Monday, December 1, 2014

The Heel is Strong

In Puglia, Bari was the best place from which to get to Matera and then Lecce and Otranto further south, in the heel of Italy's boot - a region called Salento. Olive groves I'd seen elsewhere were nothing compared to the size of the orchards and age of the trees in Salento - ancient twisted trunks supporting voluminous foliage. Over the centuries, people have cleared fist-to-butt-sized rocks from the fields and built fences and field shelters with them.  

Matera: 2019 Cultural Capital of Europe

From time immemorial, Italy’s rocky, cave-riddled mountainous terrain has  provided shelter for animals of many kinds, including two-legged humans. People lived in the prehistoric caves of Matera up until the late 1950s. By edict in 1952, the last peasant occupants were forcefully moved from their cave dwellings into “modern” structures and the government took possession of the land. A complete way of life ended.
 
Caves of Matera

Example of cave dwelling in the 1950s when spinning and
weaving were part of a peasant family's daily life. 

Work animals and their fodder shared the space.
Note the fishing net and trap. 

Many early Christian churches were in caves.
Here you can see remnants of frescoes.
One way Europe has turned its vast historical sites into an economic resource is by annually selecting a particular site as “Cultural Capital of Europe.” Recently Matera was selected for 2019. Scaffolding throughout the area represents the beginning stages of a five-year journey to get ready for a burst of tourism in 2019.

Lecce: Vibrant Florence of the South

When I told my Palermo B & B hostess I would be going to Lecce in the southern province of Puglia, she said, “Why? No one goes to Lecce.” I replied, “I was intrigued by pictures shown by my Italian teacher." Her pictures did not lie.

A poster for the show Gilgamesh alerted me to the existence of
the contemporary art museum.
In Lecce I found a vibrant community that maintains a thread of continuity with its past while continuing to move into the future. Perhaps the university, one of the oldest in Italy, plays a key role in keeping young people in Lecce and giving them encouragement to take risks and make changes. I saw more young people here than anywhere else that I traveled. Places I visited in Lecce, such as the contemporary art museum called MUST, had spaces for children to experience themselves as art makers and welcomed parents with baby carriages. If one were looking for a “total” Italian experience in one site, that might well be Lecce.
  • Ruins of both Roman amphitheater and theatre
  • Contemporary art museum – MUST
  • Active contemporary practitioners of all the arts
  • Amazing archeological museum
  • Beautiful baroque sculptures on churches and public buildings
  • Part of Slow Food movement of southern Italy
  • Small, safe and sunny
The gates into Lecce's ancient Roman amphitheater are still standing
 in the midst of Lecce's Old Town center.

Seating and gladiator entrance.

Down the street is the ancient Roman theater.
The theater was one fourth the size of the amphitheater.
It seems that violence has always trumped story.  

Floor mosaic of the theater.

Costumes were the clothing of the day, however colors were used to
distinguish different characters.
MUST, a contemporary art museum, is adjacent to the Roman theater.
MUST retains original architecture of the former convent.
I was attracted to the work of Carlucci, based on body fragments
and using gold for the interiors and an olive tree texture for the exteriors.
This is the most well-organized and accessible archeological
museum of the many I visited. Awesome.
Wall plaques in English guide you through the human journey
as it was experienced in Salento.
The Mediterranean Sea was the meeting place of Europe, Africa, and Asia.
On one of my "lost" adventures I found the Tonda art workshop.
What appears to be two sticks on the left is a desk lamp.
These lamps allow you to take rose windows home with you. 

Otranto: The Fate of Mediterranean Ports

In ancient times Otranto was a busy port of southern Italy, the closest to Albania. It was often the target of other people wanting either to possess it or to scuttle its segment of Mediterranean trade. Sacked by the Turks in 1480, 800 Catholics were slaughtered for refusing to convert to Islam. In WW II, its port played a role in the allied occupation of Italy as they pushed back and defeated the Nazis. In my very brief visit, I saw a lot of recent construction (by whom I could not tell) and EU money helping to restore heritage sites.
 
Otranto beach has a high ranking as environmentally well cared for. 

Castle - the well to do have always vacationed by the beach.

After repeated attacks, fortifications were built.

The lacework of the church's rose window was damaged in an earthquake.
There is an amazing floor mosaic that I missed due to timing of my visit.



