Three Views of the Lobby of The Redlands Historic Inn
Photo taken by Z Jary
Selfie taken early this morning before opening, the last day
Jean Mollard just added me to the historical brochure of The Redlands!
Waking this Sunday morning, I wasn’t sure how I felt. Closing out this three-week show this evening and heading back home flooded me with a sad feeling. Yet, being invited to take part in Palestine’s future cultural events bathed me with warmth and excitement, knowing I can now begin writing a new chapter to this life narrative. So, before I open The Gallery at Redlands for this day, I pause once more to thank everyone who contributed to the excitement and success of the last three weeks–to my friends who visited, my patrons, my new friends I’ve met in this community, my facebook and blogging friends who continually wrote in your support–so many well-wishers–I thank you from the depths. Above all, I thank Wade and Gail for your vision in opening this gallery space, as well as Jean and Mike for your warm friendship and hospitality in this remarkable Redlands Historic Inn. This 102-year-old Inn is a most remarkable environment for overnight or extended stays, and the Red Fire Grille on the ground floor offers a fine dining experience that still leaves me in awe. So, anyone reading this, check out www.RedlandsHistoricInn.com, look at the photos of their spectacular rooms, pack your bags, and move in! This historic facility and its owners are first-rate. I had friends come out and book suites the past two weekends, and they are still buzzing about the experience of staying here. I too had the privilege of living here the past three weekends and am going to miss the place sorely when I move out today.
Someone who was bound to know what he was talking about, Albrecht Dürer, did after all make the well-known remark: “For in truth, art lies hidden within nature; he who can wrest it from her, has it.” “Wrest” here means to draw out the rift and to draw the design with the drawing-pen on the drawing-board. But we at once raise the counterquestion: how can the rift-design be drawn out if it is not brought into the Open by the creative sketch as a rift, which is to say, brought out beforehand as a conflict of measure and unmeasure? True, there lies hidden in nature a rift-design, a measure and a boundary and, tied to it, a capacity for bringing forth–that is, art. But it is equally certain that this art hidden in nature becomes manifest only through the work, because it lies originally in the work.
Martin Heidegger, “The Origin of the Work of Art”
Over breakfast this morning, I reread portions of Heidegger’s essay that always intrigues me. Next week I will engage in plein air painting as Paint Historic Waxahachie is already under way for those of us who registered early. These words from Heidegger and Dürer will linger with me as I set up my portable easel, fix my eye on a subject, and begin dragging my pencil across the white rectangular surface of stretched watercolor paper, searching out the rift, the boundary, the divisions. I recall Robert Motherwell saying that drawing was the organization of space. I like that perspective. The compositional issues playing out on the white rectangle of space, the abyss, as I organize graphite lines and colored pigments always thrills me when I am outdoors attempting to capture a slice of the scene playing out before me. I got to do some of that inside this gallery the past two weekends as I painted something I could see out the window.
Is it still plein-air when you are standing indoors?!
Next week, I will be outside giving this another try.
Thanks for reading.
I paint in order to discover.
I journal when I feel alone.
I blog to remind myself that I am not alone.