farm
[info]pant_pant
had a nice day
yesterday was a tortured day because there were two food festivals in Madison Sq Park, near our house, and a dance parade festival where my love longing, Anya, was dancing (see her here):



There was also the GoogaMooga Festival in Brooklyn (http://www.googamooga.com/) and a few dance shows that beckoned attention at night, so I kept leaving the house, trying ten steps to some destination, but then scolding my self to return to the edit and the headache




Was neither here at home nor out there in the beautiful weather.

Ian was nice to me, telling me that I had to come out to my cousin Eric's farm today, Sunday, to quit my complaining and my back-and-forthing and simply live rooted in the earth with my family and friends. With a little help from good friend Jamie, I did go. We all went to the farm. This is the nice stretch of lawn and chicken scratch and goat snuggle and horse feather that my mom sat in in her glory last weekend:




and that we all rode thru today:

here's Ian in his element, his cowboy hat; Jamie, whom I love for her open spirit, on a horse named Snickers; and Reebs, taking a horse named Bob all out.














a case
[info]pant_pant
a case of Little Ms. Poopy Wah-Wah Self Shrinkage
or of Little Ms. Poopy Boo-Boo Wah-Wah Self Boo Feeling
or of Major Wah-Wah Boo-Boo
What should we call it?

drinking
[info]pant_pant
One of the reasons drinking is less fun in old age is that when you’re young, your judgment is rigid and unwise and it’s nice to turn it off, but as you get older, your judgment gets smarter, and it doesn’t make as much sense to turn it off.

i love you
you know me
can we play that tune again?

conversions
[info]pant_pant
most of my editing is converting scenes that are too abstract into scenes that are more concrete and visual and then turning other scenes, that seemed too stiff, into something more abstract. Flip, flop, forth, back, until hopefully it will feel like there's less or no more to change.




little ones
[info]pant_pant
Drinking the right amount in order to write is like adjusting my window to sleep: not too hot; not too cold. Drink a bit of wine; drink a bit of coffee. Get the head in a groove.

--------------

When I was 13, my mom drank a lot of white wine and I have one very strong writing memory of taking a bowl-sized glass of white wine to my computer and writing, writing, writing--lots of little words very fast--until I felt my wings crumble when I saw how drunk I was. I think my step-daughter Rebecca is feeling something like that right now. She wanted to do her homework in an empty house and told her dad to go out for dinner, to leave her there alone. She just called him to come back home from the bar where he was enjoying his fish and chips.

--------------

I love seeing crazy Mark in therapy. He is passionately deep; he makes me come home and feel free to be superficial.

--------------

I know I'm drunk when my lips tingle.

--------------

mother hen
[info]pant_pant
I am not a mother (though am a delinquent step-mother) and will probably never have my own children, but I love times when I can be a mother hen. today was the last day of our writing class, and we brought in cake and bagels and students showed off the art they do outside the class. one of my students, greta, sang so beautifully, it made me cry a little, and I think she sensed my pride. at the end of class, I read from my novel in progress, and I hated what I read. I wanted to sink into emptiness afterwards, and I ran 8.5 miles and drank a glass of wine around noon to rid myself of the feeling. but i/m just now sitting back down to write and can mother-hen myself--saying, "you believe in it. so: let yourself love it. let yourself work on it. this is your comfortable home. let yourself live in it."

I think that having the chance to play the role of mother-hen with others seals a strength of mother-henning for myself. I have a client who is a good writer (she's one of those metaphor-weavers I wrote about a few days ago), and she tells me such stories of pain and self-doubt and passion about her struggle to write. As therapist, I get to play mother-hen: This is beautiful, I tell her. Write. Your work to translate your subtle, quickly-shifting thoughts into readable things is hard but valuable. Then when I get home after pretending to believe in the positive side of her struggle, I'm able to believe in the positive side of my own struggle. Playacting strength leaves me some strength.

writing and dreaming
[info]pant_pant
When I'm writing fiction more, my dreams get better. Maybe it's like stretching before running: After the day's warm-up of that unconscious space, it has a better run during the night.