Saturday, November 22, 2014

Sicilian Glories

The island of Sicily in southern Italy has a sad history. Just about everybody in the Mediterranean region has invaded and dominated the island for a while: Phoenicians (present-day Lebanon), Greeks, Corinthians (present-day Tunisia), Romans, Normans, North Africans, Arabs, Byzantines, Lombards, Spanish. While some invaders were brutal, others brought tolerance and respect.   
 

Agrigento – Valley of the Temples

On the southern side of the island, the Greeks were among the first to push the native people (Siculans on the eastern side and Sicanians on the western side) inland and to establish ports for trade balanced in favor of Greece. The Greek ruins to the south at Agrigento are among the most complete outside of Greece itself. Meditating at the so-called Temple of Juno Lacinia (probably built as a sort of lighthouse for Greek sailors), I was aware of competing realities.
1.       In 800 BC, the gods were real and required constant attention.
2.       The temples fell into disuse as Christianity took over.
3.       We are still worshiping the pantheon of Gods: War, Sports, Love, Prosperity, etc.


An ancient seating area in front of Juno's temple allowed me to sense
what it might have been like in 800 BC.
Though in front of the Temple of Concord, this fallen god
 does not come from there.

Palatine Chapel

On the Northern side of the island, the Norman ruler, Roger II, left an indelible mark in Palermo. In 1132-1140, inside the Norman castle, he oversaw the creation of a chapel that resonated with his personal ecumenical vision. Just as in secular life he advocated for Jews, Muslims, Western Christians and Orthodox Christians to tolerate and respect one another, the creation of this amazingly powerful chapel was done by artists from different traditions. North Africans created a painted honeycomb wooden ceiling that is rare. Byzantine artists made stunning mosaics of stories that include and transcend Christianity. Muslim geometrics fill the inlaid marble on the floor and lower walls.
Inlaid marble, surrounded by mosaics and supported by carved pillar.
 
Mosaic of St. Paul escaping from prison by being lowered over the wall in a basket.
Above the mosaics is the edge of the painted wooden honeycomb ceiling.
The ceiling is made of thousands of pieces of wood that were created
 on the ground and then assembled in place on the ceiling.

Mediterranean Exhibition

During my time in Palermo, the lower chambers of the Norman castle were hosting a Mediterranean exhibition. On my first visit, I had been so overwhelmed by the Palatine chapel that I had neither the time nor the energy to have more than a cursory view. Since researching the Mediterranean is my primary aim, I resolved to return to the exhibition and give it my full attention. Trame Mediterranee (Mediterranean Threads/Patterns) contains installations, artifacts, and artwork that represent common elements in the variety of cultures in the region. A theme is that in prehistory all were one people. It calls upon Italy to be a bridge between Europe and the Middle East.

A sort of proto-Arabic script is painted (or dyed?) on blue cloth
 to simulate waves on the Mediterranean Sea.
An installation called Arabic Library - about one hundred tablets with Arabic
 writing suspended at varying heights from the ceiling.

Ceramic styles evident in multiple Mediterranean sites
were a theme of the exhibition.
Mimicking the ceiling of the Palatine Chapel, this is an installation
 of ropes suspended from a grid and tipped with copper cylinders
that clink with air movement. It represents the themes of the exhibition.  

Italy as a Local

I am attempting to travel Italy as a local rather than a tourist. Thus, with the help of my Palermo B & B hostess, I arranged a bus trip from Palermo on the Northwest side of Sicily to Bari on the Southeast side of Italy’s boot, at the top of the heel. How amazing it was to pass through Arab influenced Catania on the east coast of Sicily, cross the straits at Messina, travel across the toe of Calabria to the Gulf of Taranto, follow the coastline of the gulf, then cross the heel into Puglia, and end in Bari – a city of half a million people that feels very Eastern European. The south of Italy is definitely its fruit basket – citrus, grapes and olives.

