Sunday, September 27, 2020

Ventures In Nothing


 

“Ventures in Nothing”

Sumi ink and gold ink on rice paper

13 x 9.5 inches | 33 x 24 cm

January 20, 2013


Ventures in Nothing

Outside the gates of bliss

Resides the money changers

Ready to assist in the gleaning of materialism

Like Wall Street smoke and mirrors

The paper dream scurries across the landscape

Elusive as carbon

Elusive as gold

In the illusion

While the pilgrim invests

In ventures in nothing


Oliver Loveday © October 16, 2013 3:08pm EDT

Saturday, September 26, 2020

Nothing Unmarked


 

“Nothing Unmarked”

Sumi ink and gold ink on rice paper

13 x 9.5 inches | 33 x 24 cm

January 20, 2013


Nothing Unmarked

She blows in like Woody Herman and His Thundering Herd jazz jam wail across the abyss woolen skies wrapped up in shades of black or gold in between the nothing of whiteness where there is no mind left to dream only float like a cloud as we look down into the slant of silence marked and measured with inches of splash or brush marks punching holes in the sky between what is left and what was never imaged in the fragile edge of rice paper maps of where we were and where we can never be again against the wind of patterns escaped deleted spindled and mutilated


Oliver Loveday © October 16, 2013 1:45pm EDT


Wednesday, September 23, 2020

Bliss Dance

 


“Bliss Dance”

Sumi ink and gold ink on rice paper

13 x 9.5 inches | 33 x 24 cm

January 20, 2013


Bliss Dance

Aching in the moment

Swirl of awareness

Like the madman

Seeking the stability of concrete reality

But it is all in flux

And there is nothing

But the pain and beauty

Of this bliss dance

Between atom and energy

Between galaxy and fertile nebula

Time and space

Against the empty


Oliver Loveday © October 16, 2013 12:40pm EDT


Tuesday, September 22, 2020

“Wind over the Bridge”

 

“Wind over the Bridge”

Sumi ink and gold ink on rice paper

13 x 9.5 inches | 33 x 24 cm

January 5, 2013


Wind over the Bridge


Arriving through the clouds

Passing beyond Cold Mountain

The pilgrim looks down into the valley

Where the land of empty fields lies beyond

A river between this and nothing

A bridge that challenges all fears

And in the sky

The winds flow freely


Oliver Loveday © October 16, 2013 11:10am EDT


Tuesday, February 18, 2020

Dionysius Burn


In the trademark musicality of Dionysius Burn myrtr burn brain screaming words faster than I can slam them into the keyboard of syntax digital binary encodement of computer flat screen seen or unseen beyond capillary renderings of blood and fire muse gleanings smashed against the old bones of geriatric renderings while the reality of place and time corrupt the Doors song into “the whores creep past my window/with a sonic vacuum”.

