Give, (poem), Sept 5, 2007 

Keep Your Word, July 25, 2007

A and B List Friends, July 8, 2007

Friends Help Friends, December 7, 2006 

Seeing the general public view my artwork was very gratifying.  "Buon Appetito!" as I’d hoped, had broad age-appeal. Young children, and their parents loved it!

So did caninekind!

Then there was what was written in my visitor book.  Certain entries in other languages—Italian?—could be figured out without translation, even with handwriting that was hard to read… Here are some examples:

• "Complimenti, fresco, colorato, diret, molto bello… can I eat it?!"
• "Your works taste good!  I love it!"
• "Colori, allegria e voglia di vivere!!"
• "SORRY  I’m on a diet…Very, very nice…"
• "From Canadian to Italian, you know how to communicate the contrast in what is real flavour and artificial flavour.  In Italy, little flavour need be enhanced.  Your paintings speak of the vitality in food here."
• "Une magie di colori, complimenti!"
• "Trionfs di colori.  Il motion artisco della quotidiannite.  Rapporto el publblico diretto basato su un patrimonio commune di sensezioni e percezioni.  Grazie!"
• "Thank you for the light!"

Feedback from other Biennale artists, viewing recent blog entries on this site, suggests the need for new Biennale recognition/prize categories: "artists’ choice" and "viewers’ choice" awards.  Perhaps "children’s" and "canine’s choices" wouldn’t be a bad idea too!  That way there might be more interesting (and fairer) outcomes.

The "January blues" are legendary. Then comes February, and moods sink lower. Is there anything that can be done to help? Some are too familiar with the pain (not just in January or February, but year round) and don’t need to have it explained (like in the poem below). Others are able to escape it— supports, special advantages, or attitude making things easier.  Living in warmer friendlier climates (or taking a sun break) can also be helpful.  But this isn’t always possible.  In cities such as Toronto, known more for aloofness and coldness than ambiance and joie de vivre, extra efforts need to be made.  It’s important to be aware of those around us, and check-in on them—include, invite, encourage, or reciprocate.  At least, try and offer a smile or "hello," even to someone you don’t know.

FEBRUARY FUNK

Looking good on the outside
Doesn’t dull the pain within

Do you know that pain?

Under the nose
In the throat
Around the eyes

An upset that you feel
Even if others don’t see

Do you know that pain?

Maybe you don’t
Likely you won’t

Do you know the sadness of
Loneliness
Hopelessness
Helplessness
Despair?

Seeing that others, clearly, don’t care

A "Please"
"Thank you"
"Sorry"
"Well done"
Might pick up someone else’s day

Few brave enough to show the way

Don’t ask "Why?"
Ask, "Why not?"

CONFIDENCE

Confidence is driven by others
Not just ourselves

We know, ourselves, what we do, feel, think
What’s right, wrong, uncomfortable, or easy

Others affirm, deny, encourage, avoid
Enable and disable

Contribute to who we are and can be

It’s who surrounds us
And who doesn’t

It’s what they say
And what they don’t

How they respond
Or not

No matter our strengths and weaknesses
Failures and successes
Feedback and allegiance matter
 
Others indicate the worthwhile, and the not so
Include and exclude
 
What we’re left with is up to us.

I’m thrilled to be contacted by those who enjoy my poetry. Earlier this month, Susan Kusel, of the Wizards Wireless Blog, wrote to ask permission to include excerpts from my Kilimanjaro series on her "Poetry Friday." Her brother, Russ, was due to climb Kilimanjaro, and she wanted to provide him with inspiration. How wonderful! Last week, after Russ returned from his successful ascent, Susan posted her own poem to honor his journey. Comments back to both blog posts, by readers, and Russ, himself, were, affirming, touching, and thought-provoking. Siblinghood at its best!

Even relationships assumed to be "on" might be "off."  Apparently 20 million American couples are in low- or no-sex relationships.  January 28th’s View featured Bob Berkowitz discussing his (and his wife’s [Susan Yager-Berkowiz]) recent headline-attracting book, He’s Just Not Up for It Anymore. Why Men Stop Having Sex, and What You Can Do About It.

This topical text draws attention to a number of interesting questions about where men’s disinterest comes from, including:
1.  Is it physical, emotional, psychological, or simple partner-boredom?
2.  Is it an anger-response about other aspects of a (failing) relationship, or symptomatic of depression?
3.  Is it due to too-easily accessible porn (some men becoming unable to be turned on without it)?
4.  Is it an outcome of "natural causes"?

How sexless men’s partners might feel is also considered.  Are they dejected, relieved, guilty or suspicious (of infidelity, asexuality or homosexuality)?

Whether there’s sex in a relationship or not, many still prefer being seen to be part of a "two" than "unchosen"/solo.  Long-term solos (by chance or choice) have their own "going-sexless" challenges—and (usually) fewer viable alternatives, as well as less public empathy.

Even if a partnership is sexless, it might still be supportive and status-affirming. This was demonstrated to me recently, at lunch with a colleague.  She announced, "Going to be 50 this summer, and I’ve more self-confidence and daring than ever—must come from being married with kids…"  "How do you think those without marriage and kids might feel, the same "big birthday" coming up," I asked. "What keeps them going?"  Quiet and visibly uncomfortable, she couldn’t imagine or relate, and changed the subject.

New relationships used to get off to more comfortable starts because respect, consideration, and life-cycle stages seemed to matter.  Each person involved (or wanting to be) had incentive to keep things going—sought greater interdependence and collaboration (believed in a better quality of life as a "two").  Today, distractions and alternative options are more alluring than working on what’s infront of you—and got good possiblities.  Eyes wander more than ever before—if not in actuality, virtually.  

Cyber—cheating prevents many new connections from growing as they might have, easy "escapism" too available. High potential matches are stumped before they are started.  Serious daters (looking for a monogomous long-term relationship) dance with serial daters (those ever-seeking perfect and better). Once serial daters get what they think they want, it looses appeal and the chase becomes more exicting than the catch. On to the next!  Some endings are abrupt.  Others "fade away," one (cowardly) person knowing what they’re doing, the "worthier other" being left disappointed or surprised.

There used to be a commonly followed "three-date" practice (not to judge too quickly). Today, even second chances are hard to come by.  If someone isn’t perfect—better quality than the person ruling them out, from the very first encounter or because of an "off-moment"—there’s no hope for continuity or tolerance.  Why waste time with someone who might be human—have as many flaws as you do?  A quick fix, rather than hard work (as necessary for most everything else) prompts expectations…and disappointments.

Bravo to "Bravo" for alerting us to Patti Stanger’s Millionaire Matchmaker team!  Thanks for displaying that guys one would think "apppropriate" aren’t necessarily ready—still fantasizing over unrealistic catches, or need "fine-tuning."  A show that is "out-of-the-box" in its showcasing of a service that attempts to coddle those who pay to seek what even money can’t buy. That aside, Patti’s Dating Commandments are worth checking out (millionaire or not).

Heath Ledger’s unfortunate death has generated much discussion about its nature—whether it was accidental or not. From the LA Times to Time (and beyond), it’s become a major news story!  Close family and friends of the deceased insisted right away on "accidental causes." Noone likes to think about, admit to, or acknowledge the "S"(uicide) possiblity, at anytime.

Media have provided a lot of extra/invasive hype, with many presumptive questions.  Naturally, suggestions of foul play abound, with analyses of the actor’s distresses.  Whatever the truth might actually be, we’ll never really know. Sadly, the one person who could have told us isn’t around anymore.  Apparently, he was found alone, face-down and naked on his bed, by service providers (his housekeeper and his masseuse).  Close family were thousands of miles away, and the face that Ledger gave to the world in his many outstanding film performances was, obviously, not the face he wore privately (of late).