Zip Lock Sanity

Being on the road for six weeks has its challenges. One of the ways I’m coping is through what I call Zip-lock Sanity. I have zip-lock bags to organize the necessities of Life. They include
·       Toiletries and First Aid kit
·       Transformer and digital chargers for camera, phone, and tablet
·       Office supplies like tape, post-its, pens, glue, scissors
·       Mini kitchen with plastic utensils, paring knife, napkins, etc
·       Pantry with nuts, raisins, lemon drops, water, etc.
·       Library of books and pamphlets collected on the way

Thursday, November 13, 2014

Early Travel Impressions

In Sorrento, on the road to my B & B, here is one example of Italian rock.
Italy is essentially an enormous rock thrust up from the bottom of the ocean when the tectonic plates of Europe and Africa collided. Rock is everywhere and comes in varieties of pink, yellow, green, white, black, and grey. Human habitation of the rocky cliffs is pretty amazing – a tradition begun by ancient cave dwellers. Some areas are cultivated - made fertile by volcanic ash. Wheat and grain are grown in Umbria while further south greenhouses of vegetables are more evident; Olive groves are everywhere and Sicily has it all.

I loved this diorama of the cave dwellers who occupied Italy in pre-Roman times.
Italians love their shoes/boots, bags, cigarettes, and cellphones. I have seen hundreds of variations on the canvas shoe (essentially dressed up tennis shoes) – bangles, platforms, high heels, bright yellow/green/pink. I could do without the cigarette smoke!

My first stop after completing my artist residency was Sorrento, a small community southwest of Naples. I felt that in order to slow down after all of the work of the residency I needed to stay away from the frenzy of big cities. Sorrento is right on the Tyrrhenian Sea and abuts the Amalfi coast. From Sorrento I could explore Mt. Vesuvius and Pompeii and indeed I did. I walked to the top of the inside of the crater of Mount Vesuvius, left by the eruption in 79AD.

Inside crater of Mount Vesuvius.
Then I went to the ruins of Herculaneum, a small agricultural community destroyed by the eruption of Mt. Vesuvius in 79AD. 
Ruins of Herculaneum below the current town of Ercolano.
Herculaneum gave me an overwhelming sense of death. Perhaps because you could see the current town of Ercolano right above the excavation. Perhaps because the small spaces reminded me of graves. The town of Ercolano felt like the US in the 1950s – people struggling to make a living.

One of many streets in the ruins of Pompeii.
The urban grandeur of Pompeii was evident even though it had been stripped of all its priceless art and artifacts which reside in the archeological museum in Naples. It’s too much to absorb in one day.

I attempted to go to Amalfi but was stopped within five kilometers because of a landslide. The rainy season has hit southern Italy. A brief stop in Positano – spectacularly positioned on the cliff side – showed the influence of wealthy American tourists; overweight Italians who cater to them have adopted American bad eating habits.

Back Packing at 75
In my attempt to keep things simple, I decided to travel with just my backpack and a foldable fabric bag that serves as my daypack when on location. I am carrying few clothes, a small handheld digital camera, and a Surface Tablet to which I can download my photos and connect to the Internet. Most useful so far have been my bar of laundry soap and First-Aid kit.

Feasting My Eyes
I am a pilgrim, not a tourist. That means I am not trying to see everything, but to select those things that can best inform my work on the Mediterranean section of Eve's Imprint. As a visual learner, what I see and feel sticks with me. For this reason, I am traveling by train and bus. When most people think of Italy they think of food and wine, but for me the primary thing is to "feast my eyes" upon the landscape, people, architecture, cultural nuances, and subtle regional differences. 

 

 

Thursday, October 30, 2014

Residency at ArteStudio Ginestrelle


Near the end of my second week at Arte Studio Ginestrelle, I recorded some first impressions. I intended to share at that time, but I had not figured out how to get my pictures from the camera to the tablet and then the residency consumed me. I leave on the morning of November 1 for Sorrento in the south where I begin my month-long pilgrimage to meet the ancestors. Hopefully I will be more diligent about blogging during my travels.
Mount Subasio in the distance as seen from Arte Studio Ginestrelle

Tranquil Environment

The setting of the residency in the regional park of Mt Subasio, provides a tranquil place for creative work. As soon as you leave Assisi and ascend the mountain road, a feeling of peace surrounds you. When you step out of the car, you are greeted to a panorama view of the valley. At night you can hear the hoot of an owl and in the morning the jays take over in providing gentle background music.

