Now that the novelty of staying at home has worn off, I can honestly say screw cleaning and organizing! Even the idea that I will actually do any of it, including cooking from scratch, is gone. So I may as well just sit in the sun, read, and blog.
Life in the time of Corona Virus comes close to what I imagined life in a retirement village without the socializing might be like.
I wake up late, have breakfast, read the newspaper, and amazingly it is almost lunch.
I don’t have to run errands. In fact I am told not to by authorities and family – although I have joined the masked brigade at Costco.
Maybe now is a great time to tell you how I started my music series.
For years I dabbled in watercolor and my subjects were from my environment. I took a class while Luke was at Duke University. There I learned the variety of colors and tones I could make from French Ultramarine Blue and Burnt Umber to Payne’s Gray. I painted boats, barns, beaches, etc. That worked for a while. As did all my drawings for the Daily Press. A subject for another time.
Then I launched into acrylics because I was too impulsive to plan my moves to achieve my painting goals. Besides oils messed with my asthma. With acrylics, I enjoyed the freedom of being able to paint and repaint and scratch out and gesso over.
It was the 1980’s and I had campaigned for women’s issues. This led me to think about doing art related to women of accomplishment.
But who to paint.
I didn’t personally know anyone outside the newspaper industry. I finally decided on JoAnn Falletta, music director for the Virginia Symphony. I knew about her and how well-liked and well-respected she was (and still is today!).
So how difficult could it be to ask her if she would be my first subject. A lot. Well it was difficult to even get in touch with her. I left messages at her office that were never answered but I persisted.
Eventually one evening I got a call from Long Beach, California and it was JoAnn on the line. I tried to impress her with my art credentials and I guess I did not appear to be a total deviant. She invited me to take photos of the Virginia Symphony Orchestra onstage at the Chrysler while they rehearsed the Buckner Fourth. No flash of course. This predated the ease of the iPhone camera so I tried to be unobtrusive with my non-digital, old school film Nikon.
Not so easy when I really wanted to be a part of the orchestra. Even behind the violins, crouching on the floor,I just wanted to do nothing but be a voyeur. But I had a self-assigned job; To capture a diminutive conductor guiding a hundred instruments played by a hundred professional musicians.
And me with a film shutter speed of 400 using only available light so I could not freeze frame. When JoAnn waved her baton the camera captured the motion, the sweep of the baton through space.
When I finally developed the film I saw photo after photo of blurs and darkness. Very little detail and little to work with or so I thought. However the loss of the crutch of detail forced me to use whatever my imagination could generate to fill in the blanks.
Motion became my signature.
Action and emotion grew more important than defining my subject.
My work with VSO lasted several years. My series began and ended with Ms. Falletta. But it was my start. I carried the blurriness of motion into other subjects including other musical forms like jazz and bluegrass, and then sports, and people in the street. Even now when I find myself leaning towards harder-edged realism I look back at those early paintings and tell myself that just because one learns how to technically achieve painting realism, maybe it should not be one’s ultimate goal.