Decision Time
December 1, 2009 by Steve

 

"Destiny" 30"x40" oil painting by Steve Alpert

"Destiny" 30"x40" oil painting by Steve Alpert

 

 

Grand Canyon, June 1972.  It was a hippy happening at the South Rim campgrounds.  Along my hitchhiking trip I arrived with my two new buddies from U of Illinois I met at a campground in New Mexico, mentioned in the previous post on this blog.  Tom was a young party hardy dude and his buddy, whose name now eludes me were doing the cross country thing, joining the legions of long hairs who took to the road that summer.  We stayed in Las Vegas, New Mexico for a few days.  They had a pal just home from Vietnam and the party was on.  One night we went to a roadhouse honky-tonk out in the desert.  Tom offered a challenge to his army pal; bankroll the shots of tequila and Tom would down one a minute for fifteen minutes.  Seemed like a good idea at the time.  Tom got to number thirteen and then barely made it outside to purge himself of the poison.  A good time was had by all.  Funny, the more we drank, the better the band got.

            Couple of days later, the Grand Canyon.  About fifty fellow travelers of all shapes and sizes equipped with substances of all shapes and sizes gravitated to this one sprawling campsite.  The fire burned for days and nights, singing and reveling.  The smells of the Douglas Firs mixed with smoke from burning Pinion Pine and mesquite were intoxicating enough.  But of course, there were other intoxicants of the day.

            A few days in, a group headed out to a shangri-la spot somewhere in the depths of the canyon.  A big party deep in the recesses of a remote area of the Grand Canyon replete with crystal clear travertine pools, as turquoise as the Caribbean.  Sounded very good.  I was invited.  I said I would join them on the second day.  How do you get there, I asked.  Oh, go down Hermit’s trail and at the bottom there’s a fork in the path, go left and it will take you there.  Being nineteen I didn’t write anything down, just had a visual picture in my mind, such as it was.  I would find it.  Solo.

            The next day I managed a ride to the trailhead of Hermit’s Trail, a few miles west of the campground along the South Rim road.  I had my fifty-pound pack with me.  First but not last mistake.

            Down the steep and treacherous switchbacks for one mile to land on the first plateau.  A dome of deep smacking blue sky, cloudless.  Sun moving to the top, early summer heat radiating off the rocks.  Two hours in I reach a fresh water wellhead under an overhang of red rock, naturally hollowed out by eons of wind.  A well-worn fireplace next to it.  A good stopping place for a lunch of whatever I had.  It was quiet out there, God was it quiet.  Like you had the best headphones on kind of quiet.  All you could hear was quiet.  No wind.  The sun was really working now, heat waves blurring the narrow trail heading north toward the Colorado, still another few miles down. 

            Picked up the heavy pack and off I trudged looking for the fork in the trail.  Another hour or two passes and I am noticing how really alone I was, really deep in this canyon.  No fork, yet.  Arms and legs now covered in sweat and thin films of desert.  A fork!  Make a left.  They did say a left, didn’t they?

I took the left; only this left trail was going into a narrowing canyon.  Beautiful young Aspens all along shimmering in the sunshine, sending it’s light signals back to the sun.  Caves up on the cliffs.  I know this is not the correct way.  And then I heard it.  A sound I will remember forever.

            It was an animal, a big animal communicating to me that it was not pleased with my visit to its very own turf.  It was the roar of a big cat.  I’m not talking a Maine Coon kitty cat; I’m talking Mountain Lion, Puma, or some damn thing like that.  I never saw the beast and I chose not to investigate further but to take Leo up on his offer the get the hell out of Dodge.

            Decision time.  High noon.  Sun beating down.  Three choices. Continue on, try to find the trail that some stoned out hippie told me about?  Good luck. Backtrack and spend the night at the well, alone.  That seemed like a tough call.  There’s that big kitty cat out there, even though I knew the critter was probably more frightened of me than me of him.  Did I really want to be thinking about that through a night alone a mile away from Whiskers? Or, bag it — head up and out of the canyon, more than arduous at best, more like Herculean given the heat, fatigue and that freaking pack that seemed to weigh one hundred pounds and would have to haul it up one mile up those steep switchbacks in the late afternoon sun with the canyon heated enough to bake bread — oh Man!  And my depleted supply of water in my canteen.  There’s the real clincher.

            Interesting lesson.  To be so incredibly unprepared to just wander into a very wild place figuring I would just wing it.   To be young and stupid!