Ledger was famous. That’s why we get to hear, see, and read about him, and his final days and hours.  But, there are many other individuals, just like this movie star, dying every day—and in our own midst. Their burnout, despair, frustration, and loneliness cannot be remedied effectively.  Accidents and non-accidents happen, closer to home and all the time…

No matter the nice things said and done after a "loved one" is gone, nothing can make up for what was not said and done when he or she was alive (manifesting that all wasn’t right). The "take-home message" is to be more mindful of those around us continually—and sensitive to our interactions with them.  We truly never know how we might affect someone else, and what the consequences might be.  What’s not a big deal for you, might be for someone else. Everything adds up.  And, sometimes, just one more disappointing encoounter may be that one more too many…

This following simple poem, "Depression Alert," is an important one to remember. I included it (below) in tribute to Ledger. His untimely death provides an opportunity to share sentiments that might not have gained exposure otherwise.  Think of those with whom your life intersects. Perhaps they need a little more attention, consideration, and follow-up than you’ve been able to give them till now.  We may all be "busy," but…

DEPRESSION ALERT!

The places you don’t go
Clothes you don’t wear
People you don’t see

Another funeral.

You Tube video footage of my participaton at the Biennale was finally posted by the Biennale crew today, in three parts. I had no clue about what they were ultimately going to do, or editorial input. You’ll find me buried inside the footage if you’re patient—in parts one and two. Not in part three, as far as I can see…

part 1 http://it.youtube.com/watch?v=00Nr_2h52E4

part 2 http://www.youtube.com/watch?v=XEfKwVFiy_U&feature=related

part 3 http://www.youtube.com/watch?v=d8nnl1xQZT8

An after-the-event Florence Biennale critique with judge Gregorio Luke was helpful. With perseverance and commercialism (of my imagery), he forecast, "new doors opening."  Luke stood out from other exhibition judges with his extra efforts to speak to as many Biennale participants as possible.  His general message was that it’s not what ciritcs say, it’s what you do as artist.  An expert on Frida Kahlo, he suggested using her approach as "model": communicating directly with the public.  In fact, during his official presentation, Luke stated, "Don’t try to go to a closed and elitist art establishment." (Image above, taken during Luke’s official presentation.)

Gilbert and George, honored with the Biennale’s "Lorenzo il Magnifico" career award, are quite different from Kahlo—in intention, appeal, and subject matter.  During Tim Marlowe’s Biennale interview with them, they insisted "Art has to be powerful or people pass it by…"  (Maybe they meant "shocking"?).  Their "Naked Shit" series (the title of which Marlowe repeated over and again in his questions) is just one example.  Gregorio Luke, the first time I introduced myself to him, stated,  "I don’t know your name, but I remember your art!"  Encouraging for work that’s not likely to be considered  "shocking"…

The evening before Gilbert and George’s interview, I ran into them by the Ponte Vecchia.  These "Men in suits" (a way, they claim to be have been able to sell themselves to dealers, from 1968 on) were now "men in overcoats," and a young Florentian was trying to take their picture with his cell phone camera.  I helped out, enabling him to be in the shot with them, then shared that I was a Florence Biennale artist hoping for feedback. Keeping the focus on themselves, the duo expressed surprise that I could have missed their enormous exhibit at the Tate (even though I told them that I don’t live in the UK). A conversation closer…

Another important man (in suit) who cut things short with me, last November, was Donald Trump.  In New York City, the week before leaving for the Biennale, I was meeting a friend at the Trump Tower cafeteria for lunch. By surprise, I noticed "the Donald" going up the escalator, and decided to approach him.  "Mr Trump" I braved, "May I please ask you a question?"  Thin and pale (without TV makeup), he turned in my direction, responding, "You’re a beautiful woman…  where are you from?"  The answer "Toronto," it appears, wasn’t a good one.  Hand up in the air after hearing this, he turned, elevator doors closing behind him.  Alas, no chance to pitch my Biennale exhibit series, "Buon Appetito!" to him.  Since climbing Kilimanjaro, I might have become a little more gusty—but there’s always need for help with closing a deal!

Interactions with other artists tended to involve those positioned at close proximity. But, quick wanderings around the exhibition gave an overall feel of atmosphere, energy, artwork, and personalities.  

12 artists I’d not met before, and spent time with during the Biennale are listed below (in alphabetical order). You might like to check out their work:

• Jeff Beier (sculpted painting)
• Joy Engelman (environmental painting)  
• Jim van Geet (figurative painting)  
• Pam Ingalls (Russian impressionist painting)   
• Olga Karpeisky (still life and portrait painting)
• Rian Kerrane (sculpture/installation)
• Janice Lawrence (joyful painting)  
• Charlotte Lugt (abstract painting)
• Mary Medrano (painting)  
• Miriam Pet-Jacobs (mixed media)  
• Danish Saroee (photography)  
• Mona Youseff (realist painting)  

12 artists I didn’t get to meet at the Biennale, but whose work I enjoyed viewing, are listed below (in alphabetical order):

• Ina Bartelds (floral painting)
• Karima Ben Otmen (painting with Arabian influences)
• Gina Blickenstaff (mother/child portraits)  
• Maria Catuogno (sculpture)  
• Cheri Christensen (Russian impressionist painting)
• Ann Dunbar (watercolour painting with embroidery) 
• Kimmo (Kimmo style painting)
• John van der Kolk (sculpture)
• Bria Kromm (painting with layers and symbols)  
• Nancy Lamb (figurative landscapes) 
• Maria Isabel Parra (multi-media artist)
• Sergei Zlenko (Russian figurative painting)

Some artists, attached to causes, were able to be more visible because of this:

• Pomm Hepner (watercolor painting) got extra wall exposure and mention due to her Artists for Human Rights membership. She is also a prominent Scientologist.
• Josie Taglienti (abstract pastels) promoted the Fine Art Registry, having been sponsored by them.

My Biennale display neighbors were two painters with very distinct styles and techniques:

• Denise Faegenburg  
• Amy Swartelé  

Having had a chance to review Biennale artists’ websites since the exhibition, I realize that while some had their best work on show there, others didn’t. The Biennale was, in many cases, an opportunity to sample a small piece from much larger pies and gain exposure.

Of course, there are many other artists I’d like to link in this blog entry, but that’s what the official catalogue is for, and where most participants were given equal space. Painter Nafisa Naomi, however, got a double-page spread—in advance of her winning first prize for her four canvas display, "Regeneration".  Unusual coincidence!  So did mixed media artist, Jackie Sleper—in advance of her winning first prize for her sculpture, "Modestia," given pride of place in the Biennale main foyer area (as shown here).

We don’t often know what will end up as an award winning work, or exactly why. A closer look at "Regeneration" (segment pasted below) may appear a tad disappointing—have viewers wondering how the canvases joined together (or whether they were supposed to).

Some nationalities weren’t as apparent at the Biennale as others. The Dutch had a huge contingent—97 (maybe).  840 artists from 76 countries were present, I believe.  There were also a lot of transplanted artists (those who found it hard to say which country they actually represented), like Plein Air Cottage artists, Helen Tilston and Violeta Shtumeyzen.  One evening, six of us went out for dinner, and found, by chance, that what we all had in common was being from one place but living in another.  Some had changed countries two or three times.  I could relate!  Is it the artistic spirit that encourages these moves, or modern day life?

Traditionally, if you search on-line, the Florence Biennale has had mixed reviews.  Having now participated, personally, I feel somewhat qualified to share pros and cons.  My You Tube video interview was filmed on Day 4, and focuses on the positive (though we are still waiting for the Biennale folks to post it).  This blog entry considers the whole picture (no pun intended).

