“Only when he no longer knows what he is doing, does the painter do good things.”
Edgar Degas, the French artist known for his ballerina paintings, is a good teacher from whom to learn. A true artist learns something new every day and isn’t afraid of failure. Failure is just another word for discovering what won’t work. As artists and as Christian believers, we are a people of hope. In fact, one might say we’re afflicted with chronic optimism. Even when our work fails to satisfy us, we can say, “Look at what I learned on this, and what I can carry over to my next work.”
North Carolina Sunlit Path
This little landscape is the second stage of a previous painting, one which I began while I was ill with a sinus infection. If I wasn’t at my best, I also wasn’t at my worst, so I was painting at my easel. I knew I wasn’t happy with it, but I thought I’d live with the painting until I heard it tell me what was needed.
The trees of the finished work are more slender, more shaped by the wind of the Carolina coastline. The bush masses are larger and have more contrast, while the sky is more evenly colored. Even the path has more sunlight and less shade.
Artistic license is the ticket to drive we all got as children with crayons and poster paint. We could paint the sky red if we took a notion to do so, give our dogs blue tongues, or paint the grass orange. Only the grownups among us squelched our creative spirits. Sometimes we have to learn to forget ourselves on purpose to learn art, faith, love, compassion, or joy.
I’m going to teach Friday morning art classes again at Oaklawn UMC. You bring your materials, I volunteer my years of experience teaching K-12 and adults. You get to learn real art:
Shading in Value & Color
Drawing & Painting from Life
One thing you’ll never do is copy anything I’ve already done or come home with a work that looks similar to one of your classmates. Art is about expression of your inner truth. You get to do you, and have a safe place to grow and struggle.
As G. K. Chesterton said in Orthodoxy:
“Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom. I am not, as will be seen, in any sense attacking logic: I only say that this danger does lie in logic, not in imagination.”
We artists will not go mad, but we will stretch our minds, deepen our souls, and gain a greater appreciation for the creative struggle.
The first class will begin Friday, September 6 at 10 am, and meet on Fridays afterwards. We’ll break for thanksgiving and Christmas. I’ll get a material list to the church office soon.
Most of us separate our lives into doing and being: we are creatures of comfort at times, and then we expend energy doing chores or work at different times. We live bifurcated lives, even if we’ve heard the admonition to “pray without ceasing” (1 Thessalonians 5:16), we work without prayer and pray without working. Then again, some of us have little connection with the spiritual at all, so we miss the mystery and the awe of the dimensions beyond this mundane world. We’re unable to see even the glory and beauty of the creation, since we aren’t connected spirituality to a life beyond this world.
Christ Overcomes the World
The iconographer is more than a painter or a writer: he or she is one who connects this material world with the spiritual world beyond. The icon is a window through which the heavenly and the earthly worlds communicate. It’s like a wormhole, of sorts, in sci-fi language, or a portal passage for direct communication. Of course, we can directly communicate with the Holy Spirit, but not being able to see the Spirit, we can see the icon’s representation of the image of Christ or a saint, and this helps us to focus our thoughts and prayers.
Some say a candle would suffice, or a text from Scripture, and I agree. Yet not everyone is able to live such a spare life, reduced of images, color, and beauty. Minimalism isn’t for everyone! This is why we have zen gardens as well as romantic English gardens. Some of us need architectural modernism and others like quaint country clutter. The icon tradition comes from the ancient church, for Luke was traditionally ascribed to be the first iconographer, as well as one of the first gospel writers. He painted Mary “the God-bearer” and Jesus.
Our art class is moving out of its comfort zone in the painting of icons. We can learn about the spiritual life in the art class every time we meet. In fact, every time we try something new or challenging, we learn about ourselves and the spiritual life. A close inspection of the gospels shows a Jesus who was always challenging the status quo. The only time he was comforting people was when they were dispossessed, marginalized, or disrespected. “Blessed are the poor…” was his first choice, not blessed are the rich or powerful!