            Stay tuned…

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A Fox on a Ridge in the Mist
August 31, 2009 by Steve

 

"Hazard" 8"x24" oil painting by Steve Alpert

"Hazard" 8"x24" oil painting by Steve Alpert

BEEN TO ALL FIFTY STATES, at least twice save for the one trip to Alaska.  Those who have traveled America share with me the incomprehensible beauty and variety of stunning landscapes within our borders.  I have a lot of friends who have been all over the world but are clueless to the beauty in their own backyard.  What’s up with that?

My restlessness and wanderlust defined my early adult years.  A high enough lottery number, 197, kept me from being drafted into the Vietnam War maelstrom.  I took to the roads to discover America, and myself.

Summer of 1972.  I hitchhiked across America. When you stick your thumb out on the road, you take the rides offered, face-to-face with the spectrum of humanity; San Quentin ex-cons on a joy ride, Miss Oregon’s hairdresser sporting a Mustang Fastback blaring Perry Como love songs on her 8-track, a crazed shaved head Vietnam Vet ranting about re-upping, “…gotta get back to Da Nang, man!” and the dynamic duo of Jake and Grover.  Jake, the single earringed Boston Southie carpenter who faked a suicide to be section-eighted out of the Army and his majestic black lab, Grover, who could jump in and out of pick-up trucks, and smarter than all of us.  Fifty-pound pack on my back thumbing and camping out, all on a budget of $200.  Heading west on I-80 clear across the Midwestern flats to Colorado, south to New Mexico, west to the Grand Canyon  (a major life epiphany occurring at the South Rim of the Grand Canyon; see, “Naked at the Canyon;” myartheart.com/2009/07/19/naked-at-the-canyon).  Across the Mojave to LA, up the coast to Oregon, Washington, Vancouver BC.  Back east through the Canadian Rockies to Banff in the back of a packed to the gills pick-up, hopping a train at Banff across the endless plains of Canada. 

Back at Ithaca College for senior year I took a two semester painting course with master artist, Alan Atwell.  Twelve hand-picked students met for three hours, once a month. Everybody put their work from that month on the walls.  Atwell, tall, wispy, soft-spoken had been artist-in-residence with Timothy Leary and his crew at Cornell and beyond.  Atwell was different.  He lived downtown, and you would see his tall figure walking along the steep and narrow road up and down the hill to work, never driving even in the worst weather.  In 1972 nobody walked — that behavior alone earned him a reputation.  Atwell traveled extensively in India, rolling through the India backcountry along ancient roads unchanged since the Eight Century in a cart pulled by an ox, listening to the bell around it’s neck.  

Atwell floated around the room occasionally glancing at the paintings on the walls, but never referring to any of them, except one.  He spoke pointedly about art and life, how an artist perceives and assimilates worldly experience, transforming that experience into art.   How Michelangelo must have felt about love when he painted that beautiful woman standing in the giant clam shell.  About painting the spaces between the leaves of a tree instead of painting the leaves.  I still ruminate on that one.  He turned on my lights, filling my tank for a lifetime of art making.  Alan Atwell is clearly the reason I am an artist, today.  

I still work in the method he espoused.  Atwell taught what is called, “non-objective” painting, meaning you don’t have a particular goal or finished image, you go where the paint takes you until you know you’ve arrived.  This is the fun, fascination and adventure.  You start with a wash of color, or a line, anything, just get something on the canvas and get it going…keep working until you begin to recognize what is happening in the paint on the surface.  It’s total improvisation.  Keep working and developing the image, an image uniquely yours. 

The only painting Atwell every referred to in that entire year, in those 27 hours of class over a nine month period, was a stunning image made by an artist named, Charlie.  Can’t pull up his last name.  It was an image of a fox on a ridge in the mist.  It was as if you were walking in deep woods suddenly coming upon this wild creature, a fox.  The fox doesn’t sense you.  You are witness to this perfect moment of peace and repose in nature.  The mist gently pushes everything back just a little — casting a bluish haze on the evergreens towering behind the fox.  A moment of pure serenity, as if given to you as a gift.

