is*land :: a tract of land surrounded by water
After drawing, the stone is etched. Then, when ready to proof the matrix, the drawing is removed, buffed up with asphaltum, cleaned with water, inked up in Shop Mix Black, and proofed. Matrix 123.3 for ‘The Island’.
LAW :: Lithotine wash out.
LAW :: Asphaltum Rubbing.
LAW :: Water and Shop Mix Black Roll Up.
Mylar Proof over Work-In-Progress checking Registration and Appearance.
is*land :: a tract of land surrounded by water
Korns #3 Litho crayon on Aloys :: Making a Mark :: Edition #123 Matrix #3 :: conte crayon guide markings, gummed out non-image areas
First Etching a ~6 drop Nitric Acid @pH2.5
First Etching Detail of the Lake
is*land :: a tract of land surrounded by water
Korns #3 Litho crayon on Aloys :: Making a Mark :: Edition #123 Matrix #3
Levigating a stone clean :: Aloys Matrix #3 in preparation for drawing :: Edition #123
Orange Red printing from the big stone Aloys :: Edition #123 Matrix #2
The past four weeks we have received 4.3 in. of rain. The river through town remains muddy, turbulent as it moves logs and rocks downstream and builds islands upstream . . . well above mean flow. We have had a high of 82˚F and a low of 36˚F. The cottonwood bloomed with the later second cresting of the river, sending their duff over the trails, and the hills are green.
On my run last week I came upon a recently fallen hawk. Still warm and breathing I carried it off the trail and laid it in a bed of grasses. I stopped and sat with it . . . then carefully folded its wings and left it to die in quiet, undisturbed I guess. Suddenly it opened its eyes, large yellow eyes and looked at me, opened its talons. I placed some flowers over it and said a prayer, the hawk had more lifetime left, cut short by a power line. But, not unlike Jefffers hawk, was asking my help to die off the trail, in peace and solitude.
The broken pillar of the wing jags from the clotted shoulder,
The wing trails like a banner in defeat,
No more to use the sky forever but live with famine
And pain a few days: cat nor coyote
Will shorten the week of waiting for death, there is game without talons.
He stands under the oak-bush and waits
The lame feet of salvation; at night he remembers freedom
And flies in a dream, the dawns ruin it.
He is strong and pain is worse to the strong, incapacity is worse.
The curs of the day come and torment him
At distance, no one but death the redeemer will humble that head,
The intrepid readiness, the terrible eyes.
The wild God of the world is sometimes merciful to those
That ask mercy, not often to the arrogant.
You do not know him, you communal people, or you have forgotten him;
Intemperate and savage, the hawk remembers him;
Beautiful and wild, the hawks, and men that are dying, remember him.
I'd sooner, except the penalties, kill a man than a hawk;
but the great redtail
Had nothing left but unable misery
From the bone too shattered for mending, the wing that trailed under his talons when he moved.
We had fed him six weeks, I gave him freedom,
He wandered over the foreland hill and returned in the evening, asking for death,
Not like a beggar, still eyed with the old
I gave him the lead gift in the twilight.
What fell was relaxed, Owl-downy, soft feminine feathers; but what
Soared: the fierce rush: the night-herons by the flooded river cried fear at its rising
Before it was quite unsheathed from reality.
Robinson Jeffers | The Collected Poetry of Robinson Jeffers: Poetry 1903-1920, Prose, and Unpublished Writings
“Photography, as we all know, is not real at all. It is an illusion of reality with which we create our private world”
“Derby Street II : Water Beneath” Edition of E.V. 1/12 - 12/12.
“I have to connect things in the world in a different way”
Anselm Kiefer | answering the question: “Why are you an artist?”
Eighteen seconds pouring 31.5 grams is too quick I do admit. Need to adjust the grind!
Over a freshly made cappuccino this rainy April day I thought of and reread T.S.Eliot’s masterpiece, the mystical poem Four Quartets. “Midwinter spring is its own season” (the opening lines of No.4 Part 1 of Little Gidding) . . . like today half spring, half winter.
But the excerpt below is from the first of the five sections of No.3 Part 1, The Dry Savages, where, I believe Eliot begins to address our human pain which is connected to the way we think of ourselves and act as goal-driven, greed-driven, self-obsessive individuals instead of as part of a larger whole, a much larger whole . . . letting go of our ego is a death, a small and continuous dying, a challenging process.
“The poem discusses the nature of time and what humanity's place is within time. Life is described metaphorically as traveling in a boat and humanity's fixation on science and future gain keeping the travelers from reaching their destination. Within the poem, Eliot invokes the image of Krishna to emphasize the need to follow the divine will instead of seeking personal gain. . . Krishna's and Arjuna's discussion from the Bhagavad-Gita on acting according to the divine will along with allusions to Dante's Paradiso, the philosophy of Heraclitus, and the Book of Common Prayer. In regards to these allusions, Eliot would mark up his own editions of the works to note where he used quotes or allusions to lines within his work. In particular, his edition of the Mahabharata included a page added which compared battle scenes with "The Dry Salvages.” Wiki.
I do not know much about gods; but I think that the river
Is a strong brown god—sullen, untamed and intractable,
Patient to some degree, at first recognised as a frontier;
Useful, untrustworthy, as a conveyor of commerce;
Then only a problem confronting the builder of bridges.