Let’s stress the positive (in random order):

1.   Abundant networking opportunities between artists
2.   A live how-to guide for how to show your artwork (or not)
3.   A chance to discover what’s hot (possible) and what’s not, in art, and beyond
4.   An extended stay in Florence (and not as a tourist)
5.   Web presence enhancement (through participation)
6.   Time out from the studio—chance to taste "la dolce vita"
7.   General public’s feedback—international audience
8.   Connections made with viewers passing through
9.   Networking locally (in Florence)
10. Opportunities for commissions, sales, shows
11. International perspective and acknowledgment
12. Personal development opportunities

Familiar common complaints (in random order):

1.   Not enough visitors (likely not helped by time of year)
2.   Difficult layout and unfair allocation of display spaces
3.   Inadequate local publicity and attendance
4.   Most judges more aloof than approachable
5.   Select work given attention by judges, much of the rest ignored
6.   Certain presenters stood out, others had listeners walking out
7.   Environmental conditions challenging (heat, air, light…)
8.   Display equipment challenging (not flattering to artwork)
9.   Snack bar (food and service) not as expected for Italy
10. Many better works weren’t considered for prizes  
11. Too many artist-participant expenses and frustrating "administrivia"
12. Too much sitting around for artists who stayed on site

Those who go back again (participate in subsequent Biennales) demonstrate they’re not concerned with the glitches.  Those who don’t, have either been put off the first time, or simply can’t participate again for a myriad of other reasons.  In a world, and at a time, when fresh possibilities arise daily, pros, cons, and alternatives are reviewed carefully—as are first-hand accounts.  No matter what’s been considered disappointing about the Biennale, there’s still a lot of good to be said about it.  The opportunity to follow-through on the invitation to show at such an epic event comes to most of us only once.

In an ealier blog entry, I explained how preparing for the Biennale likely enabled me to complete the Kilimanjaro climb.  Now, having completed the Biennale, I realize that the Kilimanjaro climb might have helped me to make the most of participating at the Biennale.

(Photo:  those who made it to the top of Kilimanjaro, with self and guide) 

Even though my Kilimanjaro climb is less recent, certain lessons from it are memorable.  These include:

1.   Better sustain the cold
2.   Bathe less extravagantly
3.   Economize on clothes and possessions
4.   Stop clock-watching
5.   Take things more slowly
6.   Observe and listen
7.   Not fuss about comfort and convenience
8.   Require less sleep
9.   Sleep in uncomfortable conditions
10. Eat more simply and be less picky
11. Not need news from elsewhere
12. Take time out from electronics (TV, Internet, cell, etc.)
13. Push self further and harder, and not complain or avoid
14. Get less flustered about externals/what can’t be changed
15. Focus, no distraction, whereever and whenever
16. Chat with strangers and hear their stories
17. Open up to seizing the moment
18. Get back to basics (with everything!)
19. Assess what really matters
20. Be more fearless

Just like New Year’s resolutions, lessons learned on the trail can be hard to follow long-term, especially when there’s so many of them (and potential obstacles).  Though everyday hastles aren’t exactly the same as chance-in-a-lifetime climbing challenges, circumstances and reactions mightn’t be too different!

Poems 15 and 16 provide closure to my Tanzanian travels—reveal their legacy and an after-trip evaluation of sorts.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)  Next, I’ll share the lessons of Kilimanjaro, which, I believe, helped prepare me for the Florence Biennale experience!

15.  From JRO to YYZ

It wasn’t paradise
But it was very nice

16.  Trip Evaluation

Recognizing what’s good
The important understood.

 
Poem 14 was written on the journey home.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

14.  2 Degrees C in Toronto—Light Snow Falling

It’s a long way back from Africa
Dreams fade to realities
Magical moments diluted in airports

Planning for what, where, when
Already.

Poem 13 describes final game sightings, heralding the trip’s conclusion.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

13.  Day 9

Penultimate game drive
Not as alive

Gracefully and elegantly close our trip
Of magic a real sip.

Poems 11 and 12 describe personalities we met along the way—highlight less typical cultural exchanges and adaptations.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

11.  Safari—Day 7

Bats by night
Bows by day

Journey back
Dust hard to swallow.

12.  Safari—Day 8

Masai village resort
A transitional place
Others set the pace

For me, not a happy feeling
We lie in our cozy beds at night
Their experience, more of a fight.

 

 
Poem 9 explains how campers’ fatigue had set in.  Poem 10 describes a more active way of taking in the landscape and meeting its people—cycling.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

9.  Safari—Day 6

Chips, spaghetti, canned veg and mince
Usually food that would make me wince

At this point
Anything tastes good
Stomach understood.

10.  Safari—Day 7

African biking
Like its hiking

Another day in Africa
Luxuriating in the moment
Not thinking about what might be elsewhere
Details swirl, but no heavy care.

Poems 6, 7, and 8 describe experiences in the Ngorongoro Crater area, where wildlife was more sparse and a slight safari-fatigue was manifesting.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

6.  Safari—Day 4

7.  Monkey Picnic

8.  Afternoon Drive

Though not close
Of excitement provides a dose.

Poem 5 describes the most potent people experience—with the Masai. (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

5.  Masai

Masai Masai everywhere

Spontaneous visit done
A lot of fun
Everyone won.

Poems 3 and 4 are the second two Serengeti poems. (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

3.  Safari—Day 3/1

Warm breeze
Flapping tails
Zebras relaxing
Nothing taxing

Worries and cares
This hour we have none
Except with nature
To be at one.

4.  Safari, Day 3/2

National Geographic yellow jeep
Wide angled lens pops out
Not a peep.

Many Kilimanjaro climbs are followed by a safari, and ours was no exception.  Also, poetic reflections kept on coming, and will be included in the blog posts immediately following.  You might also like to look back at my other poetic safari experiences from 2006:  general observations, as well as those specific to experiences in Botswana and Zambia. 

The 16 poems from the Tanzania trip have slightly different emphases and perspectives. Though there are many aha moments, the magic of first-time marveling isn’t quite as pronounced.  Also, having just climbed Kilimanjaro, any experience, no matter how special, is hard to juxtapose.

All 16 poems will be posted chronologically (over 9 blog pieces, which includes this one).  The first four poems were written in the Serengeti, which, for me, was the most potent wildlife experience. 

Poems 1 and 2 are the first two Serengeti poems.

1.  Safari, Day 2

The chorus starts well before dawn
Songs and signals
The volume rises

2.  Safari Recap—Day 1 - 2

So many herds
So many terds.

 

 
The two poems that follow look at transitioning back to reality—our own world of others and the Tanzanian roadscape that we found ourselves traveling through (Kilimanjaro, behind and above the clouds and the meaning it may imbue, personally and locally).

8.  Explaining to Others

Explaining to others
Is hard to do

9.  On the Road

Bougainvillea
Dashes of pink
Makes you think.

 
The following two poems look at impact:  after-climb thoughts and reflections.

6.  Day 8—After Climb

Up there
Down here

7.  Day 8—Camaraderie

With some you can
And others you can’t

Continuing onward, upward, forward
No markings on the trail ahead
Spontaneity instead.

 
The first of the next two poems describes approaching the final ascent.  The second records having made it to the top.

4.  Day 5

Nearly there
In the world without a care
Except getting there

Applying lessons learned along the Machame Way
To a very different N. American every day.

5.  Day 6, Kili Ascent:  Success

Strong in body
Strong in mind

Those who did.

 
The two poems that follow here are mid-climb, on a long Day 4.

2.  Kilimanjaro, Day 4/1

Equal when challenged
Challenged when equal

A group spirit endures
To everyone, a round of applause.