two patients
[info]pant_pant
i know two good writers who use brilliant metaphors in casual conversations.
i've been wondering about the connection between their ability to write and their tendency to think in terms of images--to take the elements of something that happened and rearrange them to look like another thing that's happened.

one of them told me that she loves to write because she feels like a juggler who senses the gravity of the balls in the air but is able to launch them back into flight with her own fun or muscle.

the other guy told me that to try to report your deep or spiritual experience to someone else is to give him a book review of a book that's out of print. (You know the book but the other guy will never experience it.)

writing
[info]pant_pant
I've been writing the same novel for five years. It's still just 150 pages. I wake up, I cross out everything, I rewrite everything. Next day: repeat.
But I'm thinking that the time is no more wasted than the 6 hours I spend at night sleeping and dreaming.
This is a shuffling and sorting of images like housekeeping for the inside.
a scouring through images that helps me order or name the images.


slow trip
[info]pant_pant
slow trip back to the marathon shape. April 2013 is far away.
Today: 4 x 1 mile at 6:31.
4/25 7 X 800 at 3:11
4/26 7.5 mi
4/27 6.3 mi
4/28 http://www.runningmap.com/?id=385253
4/29 http://www.runningmap.com/?id=385618
4/30 http://www.runningmap.com/?id=386128
5/1 off
5/2 7 x 800 at 3:09
5/3 7.8 mi
5/4 8 mi. no sleep these few nights.
5/5 http://www.runningmap.com/?id=388514
5/6 http://www.runningmap.com/?id=388867
5/7 http://www.runningmap.com/?id=389399
5/8 off
5/9 4 x 1 mile at 6:22
5/10 http://www.runningmap.com/?id=390910
5/11 9.1 mi
5/12 6.5 mi
5/13 6 mi
5/14 4 x 1 mi at 6:22
5/15 off
5/16 8 x 800 at 3:09
5/17 4 x 1 mi at 6:22
5/18 9.1 mi http://www.runningmap.com/?id=394556
5/19 8 mi http://connect.garmin.com/activity/179698480
5/20 9 mi http://connect.garmin.com/activity/180525977
5/21 off
5/22 4 x 1 mi - 2 of them at 6:22 and 2 of them at 6:18
5/23 8 x 800 at 3:05:30
5/24 8 mi, middle 3-4 miles around 7:10
5/25 9.15 mi, the watch only got the end: http://connect.garmin.com/activity/181832410
5/26 9 mi http://connect.garmin.com/activity/182119685
5/27 9 mi slow. watch not working

New Mexico, Taos, Artsy
[info]pant_pant
We're flying home from New Mexico, where we felt inspired in spurts.

We went to Santa Fe to attend a psychology conference, Division 39’s “The Leading Edge of Creativity.” They held the meeting in Santa Fe so that we psychologists could tap the artistic energy of this community and landscape.




Analysts at our hotel drank cocktails next to cowboys, looking shy to enter into the square dancing.

Every thing in life
is welcome
for analysis.







A woman who owned a gallery here told us that she had a handful of customers, Manhattan psychologists, who come to these analytic meetings in Santa Fe regularly, because it’s a sweet space on earth for connecting your artistic and professional selves; her clients use meetings as a reason to revisit the gallery.

Our most exciting afternoon was our walk up Canyon Road, where we fell in love with the Selby Fleetwood Gallery and an artist there, Sandra Pratt, who paints rows of beach houses simply but stock-steady, in paint so thick it made me almost giggle, feeling rooted, creative, and comfortable.




Ian and I have a ten-year plan of opening a summer retreat, an artists’ community. We sketch our vision in little spaces through the day. We imagine a house in upstate New York with high ceilings, a porch, and water nearby; we’d host hot-lit souls -- painters, musicians, and oddly ambitioned performers. We’d encourage daytime work in small rooms with ceiling fans, support aerial art from beams in the trees.  We'll all meet for performance and meals at night.

Ian and I agree on some basic looks for the house: wooden beams under high ceilings, very white walls, an almost obscenely abundant open kitchen. When we walked into one gallery in Santa Fe, we felt struck with how the architecture of the place matched our dream. The white fireplace, angled 45 degrees against the white wall, was like a bed or liftoff for ideas. Here’s Ian in his element, approaching a wolf on the wall there.





We took an hour-long drive to Taos to see the energy of Mabel Dodge Luhan. Luhan built her own retreat in this desert. She was a NY heiress and writer. Around 1905, in her first marriage, she formed an artists’ haven in Florence, hosting Gertrude Stein and André Gide. She’d been emotionally wild there, attempting suicide twice, once by eating figs with glass embedded.

Back in NY, she opened an artist’s salon in her home, off Washington Square Park at 23 Fifth Avenue. But Luhan found a bigger swath of peace in the American West. When she moved out there in 1919, she fell in love with a Native American, Tony Luhan. He caught her eye from his teepee close to where she was staying; Luhan’s third husband bought a gun to keep the Native American away, but Mabel left her husband for Tony.




Mabel and Tony built a Taos colony and played hosts to D.H. Lawrence, Georgia O’Keeffe, Ansel Adams, Martha Graham and Carl Jung.

Mabel served dinner every night around a big table; she reported there were never less than seven people there, and meals went late. Willa Cather wrote in a little room off the porch.

D.H. Lawrence loved Luhan, stayed with her often, and was a houseboy of sorts—painting these windows and this door.




YES, WINDOWS AND WALL PAINTED BY D.H. LAWRENCE



The kitchen has not changed much since Luhan built it, and when we visited, a group of women were holding court and offered us homemade cookies as they discussed the Great Women of Santa Fe Month they were holding during May.

The kitchen table:





Back in Santa Fe, we tapped another woman who abandoned New York for a different life of art when we visited the Georgia O’Keeffe museum. The video there was awful, an actress quoting O’Keeffe in a horribly meek voice, but the glimpses I caught of her personality conveyed a wry spirited woman who left a city to find her heart’s tug in the desert sand, to paint.

"It takes courage to be a painter,” she said. “I always felt I walked on the edge of a knife. On this knife I might fall off on either side. But I'd walk it again. So what. So what if you do fall off. I'd rather be doing something I really wanted to do."

I felt warm with giggle again at how thick and simple her paint was—sensual slabs of purple in her banana flower. Her strokes, and Sandra Pratt’s inch-thick paint on Canyon Road, made me want to try to paint again when we get home.

We were there for a conference. It was great to connect and work with some of my post-doc colleagues. Here’s the group in the airport, and after our talk.










Below are Amy and Joe, whose energy we loved. They spent a day fly fishing and met us at the bar late at night, having thrown back all the fish they’d caught. Joe likes fish to live.



And here’s our beloved Lisa, lugging along her little boy.



People seem to come to Santa Fe, plant ideas, and follow them through well-lit, tightly-constructed daydreams.  We felt our ambitions for art wiggle wildly there too.


Flutuart Project: Rio
[info]pant_pant
About a year ago, Ian and I met Nicolina (http://nicolinaart.com/) in New Orleans. We’d gone there to participate in an art trip with the Lower East Side Girls’ Club. We were travelling with about a dozen pre-teen girls on a trip to view and make some art.

There was a rebel in our group:
Nicolina, a 20-something artist,
based in the East Village.
This is Nicolina:




She was in charge of leading the girls in some of their activities in New Orleans, like painting murals for the city. One night as the girls slept, Nicolina snuck down to the 9th Ward and did a piece of guerrilla art, tattooing her signature graffiti heart on a levee. She brought the girls there after breakfast in the morning.



Nicolina’s done things. Follows her heart. One summer, she saw an online picture of the century-old cable cars in Valparaiso, Chile, a UNESCO World Heritage site. She quickly went to Chile to try to land in the spirited sweet spot of having the legal rights to paint those cars.




She didn’t know Spanish and didn’t have a plan. In Chile, after walking through various neighborhoods for a week, she talked to some man who knew a restaurant owner who knew a woman, who knew someone. Just two weeks into her trip, with some water-colored ideas in her notebook, Nicolina found herself across the desk from a UNESCO official whose father happened to be the first doctor to conduct open-heart surgery in Chile and so was especially enchanted with Nicolina’s signature hearts.

The official signed off on this opportunity for a young, gypsy-spirited artist from New York to repaint the cable cars. With a caveat: Nicolina would have to paint from 11 pm to 8 am, when the cable cars were not in service. She found a local theater to supply the lighting, and so endured the journey of painting alone at night. But look at them cars.












It was partly the cable car project that drew Nicolina to Rio de Janiero, where there are also remarkable cable cars, spiking up Sugarloaf Mountain. But when she arrived, she learned that the bottom of Rio’s cable cars have been sold for many millions of dollars in advertising until the 2016 Olympics. She wandered the streets without a fixed purpose for about a month, doing neat graffiti, until she ran into a little harbor filled with 60 boats.




Those boats looked like canvases to her. After talking to the fishermen there and earning their trust, she got their permission to paint the tops of their boats. She’s doing this to create a little travelling gallery.

She’s invited people down to help paint. We went this past weekend.



















In the hot afternoon, Brazilian boys jumped off the bridge into the harbor




At night, a Brazilian artist and DJ named Ariel cooked us barbecue chicken



We liked meeting a fellow New Yorker, Dan Bratman




When we did not paint, Ian and I sat by the pool and read Virginia Woolf.



And we went to the hotel happy hour in our painting clothes





What we love about Nicolina is the way she wanders and allows herself to love her own goal, through loneliness, loose direction, and sometimes small recognition. She sees the power in her follow-through. Here’s the website of her project:

http://www.flutuarte.com/

(no subject)
[info]pant_pant


Hawaii has been a lot of work.

Because our daily mission is accurate sociology, and because this beautiful resort in Kona gets a steady influx of people like us, the work is compelling but unending. Our hotel is made up of about 6 shaded coves which offer some privacy but enough human interaction so that we end up connecting moments in time to tell overly elaborate stories about the others. We see fellow tourists at the breakfast buffet and the pool and and have our growing list of notes.

There's the Newlywed Japanese Couple whose budding marriage we watch with unceasing care: "Look, she's hating him now." Her sunglasses are low on her nose. "But he's trying hard." He's offering her a strawberry.

There’s the bloated alcoholic couple from Colorado who have started their “work” every morning at 9 am at the swim-up bar. He’s a beer man; she likes daquiris but ignores him with a steely scowl when he suggests tequila floaters for her frosty drinks.



Ian and I chart the connection between their number of drinks and their explicitly expressed resentments. (She keeps getting out of the pool, and he’s tried to make nice with the bartenders, but they hate him too.) Their grand burst of Hawaii light and life came yesterday, when she rode his back as if he were a humpback whale through the pool; we were all lit with joy.

Our nights have been good, like one night at the tiki bar in town, eating fish to the sound of the ukelele.




We run in the morning, have a big breakfast, and sit around.



The trip started with a lovely night in Honolulu. Haruki Murakami, my literary hero, lives there part time, so one morning I did my writing on our balcony while overlooking the suburb where I imagined he lived.







I later learned he lives on the other side of that hill.

I have been obsessed with a new writer, too—Paula Fox—and I’ve only been looking up from my kindle to occassionally remind Ian that I love him, too.

Ian has impressed me with his literary angle on this trip too, reading To The Lighthouse off his kindle beside me, occassional quoting a line to match our situation: “Lon—look at the misery at this pool. Now listen to your woman, Woolf, or Virgie as I like to call her: ‘It might have been true that [Minta] minded losing her brooch [in the ocean waves,] but she wasn’t crying only for that. She was crying for something else. We might all sit down and cry, she felt, but she did not know what for.”

Then we resume our game of feeling fine by naming others’ miseries.

After Honolulu, we spent two nights with my uncle Lester in Hilo. That might have been Ian’s favorite part so far, with the farmers’ market, full of young white people with dreadlocks, a barter system, and a handmade “Occupy” t-shirt that Ian bought for his friend George, a conservative whom we’re meeting up with in Maui tomorrow.

There are a surprising number of conservatives here. Last night we had dinner conversation with a couple at the bar who disowned Obama as “not our president.”