A neighbor stopped by yesterday and asked me to sign a petition protesting the activity of prostitutes in this small cul-de-sac with me signing it although they never bother me for who knows why but the reality is that I've never paid for pussy in my life. That surreal chasm between discarded needles and somewhere in this world there's a #metoo movement protesting the sexual harassment of women by powerful men in society. What's next? Porn stars accusing producers of porn movies of taking advantage of their position of power for sexual favors? The whores come around. They're on their way to a neighbor's apartment as I go check the mail or drag my garbage can back from the street on trash day. They talk to me like it's another day in the neighborhood. “You'll get sick running around with bare feet in this weather”, she said as though she cared about my health and well being. That's how the whores in this neighborhood treat me. The artist with no money. I feel like Toulouse-Lautrec but this is no Paris. This is not Paris.
This is Morristown Tennessee. Home of the Trojans. The second largest distribution network of illegal drugs east of the Mississippi River operates out of this town. Where back in the 1920's a couple of young men went out west to Saint Louis and robbed a bank. They evaded arrest and one of them used his winnings to buy a car dealer franchise when he got back home. In 1986 I met a young woman from Switzerland who was here teaching German at one of the high schools. She invited me to visit her one Sunday afternoon in the spring. I had just finished an oil painting. “Surface Information”. A still life. The challenge was to do the table so that there were no visible table legs underneath it but it didn't look like it was floating. I created the illusion of nothingness no one noticed. The final mark was a splash across the canvas going through the wine bottle. I put a piece of paper over the wine bottle to give the illusion of the splash going through the bottle. The splash of oil paint landed perfectly. It left hair standing on end. I was ready to get out of the house and decompress for a few hours. Talk to another human being. Ground. Recompose from the Dionysius Burn muse gleanings. Underneath the surface was multiple layers of paint from the effort. Left on the surface was the markings of Samsara. No one knows the depths. There were no photographs of the work in progress. I followed her directions to the house where she was living up on Crockett Ridge above Morristown. Home of the grandson of the bank robber. She took me into his study to introduce me to him. He was bent over some bookkeeping ledgers in the years before Excel. He nodded his acknowledgment and we retreated to her basement apartment to discuss education and her background of attending the Waldorf school in Switzerland. Later she told me that I couldn't park my pickup truck out in front of the street of the house because of what the neighbors might think. I never parked my truck out there again. Dionysius Burn.

She had me meet her in the parking lot of the K-Mart a few hours before she flew back to Switzerland. It was a brief goodbye. A hug and a peck on the cheek. I went home to finish up the works for the upcoming show at the Mayor's Gallery in Knoxville in July, 1986. I was riding out the stress of anticipation related to allegations of sexual abuse my ex-wife would be reporting. She had already reported the allegations to the Child Abuse Hotline in Chicago alleging that a married couple there had been participants of the alleged sex abuse of my sons. “Allege” becomes a word of common usage as I grappled with this Brave New World of Dionysius Burn. I installed one of the best one-man art shows of a living artist up to that point. Nothing sold. I cancelled my plans of using the money to go to Switzerland. The allegations were reported to the law enforcement here in Tennessee. They were found to be unsubstantiated. They succeeded in accomplishing their goal of stopping me from ever having visitation with my sons without supervision (twice). Now she could tell our sons that they could never come back to Tennessee to live with me. Dionysius Burn


The whores walk past my window. They can see me washing dishes through my kitchen window. This reality where I am an open book. That is my reality TV audience. Exiled in Morristown. Foreclosure back in 2007. I lost the farm. Dionysius Burn. Now I am reduced to living in an efficiency apartment in the projects. I do my painting out back. The car died almost four years ago. I sold it so I could buy a new Iphone. Now I am walking or riding the Housing shuttle. A year ago I was walking to a Narcotics Anonymous meeting at a church in downtown Morristown. As I was walking past a church across the street a block up from my destination a vehicle came out of the parking lot and hit me in the back. I was thrown off the side of the vehicle and it drove off. It stopped and came back. I laid on the street in the rain and watched it back up half a block and stop a car's length from my body. I got a ride to the emergency room where they did CT scans and determined that I would live. I walked back to my apartment in the rain. The Morristown police issued a citation of improper crossing. I contested it. The hearing was a farce. It didn't matter that I wasn't in the business district even if I had been crossing the street, there were no witnesses that testified that I was crossing the street in front of the church, not even the alleged driver, who was so senile she didn't even remember what kind of vehicle she had allegedly been driving. Whomever was driving that vehicle hit me intentionally and then hid and let the passenger take the blame. I had to pay the ticket. $102. The judge said that the woman wasn't at fault because I was somewhere that I shouldn't have been. So the tax payers footed the medical bills as the citation blocked me from suing the alleged driver. Dionysius Burn


