Small satisfactions

July 29, 2012 § 2 Comments

This weekend my sister came and we had a marvelous girls’ time. The weather cooled and we cleared our schedules for whatever we wanted to do, instead of what we ought to do.

So, we started our two days of good food and good fun with a night of arts & crafts. Elena made a yarn-covered letter “B” (the first letter of her last name), and I dug out my paints to replicate the photograph of a butterfly.

We talked as the sunset turned into dark, took a break for pie, and finished our projects with J.J. Heller and King Charles and Fun in the background. Then we admired our works with satisfaction and surprise: Look what we made!

Each of us created something new, something that would add beauty to our spaces, something that had not previously existed. This sort of activity was not uncommon for us as little girls. It occurred almost daily, and lived on our family’s refrigerator, or on our bedroom walls, or on the sidewalk outside, or perched on our dressers. We had little fear of imperfection or inadequacy, little sense of obligation to be accomplishing or completing another, more important task. We created because we liked to.

It is good to bring back these small satisfactions, to insist upon times set aside for the making of things. That thrill of creating beauty is unique unto itself. We remember that we have capable hands and important imaginations. We remember that we are artists.

Perception

May 11, 2012 § Leave a comment

“Our ability to perceive quality in nature begins, as in art, with the pretty. It expands through successive stages of the beautiful to values as yet uncaptured by language.” -Aldo Leopold, A Sand County Almanac

More thoughts on dirt: art from the soil

January 27, 2012 § Leave a comment

Masaccio: The Tribute Money

The fresco painters of the Italian Renaissance found themselves in a peculiar position with respect to color. They had available to them a large number of vegetable- and mineral-derived pigments, but the technique of fresco (that is, working on wet plaster) limited them largely to the earth’s palette, because the alkali in the plaster tended to decompose and disperse the vegetable-based dyes. The very rich colors of Masaccio’s frescoes are almost all derived directly from the soil. The reds, browns, and yellows are from ochre. The green is from a reduced clay called terre verte. The umber came straight from the earth of Sienna. The whole Christian drama is expressed in the colors of the earth.

– William Bryant Logan, Dirt: The Ecstatic Skin of the Earth

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