Visual Artists Bond

There are two other visual artists here with me, one from Tasmania and one from Portland, Oregon. As soon as we met upstairs in the studio, a bond was formed. Each of us is supportive of the others and each is generous in sharing our specific techniques. My Tasmanian colleague and her husband walked the camino in Spain for two weeks prior to coming to Ginestrelle. She is using liquid graphite to create three pieces that share her pilgrimage experience. My Oregon colleague is doing plein air work that incorporates stone rubbings. I am working on a 3’ by 6’ canvas banner depicting the majesty and danger of volcanic mountains for humanity.

My studio space. Since the table was necessary for my large banner,
I had to create alternative space for all of my materials.  

Studio Space

We share an attic studio in a restored stone farmhouse. In addition to each of us having a 3’ by 8’ table, there are two smaller spaces for artists in other media. In our current group we have two photographers who are primarily out in the field during the day and occasionally come in to digitally edit their work. There are two additional spaces outside in a three-sided former barn or storage building. Each is open on the side that faces the valley vista.

Marina Merli, Artistic Director for Arte Studio Ginestrelle, orients
us to the morning breakfast routine. Her mother, Adria is an awesome cook.

Authentic Rural Italian Culture

The director of the residency is Marina Merli who has a PhD in Economics and Management and the heart of an artist. After working in management positions in Rome, she realized that she wanted to return to the place of her birth, the sacred community of Assisi. She had the idea of doing an artist residency and consulted with a former professor at Perugia University. With his encouragement, she spent two years preparing to launch the residency. This included two internships in Milan, one in a gallery and one in a bank. The residency is international and has been operating for eight years. Artists have come from many European and Asian countries as well as the United States.
Every morning, Marina and her mother Adria provide the artists with a generous breakfast of authentic Italian food. We have eggs from a local farmer, cheese and yogurt from a local creamery, and fruits from Ginestrelle and the surrounding area. Sometimes Marina’s father Enzo brings sumptuous pastries up from Assisi or Adria makes a cake that is indigenous to this region. On the first few days they provided chocolate from Perugia. Of course, we were immediately hooked on this and purchased it for outselves.

Marina’s mother is a professional woman - an optometrist and optician. Her father was a director in the national postal service. Their attitude is that all work – whether high or low – is noble. They find no discrepancy between their professions and serving the artists. It is a joy to see how they support their daughter in actualizing her vision. 

A procession of flags from each region of Italy and various dignitaries preceded the
speeches and mass that were inside Basilica San Francisco and projected on to a mesh screen. 

Celebration of Birth of St. Francis

On our first Saturday at the residency, we were taken into Assisi to experience the annual celebration of the birth of St. Francis. Assisi was filled with pilgrims who gave the whole town a very reverent atmosphere. Most tourist shops were closed, which added to the feeling of being back in the Middle Ages.

Wednesday, October 1, 2014

The Person I Left to Become

In June of 1991 I left Brussels, Belgium and a long time career as a social activist to pursue a creative career. At the time I anticipated writing a book and becoming an author. That has occurred, to a certain extent. But, more profoundly and without my conscious planning, within two months of my departure, I had enrolled in my first art class and set my feet on a path to becoming a visual artist.  Now twenty-three years later I have returned to Europe, via Brussels, as the creative person I left to become.

I am here in Assisi, Italy to begin my first artist residency. Regardless of what I accomplish while I am here, the fact remains that the vague goal that I sought when I left an established career has been reached. It is time to set new intentions.
For anyone who longs to develop new dimensions to their life and personality, I am a living witness that it is possible. If there are lessons from my path, they are:

·       Following the tiny crumbs of longing that emerge as you pursue your intention is more important than having a clear understanding of a path for achieving your goal.

·       The path will be circuitous, will not be easy, and will take a significant amount of time.

·       If you stay true to your intention, miracles will occur.

I have no idea where this return to Europe will take me. I have come to Assisi, city of peace, with three intentions.

1.       I want to accelerate my work on Eve’s Imprint: A Global Family.

2.      I want to find partners and sponsors for Eve’s Imprint. Surely there are others who recognize that our common human origin in East Africa hundreds of thousands of years ago makes all cultures and ethnicities one family and that as such we can and must find avenues for peaceful coexistence on this blue marble in space that we call home. 

3.      I want to meet my paternal ancestors who passed through Tuscany and the Mediterranean region some 40,000 to 30,000 years ago.

Eugene to Florence: I Doubt That My Art Supplies Will Make It


Early on the morning of September 29, I flew from Eugene to Portland. There I had to pick up the checked bag containing my art supplies and check it in again with the airline carrying me to Europe.

Having purchased my tickets from CheapTickets, I had stopovers. It took three hours to fly from Portland to Chicago where I had less than an hour to change planes. I arrived at my gate as they were doing final boarding for my flight to Brussels. Considering how fast I had moved through the airport, I was convinced there was no way someone could have moved my checked bag to this new airplane. The bag would never make it. The woman checking me in insisted that it would indeed arrive in Florence when I did.

The seven hour flight was not super full, however there were not enough empty seats in my area for me to stretch out. Sleep was not an option, so I attempted yogic breathing. The good thing was that I was near the bathroom. Several trips there provided a limited bit of exercise.

The arrival in Brussels was a complete shock. I had anticipated going through passport control and customs in Italy, not in Belgium. I had locked my suitcase and under the pressure of doing all of the security procedures, it took me a couple of minutes to locate the key. Then my small bottle of mouthwash (less than 4 ounces but not in its original bottle) caused suspicion and was confiscated. Now a prime terror suspect, I was led away to an examining room, nervously leaving all my stuff exposed in several plastic boxes on the conveyor belt. Finally passing inspection, I attempted to find my flight gate.

The airport was a shock. It was a rich person’s paradise. There were several floors of high-priced symbols of opulence. There were video advertisements for high couture fashion. I found the erotic video for Victoria’s Secret downright embarrassing. Announcements were made for Israel, Dubai, Nairobi, Shanghai, etc. The screen showing gate assignments announced that the gate for my flight to Florence would not be posted until twenty minutes before take off. Another security measure?

When we went through passport control I had heard a Jewish woman on the plane from Chicago mention Florence, so when I spotted her in the boarding area, I approached her about sharing a taxi when we arrived in Florence. She and her husband were going to be staying at a hotel near the train station so they agreed to my request, cutting my cost in half. I ignored the several winks I was receiving from an Italian male trailed by a compliant wife. But I did exchange pleasantries with a Norwegian couple on their way to a two-week vacation with friends in an Italian villa outside of Florence.

Italian Adventure Begins: Angels Appear


Arrival at the domestic airport in Florence reminded me of arriving in India over thirty years ago. It was dumpy, slow, and everyone was smoking. I immediately located the Lost and Found desk so I could report the checked bag that I was sure had not made it through the transfer in Chicago and customs security in Brussels. I was wrong! Once the luggage conveyor belt began moving, what should appear but the bag I had been sure would never arrive. I am grateful to everyone who told me to “think positive” and did so on my behalf.

After practicing a few Italian words on a pleasant taxi driver and giving my share of the fee to the Chicago couple, the taxi deposited me at the train station, now burdened with two suitcases and my backpack. Amid the chaos of train announcements and a crush of people rushing about, I was overwhelmed by a bank of ticket machines. Rick Steves had led me to believe there would be one machine, not over a dozen being swarmed by masses of people. Memories of Victoria station in Mumbai, India flooded all the memory channels of my brain. Panic set in.

I spotted a young woman who appeared to be herding teenagers to a train on one of the 18 tracks. When I approached her for help, she told me, mostly by sign language, to go to the end of the long row of machines where there would be an assistant to help me. After a hike down the station dragging my two suitcases, I spotted a woman wearing a vest reading “assistance”. She looked like the twin sister of my grandchildren’s nanny from Croatia and turned out to be just as caring and professional.

After several failed attempts to buy a ticket using my debit card, she went on to someone else. I stood staring at the machine until I saw a button for language. Once I hit English, things were easier to understand. The issue had been knowing exactly when to enter the pin code. Proudly waving my ticket to the attendant, I scanned the train platform screens. None of them showed Assisi. She asked if I wanted to go immediately or wait; there was a train leaving for Rome. Totally confused, I said “piu tarde”. She said there would be a train leaving for “Leeno” in an hour. I did not see “Leeno” on any screen. Finally, through her hand motions to the destination tracks screen several yards away, I realized that she was saying “Foglino”. There was no track listed but I could see a departure time. I would have to wait an hour and fifteen minutes.

Amid an array of signs warning to watch out for pick pockets, I parked myself, my two suitcases, and my backpack just outside the area where my angel of mercy was helping other confused travelers. I was not going to stray far from “real knowledge”. There was some comfort in observing that most of the people my angel was helping were Italians. So it wasn’t just my bad Italian language that was the issue. Several times my angel suggested that I could go to an area where I could sit down to wait. I declined not only because I had been sitting for over 24 hours but because I was not going to risk missing my now identified train to Foglino.

I had a brief “conversation” with an Italian matron who seemed to share my passion for staying close to the assistant. A track number finally appeared for Foglino. It was the last track at the other end of the platform. Trailing my suitcases, I walked down and validated my ticket. Then I walked back for assurance from the angel that I had done it properly, thanked her and said “Arrividerci” to her and the Italian matron.

OK. Now I was on my own. Rick Steves had said most thieves attack as you are boarding buses or trains. He recommended boarding at an end car where there would be fewer people. I melded into a group of tourists being led by a guide, thinking one of them might help me lift my two suitcases onto the train. But they proceeded past the last car. Fortunately, there was no one else in sight, so I could take my hands off one of the bags while lifting the other one. I parked my bags and myself just inside the door of the last car, exhausted. There was no way I could even consider lifting them up to the luggage rack.

Once again, memories of train rides in India swept over me. I sank back in the seat, grateful that despite the train’s vintage quality, the seat was padded. At 4:10, the train began moving. At long last, I was on the last leg of my journey to Assisi. Walking down track 16, I had seen Assisi flash by on one of the platform screens, along with numerous other town names. I thought it had given 18:20 (6:20 pm) as the arrival time for Assisi. Somehow I must stay awake and alert for another two hours and somehow I must phone my airbnb hostess thirty minutes before arrival so she could meet me at the train station.  I had brought my cellphone for precisely this purpose, but checking it revealed that the battery was too low to make any calls. Ok, for now just relax and figure that out one and a half hours hence.

People came and went from the train car as we passed through small towns. Fortunately, there were enough seats that no one objected to the fact that this arrogant American was hogging three seats. All other riders appeared to have functioning cell phones. As other riders occupied seats across the aisle, I would assess whether or not I thought I could appeal for help in calling my hostess.

By the time 5:30 pm rolled around, there was one man in an expensive suit seated across the aisle. Rick Steves had warned that many thieves dress as businessmen. How was I to know? He made some calls and at one point pulled out a printed itinerary and gave his arrival time to someone. He had a paperback book that he would read between making calls. He appeared to be oblivious to me and my parked suitcases.

At 5:40, I decided it would be more of a risk to leave the bags and look for someone else than it would be to approach the businessnan for assistance. I pulled out my defunct cellphone and crossed the aisle. “Scusi, Senore. Per favore. Il mio cellulare non lavore. Would you be willing to make a call for me?” He looked up from his book. “I need to call my hostess and tell her the train will arrive in Assisi around 6:00.”

Despite the fact that my Northwest sportswear revealed no cleavage and my wrinkles gave evidence of age, he appeared willing, so I showed him the number of my hostess. He dialed it and handed me the phone. A young person answered and, forgetting to politely say “Pronto”, I repeated the name of my hostess. She came to the phone but was no more comfortable speaking English than I was speaking Italian. We kept misunderstanding the time I was arriving. I handed the phone to its owner and asked if he could tell her I would arrive at 6:00. He graciously did so and said ciao. I did my “Grazie”, sighed and crossed back to my seat by the window.

6:00 came and went and no platform sign read Perugia, the one town that I knew came before Assisi. At 6:30 my friend across the aisle approached me to say that he thought it would actually be 7:00 before I reached Assisi and shouldn’t we call my hostess and let her know that. I agreed and pulled out the paper with her phone number. He showed me that it was already in his phone and he pushed a button to call her. When he tried to hand me the phone, I pleaded in sign language for him to speak with her. She let him know that she was already at the train station. He graciously apologized for “his” error. Bless him for not mentioning the stupidity of the real caller!

At this point we began a conversation. I explained why I was going to Assisi and he told me he works for the railroad – the very one we were riding – and was on his way to Perugia. I saw a Perugia sign flash by and mentioned it. He checked as the train pulled into the station but it was the stop for Perugia University and he wanted the next one. As he collected his suit jacket from the hook where he had carefully hung it, his raincoat from the rack above, and stuffed his book into his bag, he said that he would be returning to Florence the following night. I thanked him profusely for his help and said arrividerci as my second angle headed for the exit. It was comforting to know there are both male and female angles.  

