The Greater Ithaca Art Trail is holding its second of the new First Saturdays! Come this Saturday, March 3, to any and all of the artists opening their studios to the public.
Come visit me at my studio, 5851 State Route 227 in Trumansburg, NY from 10-2. This weekend, 10% all glass pendants by Nathan Bonnet.
Click here for pdf with list of artists: First Saturday Flyer March
This piece is the first of three pieces based on Robert Burton’s wonderfully written 17th century treatise on “melancholia,” or what is more frequently considered depression these days. He was a very well educated and literate writer in the days before systematic study of human psychology, and explored the causes, symptoms and treatment of melancholy in a very lyrical and often humorous prose.
The artwork is my first using solely a single line from start to finish, including the border; I used different sizes of pens to get darker or lighter, finer lines. It is also by far the easiest to read! Just pick a point and go.
I love the text for this piece (all the lines in the doors are text… sorry, but back then I wasn’t taking good photos): “On Doors” by Christopher Morley
The opening and closing of doors are the most significant actions of man’s life. What a mystery lies in doors!
No man knows what awaits him when he opens a door. Even the most familiar room, where the clock ticks and the hearth glows red at dusk, may harbor surprises. The plumber may actually have called (while you were out) and fixed that leaking faucet. The cook may have had a fit of the vapors and demanded her passports. The wise man opens his front door with humility and a spirit of acceptance.Which one of us has not sat in some ante-room and watched the inscrutable panels of a door that was full of meaning? Perhaps you were waiting to apply for a job; perhaps you had some “deal” you were ambitious to put over. You watched the confidential stenographer flit in and out, carelessly turning that mystic portal which, to you, revolved on hinges of fate. And then the young woman said, “Mr. Cranberry will see you now.” As you grasped the knob the thought flashed, “When I open this door again, what will have happened?”
There are many kinds of doors. Revolving doors for hotels, shops and
public buildings. These are typical of the brisk, bustling ways of
modern life. Can you imagine John Milton or William Penn skipping
through a revolving door? Then there are the curious little slatted
doors that still swing outside denatured bar-rooms and extend only from
shoulder to knee. There are trapdoors, sliding doors, double doors,
stage doors, prison doors, glass doors. But the symbol and mystery of a
door resides in its quality of concealment. A glass door is not a door
at all, but a window. The meaning of a door is to hide what lies inside;
to keep the heart in suspense.
Also, there are many ways of opening doors. There is the cheery push of
elbow with which the waiter shoves open the kitchen door when he bears
in your tray of supper. There is the suspicious and tentative withdrawal
of a door before the unhappy book agent or peddler. There is the genteel
and carefully modulated recession with which footmen swing wide the
oaken barriers of the great. There is the sympathetic and awful silence
of the dentist’s maid who opens the door into the operating room and,
without speaking, implies that the doctor is ready for you. There is the
brisk cataclysmic opening of a door when the nurse comes in, very early
in the morning–“It’s a boy!”
Doors are the symbol of privacy, of retreat, of the mind’s escape into
blissful quietude or sad secret struggle. A room without doors is not a
room, but a hallway. No matter where he is, a man can make himself at
home behind a closed door. The mind works best behind closed doors. Men
are not horses to be herded together. Dogs know the meaning and anguish
of doors. Have you ever noticed a puppy yearning at a shut portal? It is
a symbol of human life.
The opening of doors is a mystic act: it has in it some flavor of the
unknown, some sense of moving into a new moment, a new pattern of the
human rigmarole. It includes the highest glimpses of mortal gladness:
reunions, reconciliations, the bliss of lovers long parted. Even in
sadness, the opening of a door may bring relief: it changes and
redistributes human forces. But the closing of doors is far more
terrible. It is a confession of finality. Every door closed brings
something to an end. And there are degrees of sadness in the closing of
doors. A door slammed is a confession of weakness. A door gently shut
is often the most tragic gesture in life. Every one knows the seizure of
anguish that comes just after the closing of a door, when the loved one
is still near, within sound of voice, and yet already far away.
The opening and closing of doors is a part of the stern fluency of life.
Life will not stay still and let us alone. We are continually opening
doors with hope, closing them with despair. Life lasts not much longer
than a pipe of tobacco, and destiny knocks us out like the ashes.
The closing of a door is irrevocable. It snaps the packthread of the
heart. It is no avail to reopen, to go back. Pinero spoke nonsense when
he made Paula Tanqueray say, “The future is only the past entered
through another gate.” Alas, there is no other gate. When the door is
shut, it is shut forever. There is no other entrance to that vanished
pulse of time. “The moving finger writes, and having writ”–
There is a certain kind of door-shutting that will come to us all. The
kind of door-shutting that is done very quietly, with the sharp click of
the latch to break the stillness. They will think then, one hopes, of
our unfulfilled decencies rather than of our pluperfected misdemeanors.
Then they will go out and close the door.
Someone help me here… what does this MEAN??? I mean, I like it, but WHAT DOES IT MEAN?
Cupid’s Darts, Which Are A Growing Menace To The Public
Do not worry if I scurry from the grill room in a hurry,
Dropping hastily my curry and retiring into balk;
Do not let it cause you wonder if, by some mischance or blunder,
We encounter on the Underground and I get out and walk.
If I double as a cub’ll when you meet him in the stubble,
Do not think I am in trouble or attempt to make a fuss;
Do not judge me melancholy or attribute it to folly
If I leave the Metropolitan and travel ‘n a bus.
Do not quiet your anxiety by giving me a diet,
Or by base resort to vi et armis fold me to your arms,
And let no suspicious tremor violate your wonted phlegm or
Any fear that Harold’s memory is faithless to your charms.
For my passion as I dash on in that disconcerting fashion
Is as ardently irrational as when we forged the link
When you gave your little hand away to me, my own Amanda
As we sat ‘n the veranda till the stars began to wink.
And I am in such a famine when your beauty I examine
That it lures me as the jam invites a hungry little brat;
But I fancy that, at any rate, I’d rather waste a penny
Then be spitted by the many pins that bristle from your hat.
Wanted: poetry and cool/interesting/mindblowing prose. Public domain. I’m getting lazy. Actually, I’m getting tired of poring through collections of Victorian Poetry and all the Thou’s and Thee’s and Thy’s. The way I’ve been doing this is bass-ackwards, and is causing me terrible aggida. (BTW, don’t look up the spelling of “aggida” on google… not worth it. Trust me. Just like looking up “magic underwear” on Ebay. Don’t.) I’m more of a visual artist that likes unique turns of phrase. I have a harder time finding good turns of phrase from which to start thinking of a visual interpretation. So, bass-ackwards means that I have an image in mind, and THEN I have to try and find text that fits, or speaks to the image. Yeah, not so much for me. I have the attention span of a goldfi-