Well, here we are. We climbed a volcano in Hilo but have generally been eating and sitting and smiling. May we sail into old age happy together, on trips like these.





(no subject)
[info]pant_pant
We refashioned a memory. Mom, Ian, and I took a trip with Habitat for Humanity last May that we loved. It was a build in Bangkok that was very well-planned: Though the work was hard, our group stayed in a goodish hotel with wifi, hot showers, and great breakfasts; and we all built a house from the ground up, so we saw our progress. Our hotel was in a colorful neighborhood, so mom, Ian, and I were able to indulge our sense of superiority by escaping from the Habitat group at night and discovering small restaurants alone.

This is a memory shot: a picture from last May, when we were sweaty and happy.




So before a year had passed, we booked another Habitat trip—and that’s the trip we’re on now: a five-day build in Ghangzou, China. We didn’t know what to expect in that town we’d never heard of. Guangzhou happens to be the third largest city in China, population 12.8 million, but we didn't know what to imagine. We came for New Year's, on a build that went through the first week in January.

Mom decided to start with a solitary trip—she spent her first three days alone in Tokyo, planning to meet us on New Year's Day. I love how she grooves when she travels alone, so I need to excerpt an email she sent to me after day #1:

“[Annoying] that a couple sitting near me on the plane got on the same bus out of the airport and are staying in this hotel. They can't accept that I'm here on my own and that I don't want to go with them on an 8 hour tour of Tokyo tomorrow. I'll buy a disguise; wig, dark glasses, trench coat, and try to avoid them for the duration.”

Ian and I got into Hong Kong at 7 pm on New Year’s Eve, to the Shangri La, a hotel with a painfully eager staff. Hong Kong felt cosmopolitan and White, with signs all in English. When we went out to eat, our concierge wisely read our needs and sent us to a red lightish district, with leggy girls selling massage from bar stools outside clubs with names like “Fire Balls.” We walked until we decided on a restaurant called American Restaurant: Peking Food and had terrific seafood in bean sauce brought out to sizzle on a hot stone plate.





Ian and I toasted to our first good New Years together (long story why it’s taken us four years to celebrate a happy New Year’s together), but we have our “we're superior” game, which we were able to play for a good hour that night because we were sitting next to a travelling couple from Austria who would not look at each other.

On January 1, we took an old, slow train to Guangzhou (Ian was like a boy dejected when I asked to take the earlier train though it wasn’t the fancy one; the man is a boy who likes fast trains), and we watched the city turn to greener hills and finally arrived in the busy Guangzhou, taking a $2.00 half-hour cab ride to the hotel. Mom happened to arrive at the same time, and she came in looking like a woman waking from a month in an ashram—a glow around her, carrying long wispy things wrapped in Japanese newspaper. The wispy sticks were twigs burnt into the gentlest carbon filaments. She’d fallen in love with the patience of the Japanese: They whisper. They do not jaywalk. They listen and are humble. Mom willed to carry these twigs for the rest of the trip—a testament to still movement, I think.





So the three of us were now together, for a night at the Ritz. We went out for our first joint meal, in a 4-storied restaurant where we could not communicate but ate meat on a bone that we guessed was pigeon and slept in beautiful beds. That’s forewarning because I know what’s coming.

The next morning we met up with our Habitat for Humanity group at the train station. They were easy to identify: Americans sitting in a circle on their backbacks. There was a faithfully Christian black public advocate doing what she called her “lent”—a trip to help someone somewhere. She looked uncomfortable for most of the trip, holding her fanny-pack-wrapped stomach, choosing to wear the face mask that locals wear, eyes bulging over the rim of her mask with concern. There were a twosome of blond college Sophomores who dealt with daily anxiety by showing us pictures of their dogs. There was our favorite 18-year-old, Shannon, who wore torn fishnet stockings as pants, a cut shirt hanging low off her shoulder, and black Gretel (of Hansel and Gretel) braided extensions. She was there with Odie, her 22-yr-old boy friend who was not her boyfriend. He said he’d been carried out of Iraq on his mother’s back in a 5-day walk through the desert, so was now doing Habitat to “give back.” He and Shannon were tattooed (him: “Assyrian” across his forearms); they took frequent smoke breaks; Odie was a puppy dog in love with Shannon, but she told anyone who asked that she would not date him. They came from Toronto and had a innocence anchoring their outlawness; we really liked them.