At 6:50, I saw a sign for Assisi and moved all my luggage to the exit. Again, no one was exiting but me, so I could lift one bag down at a time. I moved as quickly as possible down the long platform to the station where most other passengers had gotten off. After a mistaken connection with an Australian woman who lives six months in Assisi, I found my Italian hostess outside.

In her broken English and my scant Italian I declined her kind offer to move me to a room in a more convenient location. No, grazie. I have already made an arrangement for the residency director to pick me up at 10:00 next morning from the previously agreed upon address. You can call and tell her the new address. No, I do not have a cell phone. Don’t you want to eat dinner? No. Please just show me the shower and the bed.

After showing her my passport and paying for a one night stay, she helped me carry the two bags up a flight of stairs, unlocked the door and handed me the key which I was to leave on the kitchen counter downstairs when I left in the morning. Grazie, grazie, grazie. Buona Notte!

After six months of preparation, thanks to two Italian angels along with many Oregon friends and Rick Steves, I have arrived safely in Assisi.

 

Sunday, August 31, 2014

Awesome Open Studio Artists

I have just returned from two weeks in an open studio with my art mentor Katherine Chang Liu. We were a group of twenty-six artists, each developing her/his own work in dialogue with our common mentor. I have been forced by time and photo availability to present just a smattering of artists' work. As you view the following recent work by a few of my companions, you can get a feel for the unique artistic sensibility each of us has developed.

Sand Poland is both a painter and an assemblage artist. Her current work with masks bridges these approaches and showcases her incredible use of line drawing and collage, along with a refined sense of social commentary.

Sand Poland
Sand Poland
Freda McCann studied many years with a Chinese master painter and calligrapher. Her work integrates eastern and western artistic expressions. She continues to refine her mastery of the brush by doing one hour of calligraphy every day.

Freda McCann

Open Studio Dynamics

The mood at the start of each open studio is both high and hectic. Beginning to work in a different environment activates a frenetic search for resources artists suddenly realize they did not bring, especially assemblage artists who work with found materials. Then, since artists are all "loners" in a sense, reconnecting with or becoming acquainted with twenty artists from across North America is unsettling. It takes a while to adjust to the rhythm and process of one's table mates.

Canadian Janet Baker creates small-scale assemblages. Her work reflects a wonderful sense of design and shape as well as a playful imagination. She refuses to allow arthritis in her hands to get in the way of expressing her creative spirit.

Janet Baker - An incidence of which I know nothing.
Janet Baker - This much I know is true.
Janet Baker - Almost like something I once heard.
Our mentor's daily presentations on contemporary art and artists engender reflection on our own work. During the first two days our mentor is having one-on-one sessions with each artist to see where he/she is in their work. No artist can really settle down until after this "assessment or taking stock" has occurred. By the third day, people have stopped scurrying hither and thither, have set up their work space, and are, one by one, getting down to work. By the end of the first week a creative hum has settled over the studio, only to be interrupted by the weekend break and the anxiety some artists feel about whether or not or with whom they will join for various social outings.

New, "every two years" or shy artists are at a social disadvantage when it comes to evening and weekend activities. However, that exclusion presents a wonderful opportunity to continue uninterrupted work in the much quieter studio space. Not being a social butterfly, I find the calmer evening and weekend studio mood conducive to refining my direction and doing my most detailed work. I also find that during these times the connections I make with other artists working in the studio are deeper and more art-related.

Judy Levinson's outsider art reveals her unique ability to transform found objects into unforgettable characters. In viewing her work, one is filled with joy, humor, and a sense that anything is possible.

Judy Levinson
Judy Levinson
Do you suppose that Judy could be "privately" depicting the artist personalities she finds in our open studio?

Paula Lantz is a portrait and abstract collage artist with a "painterly" style that reveals her trail of marks and drips. Her quirky characterizations and collage areas require the viewer to take a second look. 
Paula Lantz
By the end of our two weeks, we are all in awe of the originality and power of each of our fellow and sister artists. It takes courage to expose oneself to the scrutiny of such amazing masters, but the inspiration and encouragement one receives from both one's colleagues and from our mentor are definitely worth it.