When we are weak and powerless, when we struggle and fall short of success, and that will be. Every. Single. Day. In. Art—We are then most able to lean on the one who for our sakes became weak so we can become strong. Then we’ll come back and fail again and remember the times Christ stumbled on the rocky road to the crucifixion. What seemed like a failure to everyone gathered about, and didn’t make logical sense to wisdom seeking people, nevertheless served a higher purpose. By uniting all of our human failures and faults in one person, God could experience all of them in God’s own image, the icon we know as Jesus Christ.
If there’s any reason to attempt a Holy Icon in this modern world, we paint and pray to unite our work and spiritual into one. Usually only the clergy have this privilege, and they can too easily burn out if they do too much and pray too little. Lay people underestimate the amount of prayers necessary for effective work. The older I get, the more prayer time I need. Of course, work takes more out of me now, but I’m a refugee from the dinosaur age. I used to be an energizer bunny back in my fifties, but working thirty hours a week painting and writing is enough for me today.
Any art work, whether a landscape, portrait, or an icon, can be alive or dead, depending on how the artist approaches the work. If we draw the lines, fill in the colors, and never pay attention to the energy of the art itself, we’re just filling up time. If we’re thinking about our grocery list, what to make for dinner, or the errands we have to run, we aren’t on speaking terms with our artwork. On the other hand, if we’re paying attention, sharing in the conversation, listening to what our work is telling us, we can respond to the push and pull of the conversation. Our work will tell us what it needs if we’ll only listen to it. If we trust and listen to the Holy Spirit, we’ll paint a true icon, and the window into heaven will open for all who want to listen.
Making Found Object Icons is an art project that evolved out of the Great Macaroni Multimedia Traveling Artandicon Show. In seminary during Art Week our fellow students were horrified we were making sacred images out of edible products, such as macaroni, lentils, peas, and beans.
Jesus is the Bread of Life
“Jesus is the bread of life, and macaroni is just another form of wheat,” we replied.
“But it’s so ordinary!”
“Clay is ordinary, and so is stone. Can an object only be worthy of God if it’s made of expensive materials?”
“The value of all the chemicals in a human body is about $5.18, but we’re worth far more than that in the eyes of God. Some say God doesn’t make junk, yet too many people of faith despise and debase the body. I’ve always wondered why this was so, since the Son of God came to earth in human form, and as the great hymn in Philippians 2:5-11 (NRSV) says—
“Let the same mind be in you that was in Christ Jesus,
who, though he was in the form of God,
did not regard equality with God
as something to be exploited,
but emptied himself,
taking the form of a slave,
being born in human likeness.
And being found in human form,
he humbled himself
and became obedient to the point of death—
even death on a cross.
Therefore God also highly exalted him
and gave him the name
that is above every name,
so that at the name of Jesus
every knee should bend,
in heaven and on earth and under the earth,
and every tongue should confess
that Jesus Christ is Lord,
to the glory of God the Father.”
When we meet Christ at Christmas, we can get all warm and fuzzy because who doesn’t like a warm, cuddly baby? Maybe I have a soft spot for babies, but I really don’t trust people who don’t get a little ga-ga when the little ones coo and smile. I can understand folks getting squeamish at Good Friday and the cross. Most of us avoid as much pain as possible. Humility and obedience to God are not high priorities these days for many people.
Flight into Egypt
Many tend to ignore this wonderful call to the Christ-like life, preferring instead the cop out of “Keep awake and pray that you may not come into the time of trial; the spirit indeed is willing, but the flesh is weak,” (Mark 14:38, NRSV). “Forgive us,” we say, but we hold others up to high standards.
We make a distinction between our dual natures of the flesh and the spirit, a concept inherited from the Greco-Roman culture. It’s notable that the often quoted verse, “If you sow to your own flesh, you will reap corruption from the flesh; but if you sow to the Spirit, you will reap eternal life from the Spirit,” is found in Galatians 6:8 (NRSV), for this was a Roman province.
The ancient Mediterranean area had a knowledge/mystery tradition. The Greeks had their cult of Bacchus, the Egyptians the cult of Isis, and the Jewish had their mystical Kabbalah. The Romans had their dying and rising god cult of Mithras, the bull. Entry into all of these groups was by word of mouth only, given to a special few, and all had secret rites known to the members only. Most promised salvation through secret knowledge, and the true world for them was spiritual rather than the physical world in which we live today. Ecstatic worship separated the believer from the body and the ordinary world.
You might recognize these traits in your own church or worship community today, except for the ecstatic and enthusiastic worship brought about by mood altering substances. That’s not my church anyway! How do we come close to God? Across the centuries, the tradition has discovered contemplative prayer, singing, searching the scriptures, serving the poor, attending the sacraments, and creating art for God or the Holy Icons.
Making an object for the glory of God, to enhance the worship experience, and to honor God is a gift of the artist’s time and talent. No artist is ever paid what their training and talent is worth, for it’s a treasure from God to begin with—it can’t be valued. Artists have learned over the centuries to live simply, accept fame if it comes, and put a fair price on their work.
They get value in the spiritual real from the work they do, for the icon opens a window into heaven. As they arrange the jewels and found objects, and move them to a better position, the icon comes alive under their hands and begins to breathe. Only the person, who will be still long enough to hear the silence from beyond the open window, can hear the voice of God in this world. For this person, the icon is a treasure, and a place of holy focus, no matter how small or how simple the materials.
This is the reason the artist makes an icon—to have a moment of mystery, a time of intersection, and a communion with the holy. In today’s hurried world, each of us wants a place in which we can experience for a moment the timelessness of heaven.
When we return in the New Year, we’ll begin painting our own holy icons. The process is a spiritual journey, more than a destination or the attempt to reach perfection. We only need to “go toward perfection” each day!
One of the most difficult struggles in art, sports, faith, or anything else in life is knowing what you want to achieve, but finding yourself lacking the skills to accomplish it. Some people give up right away, since they can’t master it well. Art takes a lifetime to master, so even the best of us will be struggling to get better until our last breath. Perfection is highly overrated! All artists are their own worst critics! At least in faith we have God as our coworker.
In art a beginner can set aside this quandary and say, “Well, I just need more practice and I’ll get there soon enough.” The intermediate practitioner contends with a little more skill, and could push his or her technique over the edge attempting to discover the heart and soul of their expressions as they seek their own way to speak of the beautiful and the true in color and forms.
Sometimes a seasoned artist comes to a growth point. Even one who, perhaps from their past work in a certain style, has some following and financial success, when they come to the daily search for truth and beauty, will discover the old beauty no longer attracts them. So while they may have all the technical ability to continue creating their old works, they find this no longer is their truth and they can’t in good conscience continue to produce in the same vein.
Our Still Life
The search for truth and beauty is like the search for God and our inner truth as artists and people of faith. If we’re only working for fame and gain, maybe we should have listened to those who said, “Don’t quit your day job.” Or thought of Rembrandt and Van Gogh, who found both success and poverty, but at different times. Our inner search for truth and beauty is just as fraught.
Will we take the risk and try something new? This week l brought the class a shade of my former self, no inspirational paintings of old masters, and only a variation on last week’s still life. Afterwards I was traveling up to the doctor‘s poffice for “the cure to end my misery.” After a few days on sinus medications, I can hold two thoughts together again.
To really look at life and look inside oneself is the best way to discover truth and beauty. Some folks don’t want to look inside for fear they’ll see ugly things, long buried secrets, pains, and memories best forgotten. We need to see these, recognize them, and let Jesus take them into his already redeemed life. If we can let these painful parts be transformed by his graceful healing mercy, then we can use his renewing power in our own lives to bring truth and beauty to the life of others.
Some people look out and only see ugliness, decay, and despair. I imagine if they look inside, they also see the same things. They need to remember the nature of all things is not in itself beautiful or ugly, just as they themselves aren’t ugly or beautiful. Beauty is a standard, like a Virtue, which is an ideal characteristic, and it’s beyond anything here on this world. We’ll probably understand Truth and Beauty in the eternal world, when we have the opportunity to participate with God in the fullness of time.
Gail—Day of the Dead image in process
If beauty were only to exist in the eye of each and every beholder, and each one of us could determine our own standards of beauty according to our own experience and criteria, then all the plains would be level and no mountains would exist. Yet, we know this isn’t so, for my icebox door may be decorated with my grandchildren’s crayon drawings, but they wouldn’t be hanging in an art gallery in any creative district anywhere.
Mike—Basket of Veggies against a Yellow Wall
If art isn’t a challenge, if life isn’t a pursuit of excellence, and if we are content to rest at the foot of the mountains, then I really wonder why God created the heights, if not for us to aspire to them? If there’s mountains in this world, why are so many content to climb just the hills, but call them mountains? Most of the struggles we have in life are actually molehills, but we blow them out of proportion and call them mountains! The biggest successes come from the accumulation of many small failures. We’re just training until we hone our muscle memory to a fine edge. This is why we say works can’t save you in faith, but art is all about the work ethic.
DeLee—Work in Progress
Our biggest challenge this week in class was the woven basket. Some of us had never woven anything in youth groups, so experiences I took for granted as a child growing up (weaving situpons and potholders) weren’t in some people’s backgrounds. Learning to look, follow the weave, see the play of light along the wave of the reeds, and the shadows as they dip under the warp bands took a bit of doing. We’re also beginning some Day of the Dead related works. We’ll work in these in October. I was so sick, I failed to photo everyone’s work. I should be in better shape next week!
Joy and Peace, Cornelia
For now we remember, as the apostle Paul sighed,
“For I do not do the good I want, but the evil I do not want is what I do.”
~~ Romans 7:19
And he leaves us with these words of hope,
“We know that all things work together for good for those who love God, who are called according to his purpose.”
~~ Romans 8:28
In art, beginners can get so caught up with drawing the forms and representing reality, they lose sight of the emotions and meaning of their work. Small children, on the other hand, will take an idea such as a snowman in a snowstorm, and completely obliterate their surface with white swirls until all sight of the ground, the snowman, the house and the children who built it are covered up. Their work is more about the experience of the falling, swirling snow than it is about the distinctive parts. We hang this on our refrigerators and exclaimed with amazement when they tell us the story.
In a year, they’ll be interested in the separate objects and have a well defined ground and sky, even if their objects aren’t in realistic proportions. The proportions are sized according to the child’s interest, and by age 12 most children want to create drawings with realistic perspective and images. Sometimes as they age, they begin to lose their sense of magic and mystery, and need their imagination primed more, but this isn’t impossible.
Adults often have difficulty using their imaginations, for they’ve had too many years of completing to do lists, getting things done, and unfortunately, much work is mind numbing. Some of them also are products of schools that taught to the test and to the “right answer,” rather than teaching thinking or logic skills or creativity.
The disciples asked, “Who is greatest in the kingdom of heaven?” Jesus replied, “Truly I tell you, unless you change and become like children, you will never enter the kingdom of heaven. Whoever becomes humble like this child is the greatest in the kingdom of heaven.” (Matthew 18:3-4)
For us as artists or as people of faith, to enter into the humility of a child is a counter cultural act, both today and in ancient times. We don’t find self help gurus preaching simplicity or poverty, but we do find plenty selling the siren call of prosperity and power. Jesus always speaks of the least of all as being the most of all, which is why the smallest child has more honor and greatness in the kingdom of heaven than the most important citizens of this world.
