Plotting- Wet at The Beach

Plotting- Wet At The Beach

This was the day, finally arrived.  I had promised my boