Butterflies, or Mom has left the room

Exactly two weeks ago I wrote about my mother in a blog titled When Mom Was My Age. Five days ago I received a call that she was failing and I should fly to Iowa immediately. Three days ago she slipped into another form, the one we cannot really see or know about. The call came moments before I planned to post a blog on butterflies after a visit with my grandchildren to the butterfly house at the Smithsonian Museum of Natural History. In the preparations for the funeral and the clang of being thrown back into family history, butterflies and life and death have melded in my mind. She was the last member of my immediate family, except for my younger cousin who was raised by my parents and adopted as my brother two years ago. Below is the blog as originally written, with a new poignancy for me:   

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Butterflies weigh nothing but you can feel when they land on you, and when they move, it tickles, and when they stay still, there is a microscopic clutch. They make their presence known. Some miracles are like that, and it is difficult to figure out if the miracle is meant for you or randomly distributed and you just happened to be close by.

At the butterfly house you are not supposed to touch the butterflies but the butterflies are allowed to touch you. This is why my grandson held his finger still near one for ten minutes while it slowly made its way to him, finally tentatively touching his fingernail.butterly fingertouch

Butterflies are miracles that are made of transparent colors and they don’t have to walk from here to there. They fly, live off sweets, and bury their heads in flowers – keeping company with their flora kin.

The butterfly that finally touched Ben’s finger flew away shortly after contact. Yet moments later a much larger one landed on his pants and refused to leave. It is the way with some miracles that they are not only unexpected but determined.

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Before they became flying bits of exquisite glistening color, a butterfly is liquid. It is liquid that knew what it was doing inside a chrysalis made by caterpillar that moved on its belly.

The day was a blessing with the grandchildren running from dinosaur skeletons and early sea creatures like the basilosaurus, which is more than 55 feet long, to gem and crystal formations that make humans’ sculptures look like amateur stuff. It was complete with Ben’s getting separated and lost and explaining it all calmly to the security guard, doing exactly as he had been told to do, except for having a side conversation on how rockets work. In any case, I sighted him with the guard from the second story balcony overlooking the giant stuffed elephant.

And then suddenly there was the butterfly house! I had wanted for half a year to take them there and it never happened for so long that I forgot until it was in front of us and together we exclaimed, “The Butterfly House!”

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Nature’s organic colors never clash with each other because embedded in them is the full spectrum of colors even if we don’t see all of them. Chemical commercial colors are not like this so we experience them clash. I say this by way of saying we can’t see everything. We cannot see the miracles behind what is visible to us that never clash with anything.photo copy 19photo copy black crop

 

 

 

 

 

 

We are always in a miracle, an unexplainable existence of which we can see and process only a sliver at a time. Butterflies give us a glimpse of what we cannot know – transient creatures that they are, born of liquid born of caterpillars that answered their calling.

 

 

LACES OF REMBRANDT

Some things are perfect in themselves, require no explanations. Flower petals, for example, are not metaphors for other things, they are wholly themselves, unexplainable, irreducible. Bird song, the same.

Rembrandt

Laces painted by Rembrandt require no explanations, they are irreducible, they are their own reality, larger somehow than what they represent. (All images in the blog can be enlarged for better viewing.)

The paint of them, the white of them, the brush strokes step outside of time and history and reference, the way feathers are timeless, the way whispers are forever, the way intrigue and make-believe and dress-up travel through time.

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Rembrandt

That’s sort of the way with Rembrandt, though the humanity in his self-portraits shocks you into knowing the man behind the painting, the real human of complexity who understood white and lace, especially against black.

Last Friday at the Metropolitan Museum of Art (NYC) the laces stopped me on my way to see the Vermeer paintings a few galleries further on. Surrounded by hundreds of masterpieces, the laces are stunning in their confidence of what they are.

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STENDHAL SYNDROME with KANDINSKY: at the Neue Galerie

STENDHAL SYNDROME or Florence syndrome: a psychosomatic disorder, a sort of attack, named after the 19th century French author Stendhal who was taken over by it on an 1817 visit to Florence. He wrote that when he visited the Basilica of Santa Croce he saw Giotto’s frescoes for the first time and went into “… a sort of ecstasy, … absorbed in the contemplation of sublime beauty … where one encounters celestial sensations …. Everything spoke so vividly to my soul. I had palpitations of the heart. I walked with the fear of falling.” Named in 1979 by an Italian psychiatrist who observed more than 100 cases among visitors to Florence, the illness includes rapid heartbeat, dizziness, fainting, confusion, and even hallucinations when an individual is exposed to particularly beautiful art or a large amount of art in a single place, such as what would happen at the Uffizi.

Today it happened to me. At the Neue Galerie in NYC. With Vasily Kandinsky. Direct transfusion from the canvas to my sensory receptors. Lights popping. Knees weak. And why not? If not today, when?

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VASILY KANDINSKY (1866-1944): first artist to formulate concepts of an art, and create art, of abstraction that would generate emotions without needing or using specific subject matter.

It’s mostly about the colors being “just there,” hanging out, having conversations with each other. “Black Form” can be dissected into about ten different sections, each a marvel of jewel tones nudging each other or shooting across one another. Then you put it all together and … become speechless.

Black Form (1923). Click to enlarge.

Black Form (1923)
Click to enlarge

It’s not that I suddenly discovered Kandinsky. He’s had a special file in my brain for decades. What is it about these Russians? I saw Mikhail Baryshnikov in the play “Man with a Case,” based on two Chekhov stories, at the Shakespeare Theater last week and the effect was about the same.

No, I’ve always know about Kandinsky, I’ve just never seen so many of his paintings in one place, and there are 80 separate works at the Neue Galerie at 5th Avenue and 86th Street, New York.

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The mansion was completed in 1914 and lived in by industrialist William Starr Miller and later by Mrs. Cornelius Vanderbilt III before being purchased by Ronald Lauder and Serge Sabarsy in 1994 to become an art museum. The Neue is home to several famous Gustav Klimt paintings, and has a charming Viennese café specializing in savory krauts and decadent desserts. I had the Linzer Torte.

Back to Kandinsky and colors: a week ago I wrote about sensuality v. sexuality and how sensuality incorporates the entire body’s responses to touch, taste, sound, sight, and smell. His paintings enter through your sight, of course, but he was greatly influenced by his love of music, especially of Arnold Schoenberg’s compositions that broke from having a central motif and are referred to as “pantonal,” though more familiarly known as “atonal.” Also he was intrigued by the concept of Gesamtkunstwerk, or total work of art that combines art, music, and theater. Further, he experienced color as sound and sound as color, which had to have been a handy gift.

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White Sound (1908)
Click to enlarge

SYNESTHETE: one of the very rare people, including Kandinsky and other brilliant people such as Nabokov, Liszt, and Richard Feyman, who saw colors when other senses were stimulated. (For Feyman, it was his physics equations.) For Kandinsky, he saw the colors for his paintings when hearing music. Here for your viewing, and perhaps listening, pleasure is “White Sound.” While it may take a moment to absorb the first onslaught of color, once you have, it turns into something amazing.

This overlay of art forms captivated him. Perhaps because it is how he experienced the meshing of his senses, i.e. his sensual life. He compared painting to composing music, saying “Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul.” He called this devotion to inner beauty and intensity of spirit and spiritual desire as an “inner necessity.” His book “Concerning the Spirituality in Art” was published in 1910.

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Improvisation 31 (1913).
Click to enlarge.

In the largest exhibit room were several of Kandinsky’s most famous and beautiful works, including a personal favorite, “Improvisation 31, Sea Battle.”

I know if you look for them, you will see figures and things in his work. Particularly in “Picture with an Archer.” And that is charming and all. Some evidently refer to Russian or German villages and folktales. A bit of Chagall-esque stuff, but to me it’s irrelevant. Remember I’m in Stendhal syndrome. It’s about pure sensation, not story lines.

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Archer (1909)

 

The abstraction is the color. You can touch and taste it. And somehow the man mastered paintings that are visually 2 – 4 feet deep. They are neither 2-dimensionally “flat” on the canvas nor give the viewer a long depth of field. It’s as though you could reach in behind the surface and rearrange the parts if you wished, but only for a couple feet of depth.

In 1914 he painted four panels for the villa of Edwin R. Campbell, co-founder of the Chevrolet Motor Car Company. At that time a Chevy looked like this:

Chevrolet Baby Grand

This should give you perspective on Kandinsky’s breakthrough genius. He was doing these gliding, flying, succulent beauties, these first abstract paintings, when cars were tin buggies.

The Campbell panels are below. The exhibition is open until February 10, 2014. Stendhal syndrome, too, can be yours!

Panel for Edwin R. Campbell No. 3   campbell panel 2   Campbell3  Campbell panel 4

KISSES: photos included

This blog is about kisses, the kind usually done in private . . . or in Paris in public. This is my third draft on this subject, and I’m going with it no matter where it goes.

2013-10-24 11.21.43 copyThe first place it is going is that kisses are better than wine. Great kisses, that is, are better than great wine. The opposite is also true, bad kisses tend towards the vinegar-esque.

The second place it is going is that great kisses may or may not be sexual but they are always sensual, just as good sex must be sensual (a personal observation) while sensuality may or may not be sexual.

The third place is it going is to confront the innate problem of writing a blog about kisses. If I only write a paean to, and attempted deconstruction of, mind-blowing kisses, . . . well, not everyone has the requisite partner(s) or relationship(s) for such kisses, and I don’t want to set people up for lamentations or a sense of missing out.

So, instead of focusing on kisses per se, which may or may not be within your reach, let’s look at the overall context of sexual vs. sensual – their differences, overlap, and nuances – because, while transmission of sexual energy usually requires two or more for full ignition, sensuality requires only one person in heightened awareness and receptivity.

No physical partner is needed for you to experience the pleasures of sensuality even while any emotion or response brought on by the creations – music, art, fashion, food, writing – of another human means in some sense that another person is present even if their body isn’t. It’s simply a factor of unaligned time and space.

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Further: sensual enjoyment is your birthright. You came into the world equipped as a sensual being. Look at a baby’s goofy smile when a finger is lightly traced down its belly. That is sensuality, as in experiencing the senses of touch, sight, sound, smell, and taste.

Relishing, savoring, being immersed in, swooning over, salivating, feeling the back of your head zoom into space, having your knees give way, knowing there is no other color red in the world like the one you’re looking at right now, knowing no musical segue ever before was so sweet, being lost in Now and giving up your identity to Wholeness . . . yup, that’s what a great kiss feels like, but . . . oh, sorry, I wasn’t going to go there.

Sexuality might be embedded in sensuality, but sexuality urges you towards a completion, to a release. It is a grabbing and claiming, an escape from the mundane.

Sensuality gathers you in its arms and takes you into the knowing of More. It reveals the exquisiteness that a moment before had been camouflaged as mundane.

Sexuality takes you away from washing the dishes. Sensuality reminds you of the feel of china, the smell of good food, and the comfort of warm water.

At its fullest, sensuality ushers you into an ecstatic love inside and outside of yourself by going through the senses of your body and mind. Sex may have love as a component, but sensuality reveals the streaming love that has always been there, timeless without boundaries. Sensuality is the powerful play between you and beauty where you yield in order to expand beyond identity and ego instead of being a power play between people striving for dominance and control in the dynamics of sex.

Sensuality without sexuality is leagues ahead of sexuality without sensuality. They don’t occupy the same planet, even though sensuality that includes sexuality is what premier cru kisses are made of . . . oh, I wasn’t going to go there.

Well, yes, let’s actually go there. I have all these photos of people kissing in Paris I want to share.

About kisses:

Each kiss is unique even when it is a pile up of the same old same old between two people. It is always a communication, even when sometimes, sadly, it is a “kiss off.” Kisses cannot avoid communicating even though most are half-felt, half-given, half-received, and half-registered.

There are kisses we give to children and babies, the elderly, long-time friends, and pets. These kisses ask for nothing, and we give them because we feel safe enough to express our affection and tenderness. Message given, message received. Bonding has been done. Nice.

But what I am mulling over these days are kisses between people who are discovering each other, who need to figure out, confirm, or explore a sexual or highly affectionate relationship.

Here is where we need to become more fluent. We need to learn the language of kisses, the accents and dialects, the give and take, daring, shyness, boldness, yielding, claiming, and whispers louder than shouts. This language demands trust. Kisses cannot be fluent in sensuality without trust.

The kissTo be sure, sex can occur without trust, but exquisite sensuality cannot. This is why mature adults, those of us not prone to random sex, paid partners, swapping, sending Instagrams of our private parts, or seeking younger bodies to make us feel potent, want meaningful relationships based on honesty and trust. We know the difference between sexual and sensual and that sexuality without sensuality is too much like puberty. To be avoided.

Trust requires knowing we are loved and cherished, and we become instinctively less interested over time if our partner wears us down by neglect, or being a workaholic or other addict, or being unable to engage in things that have meaning to us. And why do I suddenly remember an ex-husband’s wish that we linger in the uncomfortable chairs after dinner so we could bond over his explaining international finance to me? I mean, I would have become an expert in euros and renminbi if there had been reciprocity, but . . . oops, I probably shouldn’t go there either.

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Back to sensuality, because that is the prize, that is the goal, that is the birthright, that is the joy, that is the expansion that is yours. I believe the closest we can come to knowing god is through truly experiencing life through our senses; and I believe that when two or more come together in His name (i.e. in love and sensuality), there He is also.

Okay, I really stepped into it because I don’t believe in a sentient entity keeping score beyond interstellar space even though I do believe in my parking angel – and I probably should have said “goddess” anyway. That is, I believe in the tendency of energies to solve problems in harmonic ways. I believe peace wants a chance. I believe synchronicity happens every second. I believe health wants to happen. I believe there are morphic fields of knowing and evolving and sharing of our collective minds.

And I believe kissing is a master art and only those who approach it in adoration can taste its full beauty.

And I believe the potential for sensual joy surrounds us at all times. It is music, it is taste, it is birdsong, it is morning sun, it is dance, it is cascading into laughter, it is a wet rock in the sand, it is dirty dishes. It is opening our senses and being fully alive. It is where we partner, as two or more gathered, in ecstasy with Now.

PARIS NOTES #3: Art as GOD

Art is not God Unique in France. It is but one god in the panoply of Olympians, along with children, food, wine, great shoes and scarves, élan, and the ability to make sex elegant wherever.

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I will avoid here the demons of politics, taxes, unemployment, price of apartments, immigration, and other pesky things that perturb the sangfroid public (national cool). They exist, mais oui, but I have seen more outrageously wonderful clothes than ever before here. Even the tourists have upped their style quotient. They got the memo.

Oh, I forgot the dogs. The French love dogs, but you already knew that. They love dogs of all sizes, but most dogs are small so they fit inside small apartments. So far I’ve only seen one large dog. In from the suburbs?

Back to art.

Now, October 24-27, is FIAC, the annual international fair where the major galleries handling contemporary works come from the great art centers—Paris, New York, Zurich, and Berlin mainly—to exhibit across the heart of Paris, indoors and out.

Yesterday, I walked from the apartment in the 6th arrondissement to the Louvre and then the length of gardens to the Tuileries (literally through statues) to the Grand Palais where I wandered, stunned. The “selfie” of me in front of the mirrored insect cage tells all.

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Three hours later I emerged, having passed on going to the balconies that contained the second half of the exposition. Walking back along the Seine, through a drizzle under a leopard-patterned umbrella, I was dazed. Everything always is a possibility for exploration, for breaking through to freedom, to playing one’s lute strings, for dancing with the panoply of gods.

Enjoy this small taste of the art and people inside the Grand Palais:

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