Source: What I Call ‘Layering’

An artist friend from the South expressed his dismay recently when a painting, one that was basically consisted of two halves of color, sold for $46.5 million. This Mark Rothko piece seemed to have a bit of Swedish flair about it since half of the canvas was painted yellow, and the other half blue, reminiscent of the country’s flag.

A medium range focal length … exhibiting a layering of color.

Like my friend, himself a painter of Southern Louisiana icons with an interesting style, I likely wouldn’t have shed even 47-cents for a painting that fetched millions. That said, good for the artist and his view of life through artistic expression. Rothko’s work seems to consist of numerous similarly painted canvases often in halves and sometimes in thirds, and always with interesting color combinations. One critic described Rothko’s work as “painted soft, rectangular forms floating on a stained field of color that were heavily influenced by mythology and philosophy.”

Big bluestem melds the layers of light, earth and sky. You have a portrayal of prairie.

I’m okay with that, although in all honesty I somehow missed the “mythology and philosophy” while enjoying his “stained field(s) of color …”

His paintings, however, has inspired some thought. These past few weeks, and especially the last several days, have been spent scouring over my many images in preparation for the annual Upper Minnesota River Arts Meander. This gave me a chance to begin looking at my own “layering” of colors playing a key role of image composition … despite of various other details within a given image. Was the color interesting? Did it hold the eye? Was the blanket of color strong enough to carry the composition by itself as does Rothko’s?

More in line with Rothko’s use of color … yet the bobs of sumac and the prairie grasses add details to the image.

This caveat should be added: in no absolute terms am I placing myself in the same realm as Mark Rothko. Nor do I know how you define “artist,” or when your creations, which in my case is photography, crosses that magic line to become “art.” All of that is yet a mystery. In recent years my work has evolved in a direction that is different than that of my career as a photojournalist … although my current work is in presenting an imagery of the last one percent of what was once a continent-defining prairie. Each trip into a given prairie provides another level of education and imagery, of looking deeper into a disappearing and fragile ecological biome.

Without the layering of light, just another grove image.

Within that context came “layering” … of seeing color beyond the grasses and forbs, and of how that color — that typically includes the color in the sky — actually defines a part of a prairie landscape.

So many layers of color, the “fifths” become “thirds.”

Layering isn’t a recent term. Occasionally the word slipped into my presentations to photography groups when certain images appeared on the screen. This might have been a subconscious effort to explain the inclusion of the photograph that might have otherwise been passed off as some do Rothko’s painting. If you were to adhere to strict rules of composition, then perhaps some of my images might not be presented for viewing, and even if they were, would they be accepted as good photography or, perhaps even as “modern” art? Yet, capturing these odd layering of colors and light is a technique I find pleasing. And, interesting. Defining, even.

An abandoned farm site adds to the levels of coloration.

Imagery as an art form depends on the use of light and color, of how those attributes are used as tools of composition. “Great” may be wholly misunderstood in this context, for I wouldn’t consider any of my images necessarily as such, yet I do find them interesting in regard to the “layering” of the colors and light. More pleasing for me is capturing other elements into the concept of the natural layering of light and colors.

The big bluestem in sunset.

In the end, this is all fun and folly. An internet search gave me a broadened vision of Rothko’s work. While I enjoyed his mix of color combinations, placing any abstract meaning to his work is well beyond my simple mind. However, if offered $46.5 million for one of my photographic images using what I call layering, I’m fairly certain I would take money. My momma may not have reared an artist, but she certainly didn’t raise a no fool!

Source: Our ‘Artist Harvest’

Much to my surprise and appreciation, my work was accepted as part of the 2014 Upper Minnesota River Meander Art Crawl … simply known as “the Meander” in these parts … for the first time. Long a supporter through my writing and photography while running a small town weekly newspaper, I had visited the many area artists on the trail … and one year, when along with my sister, Elizabeth Ann Roeder, we made the effort to visit all 45 of those on the Meander.

Tomorrow is the next edition, as we termed it in the news arena. And, once again, my work is part of it. Ah, the anticipation! Yes, the annual Meander is this weekend and like the other artists on the tour, those mixed feelings of anticipation, fear, wonder and delight join in a strange brew within the soul. Will the tourers like my work? Have I framed the right images? Do I have enough of the smaller items they will want to take home? Will I sell sufficient canvases to really make the effort worthwhile? Will the weather hold?

