We’re in such a trippy time warp here in continuing lockdown (with cases heading in the right direction again, so there’s hope). But there’s always hope! And I’m noticing that hope comes in the form of a small change or surprise or pleasure that can be found, really, in any day. Even the dullest of days.
For example: supper! It happens every single day, but we all look forward to it. I currently have the time to put more thought and preparation into the evening meal, and it is worth it. We gather, talk, eat good food. It’s simple, it’s satisfying.
Another example: snow falling from the sky!
And: the days getting incrementally longer. It’s 5:19PM as I type this and it’s still light out!
Also: group activities!
With my word group, I’m doing a 2-week tea-cleanse, in which we brew and sip teas throughout the day, and connect with our words and with each other via email, and maybe, too, via psychic powers.
With my family, we are doing reward charts! Who knew? It began when I offered to print up a chart for our youngest, who needed encouragement to practice more often (online school is sapping his motivation). As soon as people spotted his reward chart, it quickly spiralled. Now everyone has one (mostly with the goal of practicing a musical instrument every day, although Kevin gets a pass—he’s drawing instead). When everyone earns 10 stars, we get a pizza party! Individuals can earn a separate reward for every 25 stars. The rules and rewards were discussed and agreed upon and planned for at some length; and tonight is the night: Pizza Party! Whoo-hoo! We even had a sign-up sheet so people could bring something extra (like a fruit tray, or Scotch mints, or a cake). We’re planning to watch a movie too (“Soul”). [Update: What a wonderful movie to share as a family; laughter, music, and the exploration of big existential questions. You should watch it too!]
Finally, on the group activity front, I’m connecting virtually as much as possible through yoga classes on Zoom, texts with friends and family, Zoom calls with my Grandma, and writing time with imaginary characters (that counts too, right?). Today I tried a midday movement class out of New York city that, frankly, seemed to be inviting me nap for an hour on my heated studio floor while making fractional movements with my arms and legs. So maybe that was a one-time thing. But I tried it!
Explore: that’s what’s giving me hope, and purpose, and spark right now. Try it, sign up, reach out, say yes to something different and new, even if it’s just challenging yourself to cook a meal with the weird passed-over ingredients haunting your cupboards (my supper plan for Thursday!).
I’d love to hear what’s giving you hope, in small surprising ways, right now.
Our morning routine is sturdy and pleasant. Exercise, shower, breakfast. We’ve worked out a shower schedule, since there are six of us vying for a spot. I’ve been eating chia seeds and oats soaked in yogurt, or scrambled eggs on homemade bread for breakfast. Everyone is at their desk (or couch, or bed) by 9AM. Peaceful. And motivating, too. I’m wasting less time in the mornings getting to my own work.
Today, I wrote for so long that two of my pens ran out of ink! Something that brings me pleasure each day is to check in on my plants. I’ve got two new ones that I repotted from cuttings, and it gives me such a kick to see the progress their little shoots are making, day by day, slowly, slowly, rising and unfurling into shiny new leaves.
If I’m getting “better” at drawing, as a few people have commented recently, does it change my approach to this project? I’d like to keep this fun, unselfconscious, an adventure into the unknown, into the hidden parts of myself that only my hand and pen can discover; like what’s shown today, above, in my awkward hesitant shape, revealing the vulnerability I felt (but didn’t want to admit) during this conversation with a friend.
Many lovely grace notes on this quiet Sunday—baking bread, playing hymns and singing harmony with Annabella, church on YouTube and Zoom followed by watching the Liverpool game while everyone sat around in the living-room—but it all revolved around breath. Controlled. In, out, long, smooth.
Talked to my Grandma this afternoon, asking questions about specific times and experiences in her life. We will keep talking. I want to ask her about big things, like, how do you feel about death? How did you survive the upsets and shocks in your life? (Talk about self-conscious: I do not like the drawing of myself in the corner of the Zoom screen, and nearly scribbled over it before posting here; but decided to let it stand.)