3.  Kilimanjaro, Day 4/2

Candy wrappers show the way
Who would have thought?
Toilet paper marks the spot
Who would have known?
Cell phone signals around most bends
Who would have guessed?

Contrary to the N. American way
Something to remember
A take-home gift with which to play.

Climbing Kilimanjaro was truly a life-changing experience—one I’ve been savoring almost daily since returning.  Some of the details are fading and the final hours of the ascent are a little sketchy.  Only talking with those who were there with me helps, and explaining to others properly is difficult sometimes.  However, from Day 3 of the climb, my wordscapes (poetic ramblings) started up, and I’m very glad to have them to look back at now.  These are where I record details and  feelings in the moment (or shortly afterwards). Even those who weren’t with us on the climb, I’ve found, have the opportunity to get a better sense of what transpired by giving this poetic journal a quick look.   

All poems will be entered chronologically.  The first Kilimanjaro poem is included below, and eight more will be divided between the next four blog posts.

1.  Kilimanjaro, Day 3

No I can’t
Yes I can

Can we, will we?
Yes please!
Thrill me.

I’ve developed an interesting (and practical) habit of being in one place but posting blog entries about another.  When my paintings shipped to Florence at the end of October, in preparation for the December Florence Biennale, I shipped myself to Africa (Tanzania).

It was a long-time special dream to be able to climb Kilimanjaro, and I wasn’t sure how much longer I, or the the mountain, would have to realize it.  What perfect timing to get out of the mind and into the body!  After 10 months of uninterrupted painting and related duties, I was ready for a different type of physical challenge—something I didn’t know would test my mental and emotional strength too.  

If you look back to my blog entries for the end of October, 07, you’ll notice the one from the 24th is entitled Endurance, and the one from the 28th is entitled Stamina.  Ironic!  On reflection, I’m clear that my best training for climbing Kilimanjaro might have been painting for the Florence Biennale! Please check out my Candid Artist Ramblings list, posted on my birthday/rebirth (October 19), the day I set out for Africa.  My sudden and acute awareness of transferable skills and attitudes has been eye-opening and educational since.  

I wasn’t the fittest person in the group, I also hadn’t done enough (almost any) training.  So, how did I make it to the top (be in the 50% who do, and the only woman among peers)?  I think three factors helped:  

1. I had the proper clothing (and wore it)—really took time to organize packing and followed all formal instructions from guidebooks and informal instructions from travellers who’d succeeded previously.

2. I didn’t try to be clever or take chances in any way—used poles, ate and hydrated well, listened to the guides in going "pole, pole" (slowly, slowly), and took the necessary meds.  Thank you Diamox (altitude sickness inhibitor)!  Even though this drug made my hands and feet tingle relentlessly, it was a very good friend and support.  

3.  I didn’t go on the climb with the idea that I had to make it all the way.  I was aware that I might not have the capacity to do so, and could forgive myself weaknesses.  Competition was not what this journey was about for me.  It was more of a spiritual quest about being there and experiencing whatever was meant to be—and accepting it, while still fit and young enough to get myself over there.  

The lead-up days to the final ascent were a honeymoon of sorts.  The final ascent was a whole different story—nothing similar—the most challenging physical endeavor I have ever faced (and no one had informed me about properly).  What kept me going on the final ascent?  Three gifts:

1. The camaraderie of those with whom I was climbing and our attentive guides.  

2. The not knowing what was coming next and not having been prepared for the worst—being in a situation I could do nothing about and just getting on with it.

3.  The not-giving up factor, once I was so close, and because there was no real reason to.  How could I go down (in still bad weather conditions) if I hadn’t made it up?  We’d been climbing for six days and, at the 11th hour, I couldn’t justify turning back. It was the same way down if you made it up or not,  and I couldn’t find a good enough reason to turn around.  Not thinking about what I was actually doing or the discomfort of continuing also helped.  Automatic movements and focusing on other thoughts—and struggles—became a lot more meaningful and empowering. I acknowledged that I never really give up, no matter how awful the task is, making the climb a metaphor for so much more.

For the last hour I wept my way up, partly out of pain, partly out of emotion—maybe more out of emotion. I couldn’t turn off my tears or howls. The tears froze and the howls got absorbed by the wind.  The feelings were intensely private.  But, as discussed later with climbing peers, appropriately universal.  These guys had had their own emotional releases too!  Reaching the top, we all embraced.  It was a magical moment in a glacial wonderland where we were too cold and tired to take photos or stick around.

On October 29, 07, back in Moshi, I was able to check e-mail, and saw that a friend had forwarded a New York Times Sunday Magazine feature article by Tom Bissell about his own Kilimanjaro climb, "Up the Mountain Slowly, Very Slowly." It had been published the day before, on October 28, 07.  What a coincidence!  And, even more interesting, Bissell had been based in Rome, pre-trip—unable to fully-prepare himself, either…

Today is very special for those of us invited to show our artwork at the Florence Biennale (07 edition).  It’s taken over a year to prepare and it’s hard to believe this Olympics for artists is finally here.  But, if you look at the images below, you’ll see that it’s true.  This is the entrance to the Fortezza, with posters announcing the event.

And, here is my freshly uncrated exhibit, "Buon Appetito!" (with crates infront).

I arrived in Florence a few days ago, on a picture perfect morning, sunny but crisp, and had a magnificent view of the snow-filled Alps on the flight from Munich.  Not a big skier, but this snowscape made me want to be! 

And, it came after a spectacular sunrise.

Of course, photos taken at altitude throuh a plane window, don’t do justice to what’s seen live.  But, it’s always fun to share them.

While I’m a little preoccupied with this new chapter of the Biennale adventure, upcoming blog entries will reveal what has refreshed and empowered me since finishing painting "Buon Appetito!" in September—an extra special visit to Africa at the end of October.  The photo below provides a clue as to where.  (Please remember to click on the images to enlarge them.)

Art has value, and value isn’t always financial. Just as it is counterintuitive to put a price on human life, it can be the same with art.  Outsiders don’t really know what’s gone into a piece’s actualization—how much of the artist, him/herself, and how many hours of skill development and dedication.  Art’s value can be unquantifiable, but the market demands to know and set a price.  What does the market take into account?  Training, experience, reputations, originality, popularity, marketing buzz, or trends.  Much rests on possessing the right style at the right time for the right audience.  Talent and hard work might have little influence.  Those who get noticed and are in high demand might have the least to offer.  We’ve seen this in the entertainment and other (trend-setting) businesses.  Art that is precious to some might not be to others. Over time, art accrues sentimental and commercial value (that can be quite distinct from each other).  It becomes part of our homescape, and gets passed from generation to generation.  Many a time, art is able to be reproduced and gain mileage.  One piece volumized has more worth than could ever be imagined.  Sometimes, artists have the tools and ingenuity (or back-up team) to make this happen.  Most of the time, they don’t.  Alas, great art is usually recognized and acknowledged long after its creator is around to enjoy it.

Artistic creations are frequently private, but all the more interesting when shared.  The individual who makes them is often just a transmitter for the collective consciousness.  Whatever needs to be expressed, or seems to be going on in a particular environment, might appear in a painting.  If and when we’re ready to see it, we do.  Otherwise, the imagery might be enjoyed at face value.  Also, there may be nothing beneath the surface that needs to be looked into more.  Art is simple and art is complex, as are we.  We see what we want to and ignore what we don’t.  Or, we see more than we’re supposed to and make a fuss about what’s not important.  Interpretation is everything and interpretation is nothing.  Only the creator of a piece knows its real essence and intention.  Or, maybe he or she doesn’t… Anything others say about a piece can be projection.  Or, maybe they have insights that are objective.  Having some distance from the work under review—not knowing every brush stroke that’s gone into it—can enable the viewer/critic to see something the artist might have missed (or not realize is there).