My banner is up! Too windy today for the balloons!

Last year was my first participation on the artist side, and it was hugely successful both in the numbers of people who came through our house and in the items they purchased. With that first one under the belt, a strange sense of calm comes through. Yet, the questions remain. Like most of the artists, over the course of the year we have added a wider variety of photographic art from my prairie images. The Meander is always a huge gamble for the artists. Like our neighboring farmers who are almost done putting their soybeans in the bins and have started on harvesting their corn, the Meander is our “artist harvest.” This is the weekend we work toward through the year in preparation for the hundreds of visitors we hope will come through our studios.

And, this will be our first attempt at an overall farm effort. Besides my artwork up in the loft, Rebecca’s hard work from over the summer will be offered as well … along with that of Gilda, Ruby and the “Henriettas” — those hard laying hens out in the pen … in both fresh produce and some canned goods. This, like we’ve witnessed with our dear friends further along on the Meander, Richard Handeen and Audrey Arner at Moonstone Farm, will be a whole farm effort! Many of my images were made here on our eight plus acre home prairie, so yes, it will certainly be a “whole farm” effort!

Among her many farm items, Rebecca’s relish is knock-out delicious.

Last year we opened our home for my Meander display, basically tying up our kitchen along with our dining and family rooms. Since most of the furniture was stacked in the office, our entire main floor living area was sacrificed for the long weekend. This was just fine until closing time. After the excitement was over and the crowds had left, we realized we had no real place to unwind. That Sunday night we scrambled quickly to put things back in order just to lay back on our couch and recliner to simply relax — despite the arrival of a couple of very late Meanderers!

This year we’ll be welcoming the Meandering crowd into our new studio and summer kitchen. Dale Pederson, himself a Meander artist, came with a crew after we worked together to design our new garage/kitchen/studio where the falling down original granary stood on the farm. That old building was a potential death trap, and I was a happy man when the man with the backhoe came to raze what was left of it after we had removed the usable “barn wood.” Our original plan was to have it up and ready before the Meander last year. It didn’t happen, of course. Three weeks after the Meander, Dale arrived at Listening Stones with his trailer stacked with the keyed components for a timber frame building.

One of the overviews of the studio loft created through the artistry of Dale Pederson.

I could easily visualize the ground floor where the garage stalls and summer kitchen are now located, but the upstairs loft was a complete mystery. Dale, and Mike Jacobs, both told me how much space and beauty we would have once the building was complete. Honestly, though, I was totally shocked when I began sanding the floor for varnishing. We had collectively created a serene and beautiful space. Since then, little by little, the studio loft has come together. Early in the summer, following the Brookings art show, my wall-mounted display panels were moved up to the studio where my framed prints were hung.

My newer wire panels were then moved up where the canvases are now placed. Since then a work table was built for matting and working on my prints. Then an “island” console was built around one of the foundation beams where I can exhibit my calendars and cards. I also built a bookcase, although it won’t be ready for stacking books before the weekend.

Hanging the work left over from the last Meander was quite helpful, much of it now replaced with new images. At least 80 percent of my  framed prints are new, along with several new canvases. Also on the walls are several smaller framed prints along with eight recessed and floating metal prints I’m experimenting with. This is an idea gleaned from an earlier show by a glass fusion artist this spring.

Having a separate space for the crowd will no doubt make the Meander even more enjoyable for us this year.

Also new this year will be series of six posters that join my images with poetry written by regional poet Athena Kildegaard, who has published three books of poetry with a fourth scheduled for this winter. We are all extremely excited about working together on this project, and those who have previewed the posters have raved about them.

A visitor to the bird feeder, in front of the display of the new posters created by poet Athena Kildegaard and I.

Yes, this has been fun and creative year in the field, and many of my new images are part of my show at the Meander.

But, this isn’t just my show. A huge part of our “farm plan” is to mesh art with good, organically-produced foods from our Listening Stones Farm. Indeed, this Meander will be our first real shared venture, for which we’re extremely excited. If by any measure I can be considered as artist, rest assured that my efforts pale alongside Rebecca’s. So much goodness, all grown from the heart. We are now on the “eve” of our “artist harvest,”  And we can hardly wait (despite that natural anxiety) for all those folks who will make the effort to venture up to visit our farm during the Meander. Hopefully they will have as much fun as we will!