The problem once solved, the brown god is almost forgotten
By the dwellers in cities—ever, however, implacable.
Keeping his seasons and rages, destroyer, reminder
Of what men choose to forget. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and waiting.
His rhythm was present in the nursery bedroom,
In the rank ailanthus of the April dooryard,
In the smell of grapes on the autumn table,
And the evening circle in the winter gaslight.
The river is within us, the sea is all about us;
The sea is the land's edge also, the granite
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation:
The starfish, the horseshoe crab, the whale's backbone;
The pools where it offers to our curiosity
The more delicate algae and the sea anemone.
It tosses up our losses, the torn seine,
The shattered lobsterpot, the broken oar
And the gear of foreign dead men. The sea has many voices,
Many gods and many voices.
The salt is on the briar rose,
The fog is in the fir trees.
The sea howl
And the sea yelp, are different voices
Often together heard: the whine in the rigging,
The menace and caress of wave that breaks on water,
The distant rote in the granite teeth,
And the wailing warning from the approaching headland
Are all sea voices, and the heaving groaner
Rounded homewards, and the seagull:
And under the oppression of the silent fog
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than the time of chronometers, older
Than time counted by anxious worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And piece together the past and the future,
Between midnight and dawn, when the past is all deception,
The future futureless, before the morning watch
When time stops and time is never ending;
And the ground swell, that is and was from the beginning,
T. S. Eliot Four Quartets: The Dry Savages 1941
Eliot then goes on to end the poem with these lines:
And right action is freedom
From past and future also.
For most of us, this is the aim
Never here to be realised;
Who are only undefeated
Because we have gone on trying;
We, content at the last
If our temporal reversion nourish
(Not too far from the yew-tree)
The life of significant soil.
Give me call, text or eMail and stop by the shop to share a cup of coffee, tea or filtered water . . . and freshly shared conversation.
“There are only two ways to live your life. One is as though nothing is a miracle.
The other is as though everything is a miracle.”
Albert Einstein | Unconfirmed
“Geographer Gilbert F. White, according to his biographer in Living with Nature’s Extremes (2006), attributed this to Einstein in his Journal of France and Germany in 1942. Maybe so; but all he does is invoke “Albert Einstein said”. He says nothing about how he knows this, when or where it might have been said, whether he heard it directly or through a friend, or what the context may have been. With the preponderance of misattributions to Einstein being as large as it is, this is not a good sign. There is no striking reason to assert that Einstein couldn’t have said this; but there is also no striking reason to assert that he did.”
Spring flow on Heron’s Island :: Clark’s Fork of the Columbia :: Downtown Missoula, Montana
“Smile, breathe and go slowly.”
Thich Nhat Hanh
The view from the east window into the canyon.
“You must accept the fact that others don’t see what you do.”
Crossing the River
Adding in Russell Street bridge is a possibility but the sidewalk there is narrow and close to fast traffic, still I might give it a try and make it six bridges and twelve crossings. I’ll have to redo the route plan not to backtrack across a bridge & cross each bridge from opposing directions. Here’s a possible plan:
“The reason that art (writing, engaging, and all of it) is valuable is precisely why I can’t tell you how to do it. If there were a map, there’d be no art, because art is the act of navigating without a map.”
Water Tusche on Stone Lithograph; inked and etched but not editioned
Meena the Cat goes for the sun and goes out
At the Saturday Winter Market; from our winter share
“Inside the river there is an unfinishable story and you are somewhere in it and it will never end until all ends.”
Mary Oliver | “What Can I Say,” Swan: Poems and Prose Poems
Checking the registration on ‘The Island.’ Editioned the water base in [ Imperial Blue + Litho Varnish #7 + Tint Base + Setswell ].
I made a relief matrix from cardboard. Gaylord Lake will be printed on the chine-collé in a clear tint base or varnish.
Proofing the varnish matrix of Gaylord Lake and the island.
“We are living in a culture entirely hypnotized by the illusion of time, in which the so-called present moment is felt as nothing but an infinitesimal hairline between an all-powerfully causative past and an absorbingly important future. We have no present. Our consciousness is almost completely preoccupied with memory and expectation. We do not realize that there never was, is, nor will be any other experience than present experience. We are therefore out of touch with reality. We confuse the world as talked about, described, and measured with the world which actually is. We are sick with a fascination for the useful tools of names and numbers, of symbols, signs, conceptions and ideas.” Alan Watts
Crossing the Chewelah - Colville River Valley before sunrise Easter Sunday
Crossing the flooded Colville River sunrise Easter Sunday
I am searching fragments of an old poem about a flood on the Mississippi River . . . but all I can recover are some missing water soaked pages from the book caught in the flooding.
“At root, there is simply no way of separating self from other, self-love from other-love. All knowledge of self is knowledge of other, and all knowledge of other knowledge of self. I begin to see that self and other, the familiar and the strange, the internal and the external, the predictable and the unpredictable imply each other. One is seek and the other is hide, and the more I become aware of their implying each other, the more I feel them to be one with each other.”
Alan Watts, The Joyous Cosmology
“When people are ready to, they change. They never do it before then… You can’t make them change if they don’t want to.” Andy Warhol
“Water is good, so is thirst; … shadow is good, so is sun; … the honey from the rosemarys … and the honey of the bare fields.” Antonio Machado
- alley life
- earth events
- meena the cat
- morning piece
- national park
- open space