Some of us hear this text as a call to never question the faith we learned as a child. Unfortunately when we hit the stumbling blocks of adulthood, we find our simple faith’s pillars of belief are on shaky foundations. We can either crash and burn, or we can ask the questions of trusted and learned guides who have gone on the path before. Then we can shore up our foundations with mature understandings, or remodel our understanding so we can live with joy anew.
In art, we can either repeat the same forms over and over, or we can critique our work. In the school I attended, we had a routine—the first three comments had to be positive, then the next had to be those which needed improvement. Since we never called anything “bad” or “wrong,” the person on the hot seat never felt diminished. “You could have darkened the background more, so your foreground objects would have been more prominent.” This is better than saying, “You didn’t make the objects in front stand out,” since it doesn’t offer a solution.
It’s humbling to receive criticism, even positive feedback, because we want to be accepted just as we are, especially in faith. Yet Jesus didn’t die on the cross to leave us just as we are (justifying grace), but rose from the dead to perfect us and make us holy, just as he is (sanctifying grace). In faith, we come as humble children to grow in grace before God and to come to full perfection of love of God and neighbor that is entire sanctification. In art, we work each day to join our hand, our hearts, and our vision into one spiritually inspired whole. The more we know ourselves and can connect with the spirit of the creating God, the better we’ll make art with an inner life.
Sometimes in art, we decide to repeat a certain set of forms because we get approval from others for our work. We do this to the danger of our very lives. While we may continue to sell our work and earn the acclaim of critics, if we aren’t pushing the boundaries of artistic creativity, we are stagnating and not growing. The greatest artists–Picasso, Rembrandt, Matisse, and Michaelagelo–never quit growing. In faith, we work out our own salvation with fear and trembling, knowing “it is God who is at work in you, enabling you both to will and to work for his good pleasure” (Philippians 2:13).
Leonardo da Vinci said, “There are three classes of people: Those who see. Those who see when they are shown. Those who do not see.” The task of the teacher is to help the student to see more clearly, not just in art, but also in life.
When I was in seminary, I realized the search for beauty was similar to the search for truth, and each generation had its own notions of what was beautiful and true. When I made this connection, a light came on in my mind and I could see what my professors were showing me. Before this, I was stumbling about in a dark room, banging my toes against unseen couches and table legs. I had the sense of the objects, but not the full understanding of them. Once the light came on, I could see these pieces of furniture for what they were–the color, design, embellishments, and placement in the space were easy to define. They were no longer obstacles, but resting points on the way to the next room on an historic journey.
PAINTING FASTER ALL THE TIME
Some of my compatriots struggled because one philosopher would define truth a certain way and his famous student then would describe it differently. These modern day students didn’t have art backgrounds, but thought of truth as what we know only as true today. Perhaps they also didn’t have much of an historic worldview either.
When Leonardo speaks of those categories of people who see, I think first of children, who seem naturally to see. If we give a child some art tools and a jumping off idea, they’ll run with it. Children love the experience of the materials and get excited when they can use their imagination. They feel empowered when they bring an image to life with their own hands.
SUN, MOON, AND SEASHELL
Older teens and adults are more concerned about what other people think of their work, so they often won’t even begin. Other times they start and can’t deal with the disconcert between their conception and execution. Every artist who aspires to do quality work is always unsatisfied with either the concept or execution! As Leonardo once remarked, “I have offended God and mankind because my work didn’t reach the quality it should have.”
I brought seashells to class for our painting experience, but before we began our work, I had the students experience a guided meditation. The seashells were hidden underneath a cloth. This is an opportunity to know the shell personally, rather than to see it as a mere form. This “seeing” involves the inner emotions, which affect the energy and spirit with which we create our art. As the master says, “Where the spirit does not work with the hand there is no art.”