Sometimes I can’t keep my eyes open and I unroll my yoga mat and lie down in a very particularly way on my studio floor (which is heated), and I nap—for no more than 24 minutes. More stories via Zoom from my Grandma this morning. I’m listening. I have time to listen.
I paused my day to watch Kamala Harris take her oath of office, and was later transfixed by Amanda Gorman’s recitation of her poem “The Hill We Climb.” We aren’t broken, we are unfinished, she proclaimed. I write these words on my heart. (I’ll admit, I held my breath till Joe Biden was sworn in, and then—relief.)
It can get very busy in the kitchen at breakfast time: for accuracy, this drawing should have at least two more people squeezed into it. I spent the morning talking to Grandma again, and she told me about celebrating the inauguration last night, even watching the entire TV special, sitting through all the musical acts, even when she didn’t love the songs. Someone chose them for a reason, she told me. We talked about change today, and next time we are going to talk about death.
I’ve scarcely left my desk all day; but after supper last night, our whole family walked uptown. It was the first time we’d all been out together since lockdown. I get very panicked and queasy seeing new businesses opening now, and trying to survive. Like, the worst feeling! I wonder why?
I should have taken photos of my drawings in full natural daylight, but I forgot till it was too late (too late being just after 5PM). I notice a lingering and annoying dissatisfaction with the imperfection caused by the poor lighting. The colours are faded and distorted, for one thing! But I’m too tired and it’s too much end-of-the-week to start all over again (plus, I’d have to wait till tomorrow to re-take all the photos!). Hey, it’s Friday evening, and we’ve got take-out on the table, from Sari-Sari Filipino Cuisine. Look them up, if you live in Kitchener. They post their menus daily on Facebook, and the food is delicious and inexpensive, and served in the most generous portions.
Happy weekend, everyone.
Note: About a week after originally posting this, I photographed all the drawings again, in natural daylight, and uploaded them to replace the ones that had annoyed me so much. Is the post measurably better because of this? I don’t know, but I feel better!
Everyone looked after me all day. My favourite part was going around the table and hearing what everyone considered to be the thing they were most proud of in 2020. (Mine was painting my door yellow, and transforming my office into my studio.)
I’m glued to Murdoch Mysteries, a Canadian show on Netflix that thankfully has about a thousand episodes (give or take). When I learned there were many seasons yet to watch, I ran out of my studio hollering: “Winter is saved!”
Kevin’s new year’s eve bonfire kept burning out last night. “I smell like smoke,” I told Heather on our starting-the-new-year-off-right walk. We came upon a statue that was like a horror movie, a man’s face replaced with an owl and maybe a possum (?); squirrel and duck for hands. We laughed so much.
We drove to Claire’s farm to pick up eggs and meat, and Claire showed us the pigs in the barn. Back home, we started a new 30-day yoga cycle with Adriene, called “Breath.”
Strange what my pen and hand tell me—not always what I want to hear. Mostly, I walked with my family this morning, on a spontaneous walk through fresh snow. But this was how I felt, trying to reach across the barriers of self/other.
Welcome to my studio. I enter this small warm room, close the yellow door, and feel—welcomed in. Happy to be here, at this desk, to look out these windows, to feel excited, wondering what I’ll find today?
I’m trying to read a book before falling asleep, rather than scrolling the news on my phone. My theory is that my dreams will be better, more interesting. But last night, the children in this book found a dead dog and my sleep was restless; tired today. (Soundtrack on repeat: “Exile” T. Swift and B. Iver)
It’s a lot to ask, that stories drop into my hands from their perfect mutability in my mind. I ask for grace and energy, I ask for a stronger work ethic, I ask for magic; but it’s desire I need, to answer longing with scratches on the page.
Yesterday, as Trump’s followers over-ran Congress, I was doing that terrible thing where I was watching a livestream on my laptop, scrolling my phone, and texting people, as if by consuming too much information, I’d find an answer to the question—what is going to happen?
I promised myself I’d sit down and draw even if I felt completely empty. That would capture the day too—an empty page, some pen scratches and scribbles.
My drawings this week all kind of look the same, I told Kevin on our after-dinner walk with Rose. Not much is changing. We are in liminal space—waiting. Not transition, but waiting. Waiting. Waiting. Waiting.