This is Shannon:




Our two Chinese guides were Michael and Wesley, men in their late 30’s who had grown up in Guangzhou, spoke good English, and chose to make the occasional jab at the Chinese government, lending us Americans a sense of ease.





With about 15 in our group, we boarded the 2-hour bus ride to our village. We passed through mostly empty green land, dotted with the occasional beehive of what we guessed were factory towns—towering buildings that looked like modern condos. We learned a little about how this works: the small villages like the one we were headed to were often called “hollow towns.” The middle generation leaves home to work in factory towns. But those workers never consider their factory towns their true “homes”—the village remains home. That said, many of them only go back “home” about 1-2 times a year. In turn, the villages subsist as relatively empty, without many resources; they house the very oldest and youngest generations; there, grandparents parent the infants. We heard that China is trying to gradually bring more industry to the villages, in order to decrease this big gap between the factory towns and the "hollow towns."

We pulled into the land of our host hotel. Our hotel sat in a hot springs resort town—a small town buried in a valley with about a half-mile strip of neon-lit stores. It looked like a miniature Vegas, with the quirky detail that these stores only sold three types of things: elaborate stone carvings of natural scenes that were each about the size of a horse; bright, frilly bathing suits and pool floats for bringing to the hot springs; and liquor with animals like snakes and larvae in the bottles. Each store also featured, like American beach towns feature sunglass racks, an assortment of hanging meats, like rat and weevel, at the door.





Wesley and Michael gave us a slide show on our first night. The slide show explained that American ask for many things, but we should remember that this hotel gave us the things we actually needed: clean sheets and toilets you sit on.

But the cleanliness promise was wrong. In her room, Mom snuggled up to a hive of used tissues under her pillow; and Ian’s bed had the wildest scrawl in pencil beside the mattress, as if someone had gone crazy in his cold and solitude there.

It was fucking cold. We didn’t expect this. There was no heat, and that first night we shivered on beds that were made of something like woodchip. I’m pleading sympathy only because I know where this is heading.

The first day on the build: At 8 am, we drove about 45 minutes up the mountainside, out of the hot springs oasis, past the last spit of willage life (Wesley pronounced his V’s as W’s, and we liked his spirit, softening our own V's). We weached a walley nestled high in the mountain—the place we would be building. This was a hollow town of about 100 families. All people in the town took the name of “Chen.” They grew oranges, persimmons, chickens, green vegetables, and sweet potatoes, which they brought to market or ate. Everyone in the town knew each other, all named “Big Chen” or “Little Chen.”










We were there to help with a government subsidized project of replacing the old mud houses, which were unsanitary, with red brick houses.

On the first day, we moved bricks. The skilled laborers were gone for the holidays, and in this time and place, there seemed to be a permeable line between purposed work and work work, so Wesley and Michael had us move one pile of bricks to another location, just to keep us warm. We moved bricks for six hours that first day.






Lunch, made by one of the Mrs. Chen’s, was delicious: a tomato and egg mixture on rice was my favorite. We warmed our hands by the coals in a hut that housed another Mrs. Chen. She had dried sweet potatoes and set the slivers out like candy.







The men of the village seemed to keep themselves steady thru a stream of snake liquor and vodka. At the end of day one a fight broke out among two of the contract workers. They fought with fists until one of them came back swinging a hammer.








We were told that with the breakdown in communications among the work crew, we might not have meaningful work for the rest of the week.

It was freezing. With no heat, we layered under three blankets at night and I never took off my fur hooded jacket, but we still shivered and cursed our hotel. In the moring we drank loads of tea, but we dreaded the work in the cold—it really felt like a jail line, because the work felt purposeless and sunk in a desert landscape. So we dreamt of escape.

For a day at least, we took time off of “work.” Mom and I were too cold to work on day #3, and so we sat in the woman’s circle that day—the circle of Mrs. Chens who did not work in factories so tended to the fire.