Charlie’s magnificent painting is the only image I remember from that class.  Charlie was in touch with the natural world.  He lived in a large room in an old brick Victorian building that had once been the old downtown Ithaca College dorm before the college moved up to the South Hill.  In Charlie’s room there was a tangle of large tree branches that went up to the top of the twenty foot ceiling.  Perched on a limb was a large black bird, Charlie’s companion.  A mattress on the floor and some clothing strewn around.  That was pretty much it.  In life , Charlie was really out there, his artwork was way beyond anyone in our midst — approaching the Divine.  

“Tryst’ is an homage to Charlie’s fox, although true to form I did not set out with that in mind.  I guess I could call it, “An Alligator on the Beach Under the Moon.”  Tryst began without the gator. The painting moved around my studio for more than a year, I was not knowing how to finish it, but I knew there was something about it.  There was an intrigue to the feeling of the place, with the outsized moon and gradated light source.  The little spit of beach in the foreground was inviting.  Something wild needed to be there.  Playing golf with friends last winter in Florida, we met Gus the alligator who liked to hang out near the 16th green.  Made a few paintings of Gus as gifts for our friends, and realized Gus would complete the “Tryst” painting.  Gus is waiting for his mate or her mate, or simply enjoying the quiet of the place.  Either way, “Tryst” seemed appropriate.   A fan of the French Impressionist Henri Rousseau, “Tryst” resonates with Rousseau’s work.  Most of all, this painting came to be because of Alan Atwell and the vision of the Fox on a Ridge in the Mist still fresh in my mind after thirty-six years.

 

"Tryst" 30"x40" oil painting by Steve Alpert

"Tryst" 30"x40" oil painting by Steve Alpert

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Hiccups to Heroics
August 20, 2009 by Steve

 

"Night Flight to Maui" 18x24  oil painting by Steve Alpert

"Night Flight to Maui" 18x24 oil painting by Steve Alpert

 

 

THE SCOURGE FOR ALL ARTISTS is the damaging of a work while transporting it across the studio, or across the country.   @#$@%!$%@*!!!  Yeah, I hear the epithets, mine and yours.  It’s disheartening to say the least, but as we all know, entropy happens, so now it’s decision time.  Is the piece trashed, able to be restored, or do we go to Adventure Land, essentially changing the painting?  You’ve heard the adages — silk purse out of a sow’s ear, play hurt, when you’re handed lemons make lemonade…. HEY!  Here’s the deal — it’s not the cards you were dealt, it’s how you play the cards.  As in, everybody had a difficult childhood, but are you still blaming your parents for something you don’t like in your present reality?  Get over it, friend.  We’ve all had our minds messed with, canvases scratched, stretcher bars warped. We’ve got work to do, a problem to solve, let’s deal with the here and now.  

It happened to me with two paintings I particularly like, no, love.  Here’s the story of the first one, “Night Flight to Maui.”  It was after a trip to Hawaii, had a late night flight in a tiny six seater from Kona to Maui.  Like flying on the back of a mosquito.  Moonlit, surreal, breathtaking!  Traveling alone and feeling like it was all especially rigged up for me.  I was on a trip to gather images for an upcoming show in Lahaina, Maui.  Back in the studio, had some blue left over on the palette after a work session, took a canvas and started spreading it around.  The image appeared and I recognized it as such.  This creative process never ceases to amaze me!

The show was a spectacular flop, the gallery gave my stuff all of three weeks of wall space, nothing sells, and they ship all the paintings back in two huge crates.  Insult to injury I had to pay a little more than a grand to have them sent back to me!  O-o-o-h that smarts! Unpacked ‘em and somewhere between moving them into the studio or around the studio a major scratch was added to the sky portion of the “Night Flight” piece.  My stomach flipped and there was an outpouring of invective audible in a two hundred foot radius.  No one was around except a few rabbits in the yard and they got the heck out of there in a hurry.  The painting was either ruined, or… maybe what we have here is the makings of a shooting star???   The composition seemed spot-on!  With a dense slash of white along the line of the scratch, even lengthened it a little, the shooting star is now the dominant element in the painting and brings an appropriate metaphysical feeling.  A deft piece of supreme fudgery, if I do say myself.   The shooting star makes the painting a much better piece, in my opinion.  

“Night Flight” now lives in our home, not for sale.  It is a glowing memory of a wonderful trip to a magical place on the planet that is Hawaii.  Failure in that show could never take away the wonder I enjoyed on that exquisite place on earth.  So, after you ding up your favorite painting and you’re done cursing and stomping around, figure a way to make your piece even better than it was before!    

How do you make lemonade from the lemons handed you in life?

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