Today I made a list of things I want to do every day: go for a walk, the longer the better; burn and create energy with intense cardio; yoga; cartoon; play piano; afternoon tea break. I’d also like to meditate and read; and of course write. And cook. (But not clean.)
Good news: started my day in my studio and wrote part of a story almost immediately! Not-bad news: I can’t draw cars. This one looks like a bus, sort of. Above: me and Nina going for a walk, early Monday morning tradition.
Panic attack reading news of a stay-at-home order starting Thursday in Ontario. Felt like I was drowning. But what changes, I asked? Put on headphones and draw—follow pen into memory, shape, imagination. You’ve got resources. Sources.
Sidewalks slick with ice, we walked, skated, slipped, slid on a short dog walk after supper. Waiting for us to pass was a fox in the little park across the street. It sat perfectly still, alert, focused on our presence, till we were gone.
And now we’re all caught up. What do you think of my new journaling method? I’m on month two, and I’ve noticed a growing interest in attempting to draw background and setting, as well as figures. I’ve noticed, too, that this exercise slows me down and changes the flow of my attention, no matter what I’m feeling.
Two years ago, I was preparing to teach the graphic-art-based creativity course at St. Jerome’s, which was really a class about developing an artistic practice, setting goals, and staying open to how a project may change and grow as it unfurls. There’s discipline, the verb, and discipline, the noun, and together they sustain an artistic practice. The hope is that the practice will hold and develop over a lifetime, unique and personal: a pathway into the flow, a mindset, a series of ever-renewing explorations that feed on curiosity and feed curiosity.
If all things flow, I can never step into the same river twice; yet I yearn to find ways to fix experience as it flies. That’s the paradox of being alive, existing inside these breathing time-stuck human bodies: how to occupy the liminal space between immersion and interpretation, how to dance between these ways of being in the world; liminality is what art emerges from, the desire for engagement mixed with the need for something more than preservation — for response, for improvisation, for metaphor, image, song. My practice(s) is a way to step into the river, and also a means of capturing what’s here to be found.
I started a new notebook this morning. To mark the first page of each new notebook, I trace my hand and write my birth date and today’s date, a ritual I learned in a Lynda Barry workshop. As I traced my hand this morning, using a brush rather than a pen, I thought: I love the artistic practices I’ve created. They are cobbled together from different times, teachers, discoveries, experiments, using different mediums, tools and technologies; and they do change as I change and adapt, but they are unique to me and durable.
I love writing by hand, even though I don’t always use it as a method of writing new material. There are easier ways to write, but some stories and reflections call out to be discovered by hand.
I love the playfulness of crayons, which I’m using in my current daily drawing project, begun on December 1st as a month-long trial, and which I’m considering continuing into January, maybe beyond. (I’m also considering scanning these cartoons + captions and posting them weekly on the blog; this will only work if it’s easy. That’s one of the principles of my personal practices, the ones that have stuck: they’re easy to maintain, the materials are easy to acquire, the technology is easy to access.)
I love my studio, this lively yet meditative space that I use daily, which is a retreat, a place I look forward to being in, comforting, cozy, tidy, organized, small, contained yet spacious (the high ceiling, the white walls).
There isn’t much movement out there. We are locked down again in Ontario. There isn’t much movement anywhere, on any front, not in my own personal or professional life. But in this studio space, on the pages of these notebooks, there is movement. There is a river ever-flowing, into which I can step, and be transported.
And that is a gift.
My project ideas for 2020 have changed quite a bit; some came to fruition, others vanished almost as quickly as I’d conceived them. Now, I’m planning my projects for 2021, and looking forward to sketching out new ideas and goals on a fresh index card, and glueing 2020’s into this latest notebook. How will 2021’s projects grow, change, develop? Only time will tell. But they’ll exist, in nascent form, in ripening and in bloom, inside these notebooks, in crayon drawings, in pen, in Scrivener and Word files, and here, online. Sharing what I’m making is an important facet of my practice, too; thank you for being out there.
