studio rainbows
studio rainbws in circles & squares waxed linen thread spool 'Thought Forms' squared chart stacks of Shaker boxes Winsor & Newton 'Revival' dot card & grids of buildings clad in 'beauteous colors'
NOTES |
studio rainbws in circles & squares waxed linen thread spool 'Thought Forms' squared chart stacks of Shaker boxes Winsor & Newton 'Revival' dot card & grids of buildings clad in 'beauteous colors'
this morning’s poetry prompt from Heather McKay Young pick a color & I chose ‘purple.violet.iris.mauve.’ on my morning walk, I found myself on the purple trail by happenstance by coincidence by necessity by unknown choice by poetry
on eclipse day - circular images - maps & cities rugs & blots sun & buckets utopias & moons 1/Polly Jane Reed, Spiritual Map. The Holy City.1843, Philadelphia Museum of Art 2/ Mary Gartside orange blot, An Essay on Light and Shade, 1805, Dr. Alexandra Loske 3/ Elder Joshua Bussel, Shaker Village, Canterbury NH, 1850 - detail, Winterthur Library 4/Edward Deming Andrews color slide, Winterthur Library 5/Knitted rug attributed to Sister Elvira Hulett, C. 1893, Shaker Museum | Mount Lebanon
March 21 is International Colour day. March 22 is World Poetry day & World Pigment Day. I’ll be reading a bit of poetry on 22 March (12:50pm EST) for the Slade School of Arts, Colour & Poetry: A Symposium VI, 21st - 22nd March 2024. A cross and inter-disciplinary two-day virtual event held by the Slade School of Fine Art, in celebration of International Colour Day, World Poetry Day and World Pigment Day. T The symposium hosts a range of speakers representing the arts and humanities, science, and industry, drawing upon knowledge from within and outside of the UCL community.
flipping flapping through days & pages of moths & butterflies of collage & happenstance of colors & moons
yesterday’s bright studio light, catching color out of the corner of my eye. preparing for DFZ Gartside discussion reading poetry for the Slade Colour & Poetry symposium mapping out a poetry manuscript with Poetry Forge colour or color no matter how you spell it connects the dots
Mother Ann Lee 29 February 1736 — 8 September 1784 Cosmic feminist karma Inspired when first in, When women invited in. A broadsheet to marketh the course, to report. Lace repurposed, given new life, liberties, infused with psychedelic indigo. A spectrum instructed with solemnity Occasionally, light flickers. Mother Ann Lee embodied cosmic feminist karma bringing a new religion into the worldf ounded on principles so radical that they endured persecutions One could say her broadsheet was verbal; she being illiterate to written words yet literate in all realms cosmic . The written Testimonies of her contemporary believers and works of the later visionists-scribes themselves of hearts and leaves and maps and flowers and trees-- scripted scrolls brought down from spirits’ energies spoke to her cosmic energy. Stone Prison How can I but love my dear faithful children Who’re willing to bear and suffer with me When I was on earth and in a cold prison, I cry’d To my God to remember me I prayed to God to protect my dear children, To strengthen the weak and comfort the strong For I was distressed and in a stone prison, And none but my God to protect me from harm. —excerpt from ‘meetinghouse’ -- spoken word by Brece Honeycutt & Shaker song/Stone Prison sung by Miriam Cantor Stone. performed at Shaker Heritage Society for Moonbow #6, July 29 2023. .
2 years ago today, Copy Press launched ‘A Bird to overhear-‘ for their Becoming Fireflies series! “Are we listening? Are you listening? When did I start listening? When’d di you first hear them? Do you recall which one? Was it the dawn chorus? Or the wail, cry, caw at last light? When did it dawn on you? Are you listening? Can you name them? How many can you name? According to the New York Times only 1 in 8 can Name more than 20 species. Can you name their songs?Can you hear them? Can you see their flight patterns? The landscape architect Gertrude Jekyll, once blind, could name them by the sound of their wings in flight.” -text excerpt from 'Listening" chapter | watch ‘A Bird to overhear-‘
I am forever grateful to Copy Press for their faith in my work. Thanks a million, Vit Hopley, Yve Lomax, Jono Lomax and Opel Morgen for this collaboration and all you did to make it happen. 'A Bird to overhear-' photography, filming/Brece Honeycutt; script, narrator/Brece Honeycutt; script editor/Vit Hopley; producer/Yve Lomax; video-editing, post production/Jono Lomax; graphics/Opal Morgen; thumbnail image/Brece Honeycutt
Rainbows In dye swatches In color torn from pages On wooden spools of thread Research materials for Poetry manuscript class- A Body of Work- with Poetry Forge
White Yellow Orange Scarlet Green Blue Crimson Violet
Find more information on Alexandra Loske and her colour research, here. Mary Gartside (c.1755-1819) Abstract Visions of Colour published by Thomas Heneage Art Books
morning collage/watercolor responding to the objects on my table Geoff Young chap book paste paper folder tangled threads or the grey outside
greyed: palest grey to white violet grey pink cosmos grey violets dropped in milk grey a drop of cobalt blue grey orangesicle ice cream grey sunpoked through yellow grey old yellowed newspaper grey grey green sky portends rain
snow on fields
stitched onto cloth
and written into this poem
stitched work from the winter field series exhibited at 2017 Norte Maar in a solo show, bewilderedunfurled a field, a sea of snow grasping onto goldenrod filling cups aplenty, double dotting punctuation seeing scarlet swatches of bitten bittersweet berries grapevines curlicue up trees, squirrel nest spaces unfurling, falling, flouncing onto the forest floor oak, aspen, maple leaves carried into spaces intervals interlaced into fullness unentangle someone else’s scrawled no-sense sentences unto snow’s solaced silence
winterfield stalks and stems, silk/cotton thread on damask, 16 x 15 1/2”
winterfield dots and dashes, silk/cotton thread on damask, 16 x 15 1/2”