A year later and the statue of limitations is up. Someone got away with running me down and leaving me lying in the middle of the street to die. They should have killed me while they had the chance. This is Morristown Tennessee where the whores walk past my window. Money doesn't just talk. It controls those who have it and who don't have it. It's a scene played out like the early morning hours when a pack of dogs come across a lone dog and take turns fucking it in the ass. Only I out ran the dog pack but I didn't out run a moving vehicle. I got up and kept going in spite of the pain and throbbing headache from the traumatic brain injury. I think about my audience. What is it that I can pass on through my art that will demonstrate these moments of wisdom and insights into the Deep Nothing? The cars hiss by my window. My head explodes with mindfulness. I am awake. I have awaken. The teachings are too thick with fancy talk. Or the teachings are lost through genocide. Humanity roams the streets at dawn in search of a lone dog to fuck. My fingers are numb from nerve damage. I am an old man. Dionysius Burn. My audience walks past my window and asks what I am cooking. Here are my rantings of art work. Here is what I have left of the torturing inspiration of muse gleanings. Here is what I have left of a life where I refused to be burned at the stake. Dionysius Burn.


Oliver Loveday © February 18, 2020 3:10pm EST



Friday, October 6, 2017

Big Medicine Stomp

When I was a young boy, maybe ten years old, I would get these feelings during the full moon. One summer day I decided that I would make a circle in the garden by stomping on the dirt. That night as the full moon was rising, I snuck out of the house and went to that circle. I stomped around the circle until I got tired. A few days later my mother noticed the circle and asked me if I had made it. I told her that I had. She asked me what I was doing. I told her that I felt like stomping. She told me to stop doing it. It was packing the dirt in the garden. I stopped.

The feeling never left me. Sometimes as the full moon was rising in the summer I would go out in the yard wherever I was and stomp around in a circle. I didn't know what it was or where the urge was coming from. I felt the urge rising up out of the earth and into my feet. In 1992 a friend invited me to go with him and attend the stomp dance at a friend's place in Stillwell, Oklahoma. There was a feast at noon on the stomp grounds and the ball game in the afternoon. The ball game was between men and women. The women used their hands to throw the ball at the top of a pole in the middle of the stomp grounds while the men had to use short sticks with a woven cup at the end to pick up the ball and toss it. There was another feast between the ball game and sundown. All day long I noticed a fire burning on a small mound on the East end of the stomp grounds. As it grew dark everyone moved over to the fire and arbors around it. There were seven arbors in a semi-circle around the fire. One of the Elders shouted out a call in Cherokee and the stomp dance began. As I watched the first round of stomp all those urges from childhood forward suddenly made sense. I had been trying to do the stomp dance.

A few years later I had a dream that it was time to bring the fire back to the East. I knew someone who had helped setup and get the stomp dance going at Big Cove over in North Carolina a few years earlier, but I didn't mention this to the ones bringing me the dream. It was related in the dream that there would be Teachers that would come and help me do the stomp. I did the best that I could to honor the dream starting out with a mound on the grounds where I was living. It wasn't long before a lot of people were coming to take part in the ceremony. Somehow there were people from Europe, Asia, Africa, South America, and Australia attending the stomp dance. It was still my job to mow the grounds and cut the firewood for the fire. After a few years I moved the stomp to a different area with more room so arbors could be built and a pole set up for the ball game. Still no one came to help with the task at hand. The feasts were always good. Everyone brought lots of food to eat. That was good.

Over the years I've learned a lot about stomp dance, mostly from doing it. There's a saying that I hear a lot. “That's my old stomping grounds.” It usually implies that the person went to a particular place to meet other people with the intent of hooking up for the evening. Stomp dance is a lot of things and courtship among the young people was part of it. Seven stomp dances would be held each year starting with the fourth full moon after the winter equinox. This would usually coincide with Passover for the Hebrew people on the other side of the planet, but stomp dance is much older as a ceremony. Each stomp dance during the warm season is associated with the planting, growing, and harvesting of corn. The final stomp dance of the year is called the Big Medicine Stomp.