If you’ve got a moment, drop me a line or leave a comment and tell me about your artistic practices, what you’re doing right now to step into the river, both to enter the flow and to fix experience as it flies.
I’m sitting on Great-Aunt Alice’s tiny rocking chair, wearing wool socks and a scarf, hoodie up, half-frozen; but the window is open because it’s September! Because I need fresh air. My studio is a different space than it was just a week ago, when I still called it “my office.”
Last Friday, I spent the entire day reading my friend Emily Urquhart’s new book, The Age of Creativity, which is part-memoir, part-exploration of the idea that age does not destroy or diminish creativity, even as it may alter it in significant ways. The book is about Emily’s relationship with her father, a visual artist. I was struck by the detail that, no matter where he’s lived, her dad has an ever-present corkboard on which he pins sketches and ideas for works-in-progress; I like that it is always hung on the wall beside where he eats his meals, a sign, for Emily, that he never really stops practicing his craft.
Last Saturday, I biked across town to celebrate the launch of Emily’s book, at a delightful event in her driveway. Emily shared early scenes from the book with me and Tasneem (all of us, above, at the launch), and it was wonderfully exciting to discover how Emily had structured the book in full; equally fascinating to discover — what was left out of the final version. Proof that letting go of material is as important as managing smooth transitions (note: these two elements may be the most challenging of any revision; and Emily has accomplished both brilliantly).
What’s the difference between an office and a studio?
When I decided on a whim last weekend to buy some paint and make myself a yellow door, I wanted to create a space that invited me in; the opposite of “going to work.” My studio, I hope, will be welcoming, rich with changing visual inspiration, with space to stretch and do yoga, and to spread out and draw with crayons, too; but also, organized, tidy, holding just the essentials (as defined by me!). On Saturday, I cleaned out files and drawers. I said goodbye to some projects that have aged past their time; now stored on shelves in the attic. And on Sunday, I reunited with my younger self, the self who moved often, and who always claimed her new space with a few coats of fresh paint. I painted for hours, finding the joy in the task, letting my inner-perfectionist take over; while I worked, I listened to 1619, an essential podcast from The New York Times that centres slavery at the violent heart of American history.
The new yellow door belongs to a studio.
So does the corkboard wall, the final piece to the puzzle, installed just last night by Kevin, who also researched it for me, and found a Canadian company that makes and sells all things cork. As you can see, I haven’t been brave enough to fill it with much, yet. But I hope to, and hope, too, that I will be brave enough to remove sketches and ideas when they’ve grown past their time.
Knowing what to remove, what to take down, what to edit out is as essential to completion as invention itself.
Completion is not something I’ve gotten a handle on, recently (or even in the last number of years). I’ve been making, making, making new things, raw and muddled and messy. Now to learn (re-learn) how to finish projects, too.
Welcome to my studio.
This blog is like a corkboard on which to post thoughts, observations, whatever is front-of-mind right now. It acts as a public journal, an I WAS HERE scrawl on the wall. Trouble is, recently, whenever I sit down to post something, it’s not clear to me what’s front-of-mind. Mind is a-jumble. Influences are disparate and scrolling, images aflame, voices shouting, protests, outrage. What calls my attention is both very personal and tiny (my morning routine, for example) and overwhelmingly political and heavy (can’t even begin to list it parenthetically).
This morning I read an article by Lori Fox in The Globe and Mail that pretty much sums up what I’ve been ranting to Kevin about for these past many months. Please read what she’s written and know that I’m nodding along. At one point in the article, she writes about her own “small, selfish” dream. It’s a lovely dream. To paraphrase: Work that is useful and that she loves doing. Enough, and the time to enjoy it. A life with dignity and love.
It’s small enough, isn’t it, that everyone should dare to dream such a dream? Everyone should have the means of achieving it? It doesn’t sound selfish to me.
Originally, when I sat down to write this post it was about my own lovely week, which I spent reading stories, editing stories, and talking about stories. But when I wrote about how lovely it was, and how purposeful and peaceful I felt doing this work (tiny, personal), I also found myself tracking into the weeds of dismay and guilt, confusion and fury (overwhelming, political) as I reflected on how it was privilege that allowed me to do this work.