Wesley dotted in and out as a translator, allowing us a bit of conversation in the women’s circle. The women wanted to play “guess your age.” They showed us their interest in this game by pointing to and laughing at my mother. Wesley translated: “How old is she?!” they dared. “66,” Mom said. They said they did not know why a grandmother would travel 20 hours to China to do manual labor. We played “guess your age” back. This woman was 80.





They guessed I was 40 and they wanted to hold my hands, which made me giggle.





But enough was enough with the fucking cold and the aimless work. Ian is a mindful American who prizes efficiency; he spearheaded our plans for escape. We explained our personal failures and our hotel dreams to the Habitat group and hired two men from the willage to drive us back late at night to the main city of Guangzhou…to the Ritz.

As we cozied in for steak and salad room service, I quickly imbibed a bottle of wine, giggling under the softest sheets…. In the morning, our savior Ian told mom and me that he had rerouted our trip home for a stop back in Bangkok, to that land we loved so much on our last Habitat build.

We've arrived. I'm writing this blog from a beautiful hotel in Bangkok. Part two to come.

yay
[info]pant_pant
yay for 5 x 1 mile at 6:18 pace

this morn
[info]pant_pant
5 x 1 mile at 6:27 pace.

look
[info]pant_pant
look look look at what we did

http://www.runningmap.com/?id=313695

(no subject)
[info]pant_pant
This is our last day in the Bangkok’s Ibis Hotel, where we’ve been staying for our Habitat build. The three people in our party—mom, me, and Ian—are in our grooves right now.

habitat

Ian is getting his 2-hour massage, which he’s gotten every day of the build. Each day we’ve finished work at the site at around 3, and Ian has rushed right to the shower and then down our street to a hut where he’s been rubbed by a Thai woman every night for 2 hours, at $10/hour. His devotional attachment to this routine should tell me something about his hunger for human touch.

Mom is at the weekend market--dizzying miles of stands selling smelly fish, abandoned dogs, drowning turtles, thai dresses, amaerican t-shirts, candied fruits, etc.. She finds gems.

I am in the hotel having a coffee and will then walk down the street to a neighboring hotel where I’ve made good use of their pool, lounging under a tree, in this ridiculous heat, with my book.

The trip has been great. My mother has shown me brute physical strength I never knew she had. She worked as hard as the dozen 20-yr-olds here—lugging loads of cement every day. She also has the touch. On the last day of the build, the owner singled her out to finish his living room wall. The rest of us had made his walls too crooked; he appreciated her attention to details; see her in her designated task—finishing his bedroom—here:

momwall

My favorite task was mixing cement, because I could get into a groove doing it, and because it had first been designated as the man’s job, and I want to be a hard ass. See here:

cement

Ian was lovely on our trip to the orphanage. The kids crowded around him, sensing his generous spirit.

ian

Tonight is our fancy final dinner.

This has been fun.

Below is the house at its nearly-finished point.

ourhouse



house

put to rest
[info]pant_pant
and soon she will go to bed, be put to rest. i just finished to the lighthouse again, and loved it this time more than ever.

pain

sadness
[info]pant_pant
she is such a stubborn bitch

art

embarrassed
[info]pant_pant
highly embarrassed

soothenew6

Frankies
[info]pant_pant
Am off to have my favorite meal on earth tonight, Frankie's octopus salad.




uneaten food
[info]pant_pant
I'm having an angry, anxious reaction to all the sandwiches that the CVS and Starbucks in our building throw out every night. What can I do to help redistribute uneaten food in this city? Really. I want guidelines.

Trip to Japan
[info]pant_pant
We're in Narita Airport, in Tokyo.
Had quite a trip to Japan. Coming home today.

We came about a week ago, and scheduled to land 15 minutes before the earthquake. Our pilot circled the skies with a deceptive lightness in his voice and landed us at a US airforce base just north of Tokyo.

After 5 hours there, we flew to Tokyo and spent the night on the floor of the airport with others. See the crowds:

sleepinginairport" />

It was remarkably peaceful there. Security handed out food. People waited patiently in line and took one blanket and one box-o-food each. We knew ourselves to be American when we doubled back in line and snuck more for ourselves.

