John Wiercioch
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Reflections on the Art of Living

Listening

7/21/2024

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When a slow and steady rain began a few days ago everything outside seemed to be giving thanks. Where I live has not been in a severe crisis, but several weeks of hot temperatures and very little rain had all the plant life responding to the drought undoubtedly as it learned long ago it must to survive. Some plants pull “inward,” their leaves less outstretched, little new growth sprouting I assume to conserve energy and/or absorb less heat. ​

Others however, seem eager to blossom during such dry spells, perhaps to more quickly be able to produce seed that might offer better chances for the next generations’ survival — if the drought conditions continued longterm and they may lack the energy to blossom later. 

A few friends died recently. The general sense of loss, and perhaps some unconscious unresolved relationships, along with the complex mix of general angst our media promotes, some exhausting workdays, all weighed on my heart to the point of physical discomfort the last few weeks.

Out of genuine concern, I try to pay attention to how our culture interacts with the “natural world” (a phrase I dislike because it promotes the notion the world humans have built is somehow not encased within the “natural” one). Examining the way our modern industrial society relates to the Earth also quickly reveals painful truths and more heart-ache. 

Trying to to see with honest eyes, probing for the truth, can do that. Of course we ought to be wary and aware of where we are seeking said “truth.” The only genuine source is deep within. 

I wonder: during challenges do I pull inward or send out blossoms to nurture seeds in the future? Entering into an exchange of our sincere self is a form of shared nurturing. 

I enjoyed a long slow dinner with a dear friend the other evening. The conversation (for us both, I believe) was a balm for hearts that recently had felt wrung out. We each had intense experiences we were eager to articulate in order to better understand. And both grateful for the sharing. There’s that important balance of rational thought, and emotional intelligence. Yet within (and in a way beyond) each of our experiences was a profound core that I felt transcended intellect or emotion, and in a way circumstance.  

This hard-to-define aspect has to do with an “awareness” of our shared connections with everyone, and all life. Words are limiting, imperfect tools. 

Robin Wall-Kimerer, a scientist, insightful author, and wonderfully wise soul, suggests our science (and so, our culture) teaches us to learn the names [of fungi, plants, animals, all on this Earth] but we ignore their songs. Indeed! Our culture tends to look and define; Indigenous traditions tend to listen. 

It can be hard to listen, and it’s said over 75% of our communication is nonverbal. Consider that with digital typed communication, including commenting on social media, and it’s no wonder we struggle to not argue. The framework seems to encourage the opposite. I’m keenly aware I don’t succeed at it as often as I’d like, especially in this realm. I’ve offended others, and recognize my ego’s tendency toward verbosity. I can see (regrettably in retrospect) misunderstandings from my own failure to “hear” beyond the literal meaning of someone’s words, to catch the more important feeling that is driving what they’re expressing.

Still, I want to try. Within my work week and daily responsibilities, especially during this seemingly frenetic era, I feel it’s evermore crucial to make time to consciously listen. To my coworkers on a job site, to my friends, to the chirping goldfinches pecking at the seeds of the coneflowers, to the dogs that rush to greet me as I walk through my hood, to the currently low, yet steady flow of this very old, wise river. Many insights are not expressed nor conveyed in words. 

Listening seems to shift my priorities from seeking external control, reacting, and outward “action” to more conscious responding, and, in my better moments allowing a deeper understanding to guide me. 

We’re heading into what everyone agrees are evermore challenging circumstances across the globe; surely we better the options for life to blossom if we work together rather than against one another. Listening seems a crucial  first step. 

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Juan’s Rose

7/18/2024

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“Juan’s Rose” 10” x 8” mixed media/panel, www.johnwiercioch.com

We’re so flooded with digital imagery, and overwhelmed by printed graphics in our urban environs, it’s hard to conceive of times when there were other ways of seeing life. In our western industrialized culture artists were paying keen attention to how technology was changing how they saw the world for hundreds of years. As technology and industrialization ramped up in the 1840’s it became difficult for anyone to keep up with all the influences. Photography caught and froze never before seen things, as well as presenting random compositions. Cultures cross-pollinated more quickly and broadly. Fields of psychology, astronomy and microbiology were blossoming and affecting perspectives. Even pragmatically, painting outdoors was vastly easier once paint was in a tube. New colors added more vibrant chromatic possibilities with less effort. News and information were shared faster than ever. Rigid expectations on what and how things might be expressed steadily eased.

My roots are in painting from life. But that has evolved based upon how I see life. IE: The Impressionists weren’t simply quaint landscape painters, they were responding to the opportunities modern life afforded them and integrated this into their craft. Painting on site pressed Monet and others to come to grips with the transient nature of the world and their hands and brushstrokes raced to keep pace with the moving earth and sun. Degas challenged what beauty could be and where it could be found. Manet loved the excitement of the new glass and steel urban world, and incorporated the flattening effect of mass printed advertising into his bridging of suggested spatial depth with undeniable surface marks. I appreciate them all. 

Hundreds of others were pulling each other in new directions. By the turn of the 20th century the illusionistic “realist” story-telling approach that had been the mainstay of popular painting had been blown wide open. A few dozen of these artistic experimenters got recognized by Western popular culture, including Picasso. In his voracious assimilation of the previous generation, Picasso launched into new realms with incredible speed. By 1908 he and his trusted companion Braque had stumbled upon a unique approach to representing forms that came to be called Cubism. There are many speculations on what prompted their journey, and what they were chasing — mostly they didn’t talk to others or write about what they were doing, they simply painted their way forward. “We were like two mountain climbers roped together” is among the handful of quotes Picasso offered in retrospect. 

Maybe their efforts in this realm were incorporating the evermore fragmented world they lived in, full of reflections, new-tangled speeding autos, electric street cars, and lighting; or maybe it was an expanded understanding of seeing, building on what Cezanne was hunting for in his sensitive and meticulous paintings; or perhaps they were led by other cultural ways to present form (like the arts of African cultures they saw); or it was an intuited manifestation of the new scientific ideas of the age that revised the nature of reality and time as constructs. In the end, I still like to look at the mute paintings, and many of them captivate me. 

At times it seems many artists who paint images today (“realist” or “abstract” ones) have never studied, explored, and/or somehow seem to have “tuned out” Cubism altogether. It’s like the insights of Giotto and the relinquishing of church sanctions hundreds of years ago didn’t instill a curiosity and desire about non-religious subjects. Or pretending photography hasn’t affected how we see, frame, share, or replicate the world. The doors which Cubism opened for me are not about a “style” rather they offer implications about reality and freedom to explore. Some see in it only “fragmentation” but I see in it the falsehood of separation and the unity of all. To me this makes cubist works impossible to ignore. They remain rich and inspiring. I especially appreciate how these now over 100 year old paintings encourage me to see our world with fresh eyes. 

Juan Gris was from Madrid and a friend of Picasso, as well as the artists Matisse, Metzinger, Modigliani and several other avante-garde thinkers, like the poets Apollinaire, Gertrude Stein, and Max Jacob, and the art dealer Kahnweiler. He quickly absorbed the possibilities within the new way of seeing, understanding, and depicting the world that Cubism offered, and then expanded on it in his own colorful ways. Like Gris, I’ve always had a bit of a classicist in me, a desire to find order within chaos. I’ve also always been attracted to the particularly rich timbre of some of his color harmonies.  ​

I rarely have a subject (or image) in mind when working on a painting, and prefer to title them after they feel resolved. There are elements in my approach to painting that relate to the open-ended responsiveness inherent cubist works. In the end, this little painting hinted at a rose, and the tones, the dynamism held in check by a formal order, and overall feel, to me recalls some of Gris works. I was also exploring texture, and the relationship between it and the illusion of depth — something Cubism often did as well.

How we see the world reveals and defines our relationships with life. I’ve always felt one could make vital paintings that feel monumental yet readily fit in one’s hand. A flower is a galaxy of wonder.

For all these reasons it seemed fitting to give the not too-well-known, yet wonderful painter, Juan Gris, a nod in this title.
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    About ​John's Blog

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    Writing offers an opportunity to clarify my thoughts and feelings. Often these relate to my art and may offer insights about my work. I learn from engaging with others and welcome comments. 
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