For some, art can be infinite.  For others, it signals natural or man-made limitations.  Art takes money and time.  Some have a lot of both.  Most don’t, so vacillate and negotiate—try to obtain and balance the two.  Art takes money to create, it also takes money to buy.  Art takes time to create, and time costs money, as well as a whole lot more.  How much a painting costs might not be commensurate with the amount of work that’s gone into developing it.  The power to paint and the power to buy come from different sources, but are intertwined.  What’s fair and what’s not change according to who we are and what we need and can realize .  Awareness matters, as do tenacity and being able to go the distance.

Art is whatever you, as artist, or others, as viewers/critics, may want it to be—at the time of creation or afterwards.  All kinds of purposes can be served by what’s been made visible.  Whether metaphors and symbols are evident or not, various kinds of measures are made clear, from within and without—religious, political, idealistic, romantic, aesthetic, or?  Art has an unrivaled ability to give voice to secret yearnings, hidden agendas, and almost-forgotten dreams.  Art puts artist and viewer, alike, in places they might never travel in real life.  It wets the appetite and makes anything seem possible—at least in the moment.

Most artists create art because they yearn to do so.  It makes the unconscious conscious. It also has us realize that powers greater than us are at work when we least and most expect it.  The pieces we are gifted with (as creators or viewers/critics), result from creative processes that are part of a bigger picture (no pun intended) and plan.  They help put things in an out of perspective—enable us to dream, remember, wonder, forget, and more…

In order to be a professional artist these days, simply being able to make art isn’t enough.  You have to be a writer, marketer, networker, gallery aficianado—while having computer savvy too (24/7).  In addition, it’s beneficial if your resume lists formal training (from the right schools/with the right mentors).  This is aside from needing to be a handy(wo)man—knowing how to build and adjust the structures necessary for your artistic creations. Also, resources you might not be able to earn through just selling artwork can come in very handy too!

If it’s worth it, it’s going to take time—an indeterminate amount of time.  Nothing else has to matter except taking things to where they need to go, and have them feel right, or right enough.  And while it’s important to be prepared to put in as much time as needed, it’s also important to know when to stop—recognize when a piece might be finished, or have gone as far as it can go with the skills and experience that you have.  When a piece is rushed, it shows.  Every brush stroke that is deliberate reflects effort and care—respect for the work that is being accomplished.

So much of life is luck and timing—and the artist’s process can demonstrate this.  We’re fortunate if we’re able to choose what we paint, though our preferences and outcomes are usually influenced by what’s happening around us.  Painting for the Florence Biennale exhibit has given my work a purpose, focus, and appearance that it might not have had otherwise.  I was influenced by space requirements and deadlines.  I also had to be mindful of making imagery that could have universal appeal.  Then, I had to consider my repertoire—my skills, talents, history, and comfortable subject matter—what I may and may not be able to accomplish at this stage of my career.  Finally, there was the budget—an issue that I didn’t want to have prohibit the quality and dimension of my work.  But, it did.  Whether we like it or not, most artists need patronage of some sort.  Art is an expensive business and can’t be made properly without funds—especially where large public exhibits are concerned.

Being organized matters—even, and especially, as an artist.  Better painting happens for me when my desk is tidy:  correspondence caught up on and phone calls made.  Then, I can shut the door on the studio and just focus on the canvas—no distractions or rambling thoughts and preoccupations or interruptions.  Some days, I know from the start that I shouldn’t have attempted to paint at all.  There’s just too much else distracting.  Other days, I regret not carving out specific time to paint—unable to forget about everything else that has to be done and needs to take priority.  We all have different needs and obstacles and must find what works best for us individually.  For me, painting is a sacred act and privilege, something for which I need to enable quiet space and time in order to reap maximum rewards, experience-wise.  I want a piece to be as whole as possible, unpolluted by the vicissitudes of the hour.  Of course, this is an idealist attitude, but it’s nice to be able to dream and hope.  Painting is also interesting because it is influenced by surroundings and happenings, states of mind and energy levels.  Perhaps because I’ve spent some time practicing art therapy, I’m more concerned with art-making that’s product oriented than art-making connected to the exploration of emotions.  This, however, can prove more difficult when creating abstracts—or so I’ve found.

I wonder about prices a lot—what’ll be fair and what’s not, what works for me as the artist as well as for potential purchasers.  What’s value for money.  What’s value for time.  What’s value for originality and devotion—a piece of my spirit translated to and revealed on canvas.  I try not to think about the middle (wo)man—a gallery or dealer who could jump in and take 50% with an "easier sale."  It can be more prestigious to have that middle person—kind of like having an agent as a writer.  It means you’ve already been weeded out, approved, validated, or regulated and relegated—sometimes, even put your soul on the auction block.  But, just as there are iterary agents who will work with you and those that only have their own profit margins in mind, there are artists’ representatives who are like that too.  Everyone needs to make a living.  At the end of the day, consider who’s starving and who’s not.  These are thoughts constantly floating in my head, as I find it difficult to put energy into trying to get noticed, bought, and valued, while still trying to create.  This isn’t a hobby anymore!  Creating takes soooo much time and skill perfection.  Then, why do potential purchasers insist on bargaining down, like they were in a shuck haggling over a (mass-produced) souvenir memento? Do they realize the time, energy, and dedication put in to what’s been painted?  Could they ever have the skill, talent, or perseverance to make anything similar?  Do they know the real worth of the object created beyond what’s a good deal to them?   Do the bargainers respect the creations or take advantage of an artist’s need for cash to keep up the métier? Ironically, many potential buyers get paid 10 times the dollar rate for work that’s less demanding, and think nothing about submitting invoices to their clients to be paid in advance.  My rambling thoughts on this subject are not about bitterness or jealousy—they’re about others knowingly trying to take advantage.  Of course, there are some artists who let their comrades down by producing inferior work that secures higher prices, just because of hype.  This happens in fashion and other fields too.  Then there’s experience and earning your price point.  But, again, no set path is clear.  Look at Google and YouTube—how quickly they become major monetary successes.  The artist’s path is hard to juxtapose.  For some, networking is everything.  Others don’t have to network.  Regardless, most artists know when they’re doing a good job and the details don’t matter.  The work speaks for itself.  While it’s important for potential purchasers to be prepared to pay appropriate prices, it’s also important for artists to know and expect their true worth—not forget what went into the pieces they’ve made.  Those who slop things out and get big bucks for so-doing—no heart in their work—let down more serious folk.

Ironically, today, many who award grants might not really understand what the artist’s process is all about.  They’re just doing their job, and detached from the players involved.  Then there’s the peer review committees, made up of individuals who too often have their own interests and biases.  And, for those applying for grants, the competition is steep—anyone and everyone who wants to survive in an artistic field needs revenue.  If you can’t work a regular job while creating, what do you do?  Give up?  Many are forced to.  Others go into debt.  Those who keep on going, if they don’t have personal safety nets or private supporters, have to get creative with other fund raising strategies.  And, when you put your creativity into fund raising, you’re taking it out of artmaking.  There’s only so much creativity to be had.  Therefore, you have to hope for kind individuals who you can jump on board to help see you through—assisting with their business acumen to gather the necessary $$$.  Artmaking, when it’s not a hobby, but for public display and enjoyment, is a community service and gift.  An artist, in many ways, is just a transimtter—given opportunities and skills (from outside of him/herself) to put out what others might not be able to do.  Mix a little talent and energy with dedication, industry, and perseverance and a public servant is born, one who needs "patronage" (an old word seldom heard).  Yes, what happened to "patrons of the arts"—those who used to finance artists’ endeavors in front of and behind the scenes—a big reason why art history is so rich and extensive.  It’s only in the last few generations that these types of givers and doers seem to have diminished.  In an age when materialism and quick fixes appear more important than genuine hard work, creative struggle, and innovation, culture and the development and maintenance of "higher" (non-hightech) arts are in jeopardy.  The inability to find support—for the honing of skills that used to gain esteem as a matter of course—is a growing problem, not unique to artists’ predicaments.