We left for Osaka and Kyoto. We hiked the bamboo woods in Kyoto:

forrest 

Life just south of hell seemed still full of peace. 
We went to Koyasan to bunk with the monks and meditate and ate an overstuffing vegetarian meal.

monks

A wonder what context can do.  We did not have access to the TV media back home.  See uncanny peace in the hotel in osaka: king queen

dylan went and got framed with cotton flowers in his hair
[info]pant_pant
dylanframed

getting flowers on him
[info]pant_pant
bobsmall2

dylan
[info]pant_pant
a friend loves dylan and her birthday is coming

ilana 135

happy valentines
[info]pant_pant
happy valentines to lovebunny

ilana 122

chocolates

the art show
[info]pant_pant
the art show happened
it was fun
i'm tired

Sarah H. Paulson's performance:

prince george opening2

Simone in action:

SIMONE2

the good looking crowds:

prince george opening

me appreciating Simone:

ilana 073

Prince George Show
[info]pant_pant
It's been so fun working with the artists in the Prince George Show
and an emotional rollercoaster, coming to grips with my style--what I can and cannot do as an artist.

here's doggy, done in a day because I thought my hanging works needed something more shocking with them

sitdog

did i go overboard with the vagina?
[info]pant_pant
I added a vagina. not sure if it works. another heart felt too sentimental.
I always defend against looking sentimental.

map

In these, I took the girl and boy out of their frame and put them against drawers with little boxes and am putting clay stories into the boxes.

ilana 034

ilana 033

subway ocd
[info]pant_pant
there were lots of stages, first just the panel on the right, then coupling it with the real map on the left, then layering cut outs of the real map onto the sewn panel, and all along adding words about where we've lived and kissed


ilana 025

ok
[info]pant_pant
ok don't know if i should give up the stitching.
what an itching

kids

the girl and the boy
[info]pant_pant
the girl and the boy are coming into the room


boy


girl

haven't
[info]pant_pant
haven't had a bender in quite a while. this feels nice. inspired by Anya Sapozhnikova.

http://www.facebook.com/permalink.php?story_fbid=149728921740848&id=1311527631#!/anya.sapozhnikova

am stitching the whole night through
maintaining the balance between here and not quite

so
[info]pant_pant
so this is the idea with the first few strokes


trust

trying
[info]pant_pant
I am trying to do too much in my life and my life feels like a pregnant baby who exhausts me.
at least she's pregnant.
on my run yesterday, i envisioned the new stitching: a boy on one side, with his arms crossed and his face dour, with the words "they told me that trusting in a higher power would do the trick."
and then a girl facing the other way with arms equally angrily crossed, with the words "they told me that hard work would do the trick."

this comes from a 2 am conversation with ian, about how i try so hard and get tripped up (silenced, slowed) by my own seriousness.

i loved art basel in miami but i hated it because it made me realize how slow i am in the all this seriousness while other people are really creating whirlwind beauties.

then i came home and looked at my little creations again and still loved me.

newbies
[info]pant_pant
yeah, in the last post, "sadness" meant sadness that the medium wasn't working. but i tore it all up and here are newbies from the shrapnel


nofun


make it here



penis

sadness
[info]pant_pant
hailmary

she's thinking of what she needs beside her in this picture
[info]pant_pant
woman2

sewing soothing
[info]pant_pant
soothe2

sewing!
[info]pant_pant
knitting

irvin yalom
[info]pant_pant
004

albert ellis
[info]pant_pant
003

woolf
[info]pant_pant
woolf2

the secret
[info]pant_pant
tonight i think that the secret to the crayon drawings is doing them quickly. don't get fussy. in and out

freud2

to redo
[info]pant_pant
to makeup for last night's overpainting, i covered half the painting in black crayon and then painted it all again:

marsha4

overkill
[info]pant_pant
i think i often overpaint
did i overpaint this one?

first it was rough and happy and crazy:

marsha

and now it's dumber


marsha3

framing things for the show
[info]pant_pant
framed2

subway
[info]pant_pant
subway

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