Source: Ah, Autumn!

Years ago I walked into the office of my little country weekly one morning after a trip to Boston to find laying across my organized chaos a long black tube. Instant curiosity got the best of me and I quickly unscrewed the cap to find a beautiful antique bamboo fishing rod complete with both tips.

“Where did this come from?” was my question for a co-worker.

“Some guy dropped it off. He said you’d know who it was from.”

So began a long mystery, for there wasn’t a clue. No note. “Some guy” isn’t a vivid description, even in Minnesota where vagueness has evolved into a cultural art form. Whoever the mystery man was he would have to know me well enough to know that I was a fly fisher and had an appreciation for such a work of art. Later in the afternoon, I took the fly rod from the case and rigged it up with a five-weight line and laid out some line. While my practiced, piston-like casting doesn’t lend itself well to bamboo, which performs so well with an easy and rhythmic motion, there was quality in the workmanship. This was a fine rod.

The bamboo …

Perhaps it was two years later while cooking hamburgers along the Minnesota River for CURE’s annual River History Weekend with Jerry Tilden, he lifted his spatula from the grill and said, “Say, did you ever find that package I left in your office?”

“Package?”

“Years ago my father-in-law owned a hardware store, and he had hung this old fly rod up over the fishing gear. When the store sold, Dixie and I brought it home and tacked it up in our house. It has been there ever since. When we decided to downsize and move, I brought it over and left it in your office,” he said, smiling.

A gracious and caring man, Jerry Tilden was diagnosed with cancer seven months ago.

Dixie is the missus, who I have known for years. Through her I met Jerry. As I was reading through his obituary this week I realized how little I knew about him, of all the civic groups and community boards he was not just a part of, but in all was cast in a leadership role. No, I didn’t know that side of Jerry Tilden. The side I knew was of his stepping forth as a constant volunteer. The side I knew was of his kindness and care. I also knew of his work as a Master Gardner, and of his basement dedicated to the propagation of his vast gardens along the Minnesota River in the Montevideo flood plain. To me it was ironic that a man who didn’t need a nursery had such a wide assortment of flowery gardens right next to one of the more notable nurseries in the river valley.

Yes, there were the burgers. We cooked them together for several years for the CURE event on a grill he transported himself from Bill’s Supermarket in Montevideo. Me? I mainly manned the grill. Jerry? He was multi-tasking, cooking burgers one second, then the next making sure the potato salad was in the right place, or running to assist his beautiful Dixie with some task. That was the Jerry Tilden I knew.

Then there was that Sunday morning when I received a frantic call from a nearby Chamber of Commerce woman who asked if we could quickly put together a canoe trip on the river, that there were three Hollywood actors in town who had expressed interest in doing a paddle. A call was put through to Dixie, who said the canoe trailers were set up and ready, to just come by for the key. Phone arrangements were then made and my “river truck” was aimed toward Montevideo. Dixie met me at the door with one of her beautiful and encompassing hugs, and handed me the keys. When I got to the garage under their Main Street office, there was a flat tire on the trailer.

“Dixie,” I said over the cell phone, “where can I get a flat tire fixed in Monte on a Sunday morning?”

She didn’t know, but said Jerry was on the way down to help. He drove up before I could ring off. Using a jack from my river truck, we easily removed the tire. “Let’s put it in the car,” he said. “I’ll see what I can do.”

“Should I come along?”

“Just stay here with the kids,” he said, because my two exchange students were along for the adventure. Meeting Hollywood actors obviously offered more excitement than homework. “I’ll be back as soon as I can.”

Pai, Hanna and the actors pose with Nicole Zemple … a trip made possible with Jerry Tilden’s switch job!

Indeed, it didn’t take him long. We positioned the tire and secured the lug nuts and let down the jack. That’s when I noticed the color of the wheel. It didn’t match the trailer, and it was obviously a different tire than we had taken off moments before. “The service station have a spare?” I asked.

Jerry Tilden smiled. “Nah, I just took it off my trailer. I’ll get the flat fixed tomorrow.”

That was the Jerry Tilden I knew. That’s the Jerry Tilden I’ll miss, the man I wish I had known better.