JK Rowling discussed her sadness/loss as she completed the Harry Potter series.  Though my work isn’t of the same magnitude or duration as Rowling’s, her sentiments resonate with me.  My Biennale exhibit has been a year-long project—a huge part of my daily identity.  I’ve known such overwhelming expreriences before—for instance, after completing each one of my published (and unpublished) books and each one of my academic degrees (BA, MA, Ph.D., Fine Arts Diploma).  Even for the type of person who puts their all into what they do (professionally, academically, personally) build-up and pull-back can be immense.  They’re also a special gift to be treasured—sadly not in everyone’s reach.

Painting can be physically and mentally draining. It can also elate and energize.  When you put your whole self into your work, and concentrate hard for hours on end, don’t be surprised by how exhausted you might be by the end of a session.  Some days are easier than others, but we never know, in advance, which ones.  (Positive) attitude doesn’t always induce positive outcome.  Art-making is usually more random than formulaic (in my experience).  No matter the rituals that some painters try to set up and try to stick to, not everything can be predictable.  And, if you’re a perfectionist (like me), you’ll go on and on till things look exactly right.

My earlier paintings didn’t take me as long to complete as my later ones do.  A normal expectation would be to be speed up after gaining more experience.  Not at all.  For me, the reverse seems to be the case.  The more you know, the more nit-picking you get (at least in my case).  Standards elevate with a trained and practiced eye.  You see more and what to do even more.  You become critical and less tolerant of what might have slipped by previously.  Each and every detail matters.  Work cannot be "second-rate."  Even if no one else sees your model’s set-up, you have a responsibility for as accurate a rendering as possible (I believe).  You know what should and shouldn’t be there and want to stay true to that.  The pressure is huge, but you have to know when to back off, and learn what’s reasonable and what’s not.  Otherwise, the task becomes impossible.  Sometimes, the positioning isn’t perfect, but you consent and relent to adapt, discovering a slight divergence isn’t so bad after all.  Almost perfect is often better than completely, as you’d once hoped.  Knowing when to calm down and relax about the details is perhaps one of the hardest lessons (at least for me)—can make or break a painting.

My paintings aren’t slapdash.  That is they’re not the type of spontaneous "process pieces" that are dabbed down without thinking.  On the contrary. Surprisingly, thinking is a big part of what I do, as are feeling and intuiting.  Some painters, certain realists for example, might calculate and measure where each element goes and exactly how.  That’s not my way.  I do plan a lot—spend hours on set-up and composition, but still like to leave significant detailing to chance.  For instance, I won’t force a mood or color palette that’s not within my capabilities of the moment.  I also like to guesstimate—even embellish aspects that cry out to me for extra attention.  Consequently, my portraits have caricature-like tendencies and my still-lives are more whimsical than realist.  Then there’s my abstracts, a melange of freedom, control, and spontaneity—more representational than abstract and more abstract than representational.  We see and do what we need to at the time (usually without knowing it)—artist and viewer, alike.

Creative minds are frequently distracted.  An idea surfaces and it’s hard to rest until it can be recorded and/or realized.  My creative bursts come in words and images.  One day it’s words.  Another it’s images.  And, when I’m in the mindset for one the other fades. I can either write or paint, but find it hard to do both together. Over time, I’ve come to know when I’m "off’" or "on"—can be creative or not, and how.  And, I can’t always choose those times.  Some of them are very inconvenient, like today.  I really should be up in my studio painting, but have a word explosion I can’t contain. I need to finish writing this passage—express what’s on my mind while it’s still mulling.  It’s been active for a long time, every day while I’ve been painting.  The thoughts have been there, but the verbalization hadn’t reached a stage fit for sharing—until today. I need to get it out now!  Tomorrow, I’m hoping things will be different.  I have a deadline to meet with my paintings.  The day before yesterday was good with respect to staying focus on painting.  I painted, and painted, and painted, and didn’t get tired.  In fact, I couldn’t eat, drink, or speak on the phone, I was caught up in what I needed and wanted to do, energy growing with each technical difficulty overcome.  I love days like that!  Days with no time limits put you in another place. They’re rare and special, and one of the main secret gifts painting/artmaking/creativity can bestow on those prepared to go the distance—travel bumpy roads on routes you’re not sure can take you anywhere.

 

Painting takes time—more than you might have under normal circumstances. You need to be prepared to give up many other activities (and breaks) in order to paint seriously, proficiently, authentically, and optimally.  This means attempting to stay with the task by preventing (social) interruptions that may be detrimental to your process.  Vacations, weekends, evenings—times when others are relaxing—start to disappear.  Painting takes over and becomes all important—has to be all important.  It’s not a job like any other.  It’s a vocation, and something you can’t always do on command or within a set time frame.  You have to be prepared to go the distance, even when you’d prefer to be doing something else—not have to endure so much isolation.  That said, if you took time out, the ache of not being there to finish your painting may make other experiences less enjoyable.

How much stamina does it take in order to be a serious painter?  A lot!  Even if you sit down and don’t stand, there’s energy exerted—mental as well as physical.  You’re constantly engaged in your process, focusing and concentrating—stepping forward and back, planning and calculating, trying and retrying, doing and undoing.  Sometimes mental gymnastics exhaust. Other times, the sheer physical strain of keeping steady hands, stretching up and down, or twisting, turning and bending provide a work-out you weren’t anticipating.

 

Painters need to be resilient.  Not every piece will work out how you wish it to.  However, there’s no knowing others’ responses.  All you can be sure of, as artist, is that you have to keep on plugging away—no matter how you feel.  The more you practice, the better your work will become, even if you’re the only one who notices.  Putting your best effort into what you’re doing while you’re doing it is what counts.  Short cuts don’t get you to your destination any faster.  Slowly and surely provides more certain foundations and a better route guide.  Even without a teacher or lesson plan, progress is always possible.  We all learn from personal mistakes.  And, since we’re usually our own severest critics, it’s unlikely there won’t be any mistakes (or answers) found.

Artists/painters have qualities that are special to their vocation.  Others may identify with these, and have similar feelings about what they do and how they do it.  I’m curious to compare.  But, right now, I can only speak about my own day-to-day experience preparing the Florence Biennale exhibition collection (and everything associated with it, beyond its actual painting).  The reflections that follow are listed and recorded in the order they emerged:

1.  Endurance
2.  Stamina
3.  Sacrifice
4.  Creative Pressure/Release
5.  Strategic/Conscious Painting
6.  Noticing the Details
7.  Painter’s Fatigue
8.  "JK Rowling Syndrome"
9.  Support/Patronage/Grants
10. Prices
11. Organization
12. Serendipity
13. Puzzle
14. Time
15. Artist Plus
16. (Special)Gift(s)
17. Message(s)
18. Limitations
19. Sharing
20. Preciousness/Value

The next 20 blog postings will each display a different "Buon Appetito!" painting with a reflection following (in the order listed above).  The "Buon Appetito!" paintings will be displayed alphabetically.  Bananas, Beans (Mixed), Blueberries, Cherries (Red), Chocolate Truffles, Dried Fruit and Nuts, Grapes (Green), Grapes (Red), Jelly Beans, Kumquats, Licorice Allsorts, Olives, Onions, Pasta, Peppers, Raspberries and Blackberries, Rice Snacks, Strawberries Sweethearts, Tomatoes.  Each reflection will follow the order shown in the list above and doesn’t have a specific relationship with the image that it follows.