In the time before the White Man came and disrupted the natural sequence of life here on Turtle Island, the villagers would fast for four days before the Big Medicine Stomp. All fires would be put our in the lodges during this time. Everyone would observe this time in silence and meditation as much as possible. In the evening of stomp day the wood would be on the mount but no fire would be started. The dance would began and the fire would be renewed. There has always been some speculation as to how the fire got started, but it hasn't happened that way in a long time. That was what the dream had shown me, that it was time to bring the fire back in the Old Way. The next morning the fire would be moved to the council lodge, and from there it would be carried to all the lodges in the village. Also during this time all the wrongs of the past year would be forgiven. There were seven sacred villages, called Peace Villages today, where a person could go and stay if they had done something wrong to someone. The morning after Big Medicine Stomp they could leave the Peace Village without fear of being harmed by that person or a family member. Throughout the society of the Ani-Yun-Wiya (Cherokee) the resentments and crimes were forgiven and everyone started the next year with a clean slate.

Over the years there have been other dreams, visions, and challenges for me. In 2003 the Seventh Challenge of a Cherokee medicine man started for me. During the next seven years I lost everything. During this time I had to survive by wits alone. The wife left me. Most of those who had been taking part in ceremonies with me stopped. The box kept getting smaller and smaller. In February, 2007, the property was auctioned off in foreclosure. I did the Big Medicine Stomp in October of that year and then packed what I could into my car and drove away in early November. I completed the Seventh Challenge in January, 2010, which is parallel to experiencing nothingness in the practice of Buddhism. I got there by following the spiritual teachings of my ancestors.

Normally a person would complete the Seventh Challenge, where they would have been banished from their village until they completed the challenge (or died trying), and returned back to the village. In my case there is no village to return to. This is White Man's world now where property is owned by individuals who have the right to say who comes and goes. Maybe things will work out so I can go back to my old stomping grounds one day. Meanwhile the ones who brought me those dreams are still here. I am of the Seventh Generation. Now the Ninth Generation is coming of age. Maybe they will wake up one day with a dream about a fire and a group of people doing the stomp dance. When that time comes I'll be here to share what I know of the challenges of manifesting a dream. Hopefully they won't have to wait until they are almost 40 years old to make sense of those dreams like I had to.

A-ho!

Oliver Loveday © October 5, 2017 5pm EDT Full Moon waning



Thursday, June 2, 2016

Shift of Chronus


“Shift of Chronus”
(Inscription: Kronus | Chroous)
Pencil
3.5 x 5 inches | 8.9 x 12.7 cm
Strathmore 50 lb | 74 g/m
January 13, 2010
http://www.lovedaystudio.com/art/tunnel_vision1.htm

Shift of Chronus, January 13, 2010

I never did figure out the right word for the title of this drawing. There was a word in there somewhere which was supposed to mean something about a shift in hue, like chroma. But the word kept coming out like another Greek word, which relates to time. Actually they are the same thing when it comes down to the laws of physics. The drawing is an attempt to show a time shift in human consciousness. Creativity addresses time, space, and functions outside the natural order of chronology. Without an awareness of time, we would not comprehend space or the distance between two points in physical reality. During periods of creative activity the artist experiences the sensation that time has been suspended, but as the pencil, paint brush, wood carving chisel, guitar, or stage charts are laid down, the hour is much later than we thought. It's easy to understand how these experiences with creativity can lead to an interest in the time-space continuum
The drawing continues this process of reclaiming markings from the past. The curl of air in the upper right corner was a frequent visitor to pencil drawings some thirty-five years ago. As a landscape, the drawing reminds me of a watercolor painting I did in 1983 entitled The Aegean Sea where the water vapor rising out of the water is made visible in the painting. The surface of the sea (or land) is below one's point of view now, as the horizon is not visible in this landscape. There are only fugitive elements of atmospheric embellishments visible. The air has been slightly bruised with the lightest of markings from the pencil. The wind blows it all to the East, or North, or leeward in the rising escape from gravity and transcendence into a new time zone. Like the journey of a person seeking spiritual truths in a world gone stark-raving mad, the new awareness of the bigger picture starts to gel and thicken in the curl of Chronus. My new word for the day.


Oliver Loveday © 052311:2pm EDT