1. Study all the surfaces under the cloth before you begin to put marks on your canvas.
2. Are the edges round, rough, sharp, jagged?
3. Do you recognize this object from experience?.
4. What memories or emotions does it evoke in you?
5. What colors do these experiences bring to mind?
6. Is there a person or place connected with this object?
7. What age were you? Would you want to visit this place again at your present age?
8. Remove the cover and look at the object.
9. Does it look different now from an ordinary object?
10. Does entering into an emotional give and take open your eyes to more of the possibilities of the object?
11. Choose a “pose” for your subject and compose a portrait of its personality.
The creative life and the faith life are not just about following a set of rules, although rules exist in both worlds. These two lives are more about what is good, beautiful, and true, and how we artists as people of faith can be a blessing in the world in which we live. As in art and philosophy, the good, beautiful, and the true may be different in different times and ages, but “one can have no smaller or greater mastery than mastery of oneself.”
“I have uttered what I did not understand, things too wonderful for me, which I did not know. ‘Hear, and I will speak; I will question you, and you declare to me.’
I had heard of you by the hearing of the ear, but now my eye sees you; therefore I despise myself, and repent in dust and ashes.” ~~ Job 42:3-4
Famous artists throughout the ages have chosen apples for their still life paintings. Apples are known for sitting still, they have a long shelf life, and they work for cheap. Moreover, when the painting is done, they make an excellent pie. We can’t do this with our human models, since this involves non ethical principles such as “Do not take a human life or do not murder.” So, apples are good for starving artists everywhere.
In art class last Friday, the adult students learned even a simple apple and its shadows can be challenging, but the fruit of the quest is worth it. Integration of the object and the ground isn’t easy! If we focus only on the form, it’ll float like a butterfly above the ground. The shadow ties the form to the ground and tells us more about object’s shape and location in space. The line behind the objects determines the point of view. It becomes our horizon line, so we know if we’re looking above or below the objects.
We can use our brushstrokes can to shape the apple’s form too. Then if we use the same brush technique for our ground, we haven’t separated the object from the ground. We end up with the famous magic “cloak of invisibility,” which is great in a Harry Potter novel, but not so great if we want to separate our apple from the ground.
These are all areas of growth, however. As my old teachers all said, “There are no mistakes–only attempts to gain mastery over the techniques until you find your own voice.”
Next week we’ll look at negative space. So far we’ve been drawing the objects, but now we’ll look at the space in between them! Oh–who knew we’d pay attention to the empty spaces or they’d have so much meaning!
“Guard me as the apple of the eye; hide me in the shadow of your wings…”.
Flowers please us because of their colors and forms, but also because of their fleeting beauty. While the class was painting, I threw some colors on an old canvas. It is a sketch, since never got to the dark accents of the petals. The paint was wet, so I would have had mud, not two distinct colors!
In our weekly adult painting class at church, we talked about Van Gogh’s sunflowers, Gauguin’s friendship with him, and how other artists have approached the subject of flowers. Not painting every petal or detail, but capturing the energy and emotion of the flowers is more important.
This requires a leap of faith! Of course, if we aren’t sure of how to mix a color, or how to draw a shape or make a form, a student is loathe to move off a safe path. Van Gogh had this struggle also. His early paintings were dark and lacking the energy of his late works.
Still Life with Earthenware, Bottle, and Clogs
Van Gogh, Sunflowers
Unfortunately some of Van Gogh’s most iconic floral artworks in the Van Gogh Museum, painted in 1888 and 1889, are now facing the test of time.
Vincent Van Gogh painted his iconic Sunflowers in vibrant yellows and golds, but after 130 years, his bright lemon-yellow hues have begun to wilt into a brown muddle. A new X-ray study confirms what researchers and art lovers have long suspected: Van Gogh’s paints are fading over time. In 2011, Sarah Zielinski at Smithsonian.com reported that chemists were looking into how the old colors were holding up. They found exposure to UV light—both from sunlight and the halogen lamps used to illuminate paintings in some museum galleries—had led to oxidation of some paint pigments, causing them to change color.