Last night, the newly launched Yonge/St. Clair Good Neighbours’ Fund held its first community celebration/fundraiser at Grano, which from all reports in was a great success.  The event was on behalf of my Florence Biennale exhibit.

Here are some quotes included in the Good Neighbours’ Fund brochure: 

"St. Clair to ArtWalk and the new Wychwood Barns project, to the recent success with Luminato, we have a great deal to be proud of here in Toronto. I am proud to be part of a small effort to make up for the misguided cancellation of the Public Diplomacy Program which used to help fund artists to show their works abroad.   We are truly blessed to have such a talented artist in Susan Makin living and working in our Riding of St. Paul’s.” 
CAROLYN BENNETT
Member of Parliament
St. Paul’s, Toronto

"I have always felt that all arts (and crafts) benefit by rubbing elbows with one another, so I am happy to see food and the visual arts doing just that at The Good Neighbours’ Fund Celebration.  Congratulations on your launch!  Having had significant support from my own community over my life, I am a firm believer in initiatives like this one.  There’s no better place to discover and
support talent than close to home. Very best of luck to you!"
LAURA CALDER
French Food at Home
Food Network, Canada

(Earlier related blog entries include:  Toronto Preview—Florence Biennale Exhibit, Yonge/St. Clair Innovation—The Good Neighbours’ Fund, and Why Canadian Talent Moves Away from Canada.)

Instead of giving a thank-you speech, I read the poem that follows—written especially for the event.  For those who weren’t able to make it to the event, and those who’d like to know more about it, I thought this was the best place to share what I said:

From Boston, to Toronto, to Florence—and Back?

Painting happily in Boston
An invitation arrived

Long live the Good Neighbors’ Fund
For whatever assistance it can provide
Nurture the dreams of other talented Canadians
that they stay in Canada
Not feel forced in other countries to reside.

Big thank you to Justin Skinner for his October 11 news piece in the City Centre Mirror today. Please click on the link to take you there http://www.insidetoronto.com/News/Centre/article/32066 or read text from it below:

NEW FUND SEEKS  HELP FROM GOOD NEIGHBOURS
Grassroots charity will support local artists
BY JUSTIN SKINNER
October 11, 2007 11:14 AM
 
When local artist Susan Makin was invited to enter some of her work in the prestigious Florence Biennale, an international arts competition, she was understandably thrilled. Her excitement turned to disappointment, however, when attempts to find funding to pay her way there came up dry.

For information on the fund, including how to make an additional donation, e-mail goodneighboursfund@gmail.com

What’s sentimental for one person, might not be for another.  My recent overnight visit to London had me surprising myself by the photos I took—what I might not have given any special attention to, on a daily basis, when living there.  I was a student in London from 1979 - 1981, and my recollections go back to then.

Unfortunately, the shots in this blog entry (taken in less than 24 hours) could only cover a fraction of the city, from Picadilly to Bloomsbury.

Nothing seems to change with Fortnum and Mason, at least externally.  Its neighbor Simpsons was turned into Waterstones a while back (making it the biggest bookstore in Europe), giving Picadilly a slightly different feel.

Something that will never move from directly across the street is the Royal Academy.

My timing was lucky!  I got to catch the exhibit, Impressionists by the Sea. I also got to dash through the National Portrait Gallery.  However, a display in the lobby from the book cover of Zerbanoo Gifford’s new book, Confessions to a Serial Womaniser made me slow down for a moment.  Her wall-like display of womens’ faces made me think of my wall-like display of food options (my upcoming Florence Biennale exhibit, Buon Appetito!)

And talking of food, Food for Thought, an old vegetarian haunt of mine (close to Covent Garden)  looked exactly the same (from the outside).  Too early to go in, they were stocking up…

Neal’s Yard, a well-known health food establishment is also still there.  But, it has evolved—looks (and tastes) a little less "natural" (according to my memories).

Covent Garden seems to be changing all over, but not Floral Street, where The Sanctuary (a pioneering spa) looks like it’s still going strong—with Agnes B, Campers, Radley, and more, all at close proximity.

The Covent Garden Market area, itself, has been spruced up.  Arriving before opening hours, I got to see the merchants setting out their wares.  It’s quite a job unpacking and repacking every day!

Wandering from the main area, I felt the cobblestones beneath my feet.  What history they hold!  Who has walked over them before?  Who is walking over them now?  How long can they stay as they are?

In London, history and modernity dance before our eyes, as do traditions, habits, and brand development.  Other coffee shops, chains and one-of-a-kind (Café Nero, The Brew Café, Cafe Life, Espresso Capucino) give Starbucks a lot of competition.

Long "tea breaks" still seem to be popular with workmen, throughout the day.

And, after work, it’s the pub. Beer drinkers spill out onto the street to enjoy a balmy September evening (after a rotten-weather summer):

Then there’s all the theaters, large and small.  What fun to be able to go and see something light! Boeing Boeing was at the Comedy Theater on Panton Street—a charming setting for an evening’s entertainment.    

By the way, though Bloomsbury and its adjacent neighborhoods may be a little off the well-beaten tourist path (except for the landmark British Museum), it’s worth a meander.  Check out all the eating options on and around Charlotte Street…as well as the picturesque side-lanes. Then there’s Dr. Marie Stopes’ first birth control clinic.

You never realize the contrasts you’ll notice when you keep your eyes open—things that have always been there, but might not have attracted attention or mention, previously (like this "lady of the night").

On my recent trip to Britain, I heard this in vogue expression, "gobsmacked," used over and again.  The "gob," as I remember it is the mouth.  And, a hit to the mouth can be startling.  Listening to a Today Show interview with Matt Lauer, yesterday, I admit I was learning about something I had no idea was happening to such an exent.  Lauer was chatting with Toby Byrum, who’d had a vasectomy at 28, and remained adamant that he’d done the right thing for himself.  He had absolutely no interest in having children of his own (though child-friendly), or an "escape hatch" (with banked sperm). This appears to be a growing trend among young men—at least from what the Today Show team were revealing.  Natalie Morales, afterwards, discussed viewer e-mail responses, showing surprise that many women endorsed Byrum’s decision.

 
Yesterday (Sunday) afternoon, it was a treat to attend Toronto’s 18th annual Word on the Street celebration.  Not only was it a picture perfect autumn day, but it was also exciting to pick up on the energy at Queen’s Park Circle—experience so many Torontians’ thirst for reading, learning, and communicating being quenched. 

I went home feeling refreshed and revived—an interesting contrast to the evening before when Nuit Blanche festivities had skimmed the same location.

Apart from the booths and readings, a variety of performers engaged the crowd, informally, a key ingredient I thought missing the evening before (or perhaps they’d been active in zones I hadn’t managed to cover).

Saturday afternoon, it was a pleasure to have been invited to "paint for a cause"—U Quest’s Urban Angels.  Sadly, billed "celebrity artists," like Vivian Reiss weren’t able to stick around.  But, alongside David Arathoon, I put brush to canvas for a good few hours—as did some official sponsors and a group of OCAD students.  Monte Kwinter opened the festivities, talking about his personal art education (coincidentally including a stint in Boston at the Art Institute) and contributed a series of red brush strokes.  

The 80 foot canvas in front of UrbanQuest’s town house development site will be cut up and auctioned to help raise money for arts and literacy programs for disenfranchised youth.  Vivienne Ziner is the mastermind behind the Uquest Vision, and she is gathering a growing list of corporate/institutional supporters, including Ecomedia, Whippersnapper Gallery, and Toronto Public Library.  Then there’s a list of individual donors, topped by Linda Frum.  This private initiative was definitely an "art in action" experience, and warmed my art-spirit.

