Archive for drawing

Birth Plan

The onion with the gold skin beside me.
The gold-skinned onion with the maroon rope.
The onion beside me: gold-skinned, tied at its sprouting point
with a blur of maroon yarn.
Gold-skinned. Not like me. Sprouting green.
At the sprouting point a knot of maroon yarn.
Dark maroon like dried blood.
The green keeps growing beside me, I can’t tell but look at them now.
Pointing at me. One two three four five six seven eight nine ten eleven twelve thirteen green.
The yarn is merging with the onion, woven into the thirteen sprouting points.
The yarn curls into itself like an onion.
I think that after the baby is born I am supposed to bury the onion
with the yarn still on – a storm of yarn, a haze of blood, thick and soft.
I want to make a small blanket out of the yarn underground
after the cats have licked the baby clean.
I think I am supposed to go into the snow with a shovel and dig through the dirt,
make an ugly patch of labor, and bury the gold onion. Save the placenta for spring.
We are red and the baby is blue and our hands are raw.
The yarn I must look at but should not touch, it squeaks polyester in my hand.
The onion I can look at but not smell. Green sprouting in winter. A blue baby cries.
Growing beside me and inside me in spite of the cold. Growing on chocolate and snow.
A nipple at the bottom of the onion. Scraggly hay.
Lines like road maps, like arteries on the skin.
Paper skin. Baby skin while I labor.
Fur yarn unknown to my adult self. Childhood yarn.
Maroon, dried blood in the shadows, fuchsia at the furriest light.
A maroon spot on the golden onion that no one but itself made.
Paper skin pink where it peels. I would like to labor beside this onion
and give birth to the parts that are green, peeling a baby out of a placenta part by part,
dark yarn attaching us. We are buried nearly all year so that we survive.

drawing of onion and yarn

drains

spouts copy

vsc open studio night

Last night the resident visual artists opened their studio doors so we could all walk around from building to building, studio to studio, getting a quick sense of what they’ve been thinking about during their time here. When I first got here, I really wished I’d come for visual art — I wanted to be making something tangible, to see progress and visual questioning, and to get to think visually instead of trudging through all this language. I was envious of their big, beautiful studios and appetizing art supplies. I forgot that impulse once I got more deeply into my writing, and in the end I think I’m glad I came for writing. Still, walking around their studios last night, it made me eager to get back to my studio at home.

vsc open studio night

vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night vsc open studio night

Portland

arms

ink

studio, august

Earlier in the summer I took down all the drawings that didn’t feel right anymore. I left up all the drawings that I still wanted to learn from. Sometimes I would walk in and hate them all, but I tried to stick with my original editing choices. Many days I didn’t come in because I didn’t want to look at any of them anymore. I did my work at home. I went from a visually inspired winter and early spring to being frozen just as the ground thawed.

Lately I’ve forced myself to start coming back to the studio daily instead of hiding out writing on my porch. I have a writing desk here, up in a sort-of loft surrounded by three windows, and that’s where I spend most of my non-family time. At first none of the drawings spoke to me. I brought curtains from home, considering separating the two spaces, maybe painting the writing space a different color, but I never hung the curtains. I did turn my writing desk away from the room.

But slowly the drawings have been opening up. I see moments that I love to look at and line qualities that teach me. I see where I want to move forward, and I see what is not currently necessary. The moments that excite me are usually more mysterious, less directly derivitive of the object I’ve drawn. Most of the color is stripped, though there are moments of color that I love. There’s one drawing of circles with different shades of blue, and probably no one else would look at it twice. It is easier to love tons of other things in this world. But that blue one I don’t want to take off my wall.

Yesterday I brought small pieces of drawing paper and ink up to my writing desk. Just to see what my hands learn in late summer.

studio finally

oh hello studio finally

studio 05/07/09

small visual moments to bring me back to me. quiet, don’t scare it.

studio

studio! I snuck in yesterday, away from my stereotypical nesting obsessions for once. Sorry sad studio. All the drawings look lonely and have turned into lions, baring their teeth and showing me all my weaknesses. They look dull and lacking, and then I started to see things I liked and ways I could improve others. I drew — I made myself draw. I took an older drawing that I only pinned up because it took me so long even though I didn’t like it and I drew over it.

I’ve been afraid to go in mostly because I’ve been writing more, and when I write in my studio I feel like I want to draw instead — have I said this before? I could draw onions all day and it could mean nothing but they could be beautiful and I can pin them up and feel that at least that, at least there is beauty. Beauty is part of why this species evolves. It sometimes truly is enough. But I can write all day and feel like I’ve been digging and feel glad and also like I’ve done nothing. What I’ve done is at best sort-of pretty, black words on a white page, but usually pretty ugly, text on a computer screen. And so I leave my studio after having written there feeling like I have done nothing, that I have done less than nothing, negative nothing, my drawings looking sadder than before I even walked through the door.

So I set to work yesterday making my studio more writer-friendly. I found some curtains to section off an area (that sounds scary but with the format of the room, hopefully it will be feng shui enough), I put my desk facing the window instead of the studio walls, I made lists like “potted plants” and “paint wall by desk.”

And I set to work also making my drawing area more livable: the studio began as a white space, no fault no harm, but drawings are everywhere now and my desk smells like moldy oranges. There are ribbons tangled up next to onions and stacks of garlic and lobster netting on the windowsill. I bought a new shelf for the objects and for drawings I don’t want to hang. I made space for a gorgeous chaise that will allow a spot for more than just me to sit down. I bought a blanket that hasn’t been chewed by dogs, one to put around me when I read. And a water heater for tea, made of glass instead of the plastic hot pot that almost instantly stopped working. It’s a new phase of my studio life, but it’s coming together. Abandoning a place for a time, even just two weeks, it makes me scared of it, it makes the energy in the room feel colder and more detached. Yesterday I found a way back in. (Though you’ll notice that I did not go back today — I would rather squat in a bookstore than go back today.)

studio, monday 4/6/09

egg/2 egg

The drawings are so dorky. I don’t know sometimes how to love to draw from life and not end up making drawings that just look quaint. But I needed to understand the colors of the eggs and so I drew them.

first egg tempera

After making our own egg dyes, I got to thinking about making my own egg tempera paints. I bought some powdered pigment and mixed it with egg. I had no idea it was so easy to make paint. Oil paint: linseed oil plus pigment. Egg tempera: egg yolk plus pigment. The egg tempera only lasts a day, and I love that ephemerality. The colors on the paper stayed vivid and dried to a great matte — some of the inks I was using were too shiny, they felt like plastic. I always want to feel the closest to my world that I can, draw it so closely, be as near to it as I can. God is desire, to keep wanting to be closer and closer. It felt right to make my own paint, to not be afraid of it anymore.