A 2016 study looked deeper into the matter to find one of the bright yellow paints Van Gogh liked, a mix between yellow lead chromate and white lead sulfate, was particularly unstable. Under UV light, the unstable chromate changed states and the sulfates began to clump together, dulling the color. Unfortunately, the process is not currently preventable. Currently, the darkening of the paint and the wilting of the sunflowers is not visible to the naked eye.
As the book of James (1:11) reminds us about impermanence:
“For the sun rises with its scorching heat
and withers the field;
its flower falls, and its beauty perishes.”
In class, we talked about light permanence and pigment choice. If we want to make works of art for posterity, we should choose pigments able to stand up to the test of time. I choose lightfastness I when I work. Likewise, if we are going to be in business or relationships, we want to use the highest ethical principles so we can have long lasting interactions and high quality products. Cutting corners with people or resources will always come home to roost eventually.
The rest of the verse in James continues,
“It is the same way with the rich;
in the midst of a busy life,
they will wither away.”
Of course, if we put God first in our lives, rather than our own priorities, we will pay attention to the “first things,” and fading away like a sunflower will be the least of our worries.
Joy and Peace,
To read the whole discussion on paint discoloration and how museums are conserving art works to prevent further damage from light read:
I’m at my annual conference for my church. I have a display of my art work up. I just sold this found object icon.
Icons are not just images of the Virgin Mary and the infant Jesus, but they represent windows into the holy dimension. They aren’t meant to be realistic renderings of the people or the landscapes as we think of western perspective and conventions.
I found all the materials either on the street while I was out for a walk, or at the grocery store. Yes, those are beer tops, a canning lid, a tag from a bag of Mississippi potatoes, and a crushed Mountain Dew can. Some would call these the debris of everyday life, or the castoffs of human activity. I’ve met people in my ministry who feel this way, and some of them come from fine families, but they’re going through a rough spot in their lives or careers. Others have lived on the margins of society most of their lives and don’t know any other way of being.
This icon foretells the miracle of the water changed into wine at the wedding at Cana. What was ordinary became extraordinary when Jesus entered the picture. We too are changed from our original condition into something very much more when Christ enters our life. We are his found objects, made into fine art. Everyone of us needs this change and transformation: some of us so we can meet the street people with compassion and others of us so we can be made whole again.
I must be the last dinosaur on the earth who still hand cuts with an X-acto knife and a mat knife. Fair warning—this is an old codger rant of sorts.
I still have the knife I used in art school. It’s the same one that took a slice off my left index finger when I was matting works for a show in the 80’s. That was the year, not my age, although I’m getting closer to that silver achievement by the day.
I was in one of our two art supply stores yesterday to get more paint and brushes. While I was there, I thought I’d just pick up the sharp points as well. I could pay about 50 cents apiece or order on line. I tried to order, but discovered I needed to order a “box” and pay about $270 for a lifetime supply! These 800 blades might be a lifetime supply for my estate also, but I would get “free shipping.”
The other unnamed store didn’t even sell this package on line, and their app was so inadequate, I couldn’t tell if it was available in store. I may be old, but I shop on line like all the cool kids. I decided to look in an unlikely place—Walmart.
Why would I look at Wally World for an art supply? The same reason I went there for my NASA approved Eclipse Viewing Glasses—you need these 4/8/2024 on the total eclipse crossing Arkansas. I got 100 sharp X-acto blades for $21, or half the price of the store. I just have to swing by the store to pick them up. No charge for shipping. This might be a lifetime supply for me.
Change is coming to our world, whether we like it or not. The definition of old is when we’re no longer able to deal with the transformation and changes. It’s also called rotting and dying. Growing and thriving means we bend toward the light, let the wind shape us, and seek out the deeper sources of nourishment where we can.
I’ve not gotten to the place where I’m sharpening my old blades yet. If that happens, we’ve most likely lost the internet and that won’t be good at all.