Earlier in the week, I watched this interview with Kurt Anderson on PBS (my favourite American news source), and it stirred in me emotions that I’ve been unable to unstir. Essentially, he argues that 1976 was the most equitable year on record (in America), and due to a wealth-driven philosophy that focuses on profit to the exclusion of all other concerns, we now find ourselves living in an economy that offers that “small, selfish” dream to fewer and fewer people. I realize that I live in Canada, not the US, but we’re not immune to troubling inequity. When I eat a peach, I can’t help but think of the hand that picked it, and wonder where that person is from, how much they’re being paid, and where they’re sleeping. Essential work is being done by people who are treated as less-than. And the system makes us complicit, even as we’re stuck in it.
How many people do you know whose work is precarious, cobbled-together gig by gig, without benefits or retirement packages? Look around, and you’ll see that defines a lot of us, even those who seem to be doing okay. How many jobs that were once secure and well-paid are now being done by people who work on contract or freelance? Remember when earning a PhD meant tenure-track job-security? I remember when writers were paid a dollar/word for book reviews published in the newspaper. You can argue that sectors that are struggling are sectors that are becoming obsolete in today’s economy; but that’s not necessarily true. Is education obsolete? Are the arts obsolete? What about news? Long-term care? Sectors struggle for many reasons, but what I see is that a profit-only model doesn’t work for the people who actually do the labour. Because in the profit-only model, labour is a cost. You squeeze the costs down, you make more profit. Ultimately, that means you’re squeezing people — you’re paying people less and less to do more and more. And the people are us.
I can observe all of this, and be outraged, but it tends to lead me toward paralysis. What’s the fix, what’s the cure?
Yesterday, I sat outside and read Olive, Again, by Elizabeth Strout, which I noticed, upon finishing, is labelled “A Novel.” I think that’s an American thing? The book is actually a collection of linked short stories, my favourite form, although I know linked short stories don’t sell well, so maybe “A Novel” is a marketing thing. In any case, the book doesn’t need to be anything other than what it is: stories about characters (often Olive, but sometimes not) navigating their broken paths and trying to figure out how to talk to each other and protect themselves across divides of class, race, culture, age, abuse, pain, illness, secrecy, experience, self-doubt. It’s brilliant, and I wept often, throughout.
Upon finishing, I thought: I just want to sit and read stories all day long. And then I’ll take a break and write stories for others to read. And then I’ll meet with people who love reading and writing and we’ll talk about it, and I’ll edit my stories and theirs. When I do this work I’m not always right, but I know what I’m doing and why.
Is this a roadmap for a career???? God, let it be so. At the very least, it’s a roadmap for making sense of life. For helping me see and understand and know what matters. And it ain’t profit, my friends (but you already know that!). We all know it, gut-deep: profit isn’t profitable when it costs us our communities, our health, our dignity.
Here’s my own small, selfish dream: I want to read, write, edit, discuss; work that has it uses, its purpose. And I want others to be able to do this work too, as they’re called to it.
Truth: A lot of my work is done on a voluntary basis (it’s my speciality!). But here’s the thing: volunteer work is not necessarily noble. People volunteer because they can afford to. I’m worried that my willingness and ability to work for little to no recompense is part of the problem. Consider the arts sector, where many initiatives survive because of people like me: Doesn’t this very structure — reliance on voluntary labour — create barriers toward participation for everyone who can’t afford to work for free?
But what’s the alternative in a sector that’s not profit-driven and never will be, that survives on grants, fundraising … and underpaid / unpaid labour?
It’s a dilemma that’s been troubling me. A lot.
And I’ve come around to a solution, of sorts: Universal Basic Income. It’s not perfect, but it seems like the viable place to start. A baseline of security, so everyone can afford their own tiny, personal dream: Enough and time to enjoy it. Dignity and love. Work that is useful and that you love doing.
(See what I mean? This post is WAY TOO MUCH, but it’s where my head is at, right now.)
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