 
Unfortunately, Saturday evening, afterwards, cooled my art-spirit.  Scotia Bank’s Nuit Blanche event ran from 7:03pm to sunrise, throughout downtown Toronto.  Mayor Miller, in the cover page of its substantial program-book announced, "In my first term as Mayor, I championed Toronto’s cultural renaissance by launching Nuit Blanche."  He then added, "Scotiabank Nuit Blanche allows our artists to showcase the cultural energy that sets our city apart from any other place in the world, and bolsters Toronto’s status as a city that honors its artists and creative communities."  

Well, everyone is entitled to their own opinion.  A policeman directing pedestrian traffic at Avenue and Bloor quipped, "If this was in London, or anywhere else in Europe, there’d actually be something to see."  It was easy to concur (having just returned from there).  The streets were full of crowds but art projects were scant (a few video installations jumped out here-and-there).  Where were the street performers and visual art monuments?  Instead, a mobile tap water van was parked outside the ROM advertising a City of Toronto’s positives.  However, the whole grand boulevard leading up to and through Queen’s Park was bereft of any real attractions.  U of T had something that looked like a fake fire happening—or maybe it was real (fire trucks and an ambulance arrived).  People lined up around the block on Cumberland, I was told for a "TTC sound installation," but where was the street music—the ambiance/the energy?  Regular street-level galleries were jammed, for a change.  Too bad they don’t get similar attention, year round.
 

"Live With Culture" banners have been hung throughout the city if you look up on street posts.  In "Zone A" (Yorkville through to Queens Park), fresh designs make pretty decorations. In Zone B, along Spadina (into China Town/Kensington Market) remnants from 2005/6 have been left (as they were).  From the numbers of participants out on the street, it’s clear they were seeking something—hopefully culture.  Or, was it just a chance to enjoy a balmy autumn evening with friends en plein air?  As someone who walks the walk (is impassioned to paint and write, day-in-day-out), I really wonder.  I think some were just there for the free Ritter Sport Chocolate being hurled into the crowd on Hazelton (across from the new Hazelton Hotel)—and related marketing photo-ops.

Mayor Miller’s Nuit Blanche program message concludes by thanking Scotia Bank and all other sponsors and partners for making this "’free all-night contemporary art thing" happen.  As I think about my own "free all-year contemporary art privilege" to represent Canada at the Florence Biennale without any support (financial, or otherwise—not even a returned e-mail), from Mayor Miller’s band of funders and associates, I can paint a completely different picture of culture/art in Toronto and hands-on support and respect for its emerging artists—a feeling of being better appreciated abroad than at home.

p.s.  Please check out Sarah Milory’s October 1, 07 Globe and Mail article, "A fun night at the art circus," for a more detailed account of Nuit Blanche—and suggestions for improvement.

Last week, I celebrated my parents’ golden wedding anniversary in Liverpool—a real privilege.  This is a personal milestone, I’m aware, sadly, I will never be able to enjoy, not being married (yet).  I also marvel over my parents’ wonderful circle of lifelong friends and old-world values—neighbors who’ve known each other and remained in close contact, acting as extended family for generations.  Regrettably, few of my parents’ contemporaries’ children are still in town.  Like me, some have traveled abroad.  Others are based in London.  A couple of parents have been able to follow their children…  

Hometown roots are always important, especially to Liverpudlians.  These days, my home town is very proud of its heritage and accomplishments.  2007 - 2008 are banner years for Liverpool.  Not only does it have its 800th anniversary, it was also named as European Capital of Culture.

The weekend of Sept 15 -16, 07,  saw the city hosting many amazing events, including:
• The Big History Show at St. George’s Hall (photo below)
• The Hope Street Festival
• The Clipper Yacht Launch at the Albert Dock

It was impossible for me to do and see everything, but the few activities I had the chance to experience were exciting.  For the history event, I was happy to be able to hear my elderly father, Professor Rex Makin, give his Saturday presentation.  He is a free man of the city, and spoke to a sell-out audience.  At the clipper yacht launch, I was surprised to meet Sir Robin Knox Johnston. Standing right next to him, I was able to watch him seeing off the fleet with personal attention to detail and delight.

Liverpool is changing fast, as the cranes in front of the landmark Liver Buildings/Three Graces show.

Seasons of change happen externally and environmentally, as well as internally and spiritually.  My trip to Liverpool also coincided with Rosh Hashanah (the Jewish New Year) and Yom Kippur (the Day of Atonement).  On the days in between, I thought of what was and what could be, who I am and who I am not, where we are in the world and how I can help make it a better place.  Am I doing the best job I can?  What are my intentions and actions? Will they harm or help others? How can I live a more fulfilling, altruistic, and satisfying life? 

Values, morals, ethics, and acting mindfully and carefully were prominent in my thoughts.  A time for introspection and reflection is also a time for sharing and caring—"doing the right thing" and nurturing a healthy mindset.  Alas, not all of us succeed as often as we hope to, and some make more mistakes than others.  Intentions matter as does self-knowledge and sensitivity to and consideration for others and our planet.

When we’re able to overcome petty differences, we’re more inclined to take the bigger picture into account—not just act in our own best interests.  Life is short and every day has the potential for positive happenings.  Those who have the health, means, and family with which to enjoy what’s possible are blessed—should take nothing and no one fore granted.

A "Shana Tova" (Good Year!) to everyone!

Last Sunday afternoon, walking the dogs down Yonge Street, I was able to chance upon three "Sunday gardeners" potting the potty pots in quite a leisurely way.

Just like me, other taxpayers, out and about, weren’t too happy with how things were looking.

We’re now well into September, and most wondered why bland summer foliage had been purchased heading into fall, and required a special Sunday planting.  Chrysanthemums might have been more suitable—at least provided a hint of seasonal color, and been quicker to arrange.

Close to election time, it’s only natural to think about elected officials and who might be responsible for decisions like those connected to the potty pots’ installation and adornment.

Even the apolitical among us turn political when noticing such a curious use of funds.  Are expenditure decisions like these an individual representative’s responsibility (fault) or those of the party to which that representative belongs?

As provincial elections near (October 10, 2007), it’s important to remember that each and every vote matters, as do you—a person with the right to vote.  Florida in 2000 demonstrated this.  So, who does one vote for here and now, in Toronto?  Do you know the personalities running well enough?  Have you asked for help/advice from them since they entered office, and did they respond effectively (regardless of their party line), and or/who you are/your question?

Re-electionable officials make time to hear and respond to every "regular constituent’s" concern as thoroughly as possible—personally or with appropriate assistance.  If you have had the experience of being ignored by anyone up for reelection, it’s easy to think twice about helping reinstate them.  Then there’s the promise-makers (not currently in office) whose performance you you can’t be sure about.  Should they be given a chance, or not?

Unsurprisingly, many who have the right to, decide to not vote at all.  They simply don’t feel comfortable with any of the options offered.  Some who run aren’t always suitable.  Some who don’t could be!  Unfortunate, but true…

p.s. Earlier posts about the "potty pots" included on this blog are:

Toronto’s Tax and Funding priorities, July 19, 07

Potty Pots in Rosedale:  Extravagance at Taxpayers’ Expense, August 18, 07

Toronto—the Bigger Picture

Toronto’s a busy place this week with the Toronto Film Festival.  I walked through Yorkville Thursday evening (the first night) and was astonished by the crowds and hype.  Everyone was waiting for someone, but no one knew who…They just huddled around the barely-opened Hazelton Hotel, and Mark McEwan’s ONE restaurant—likely the best vantage point, as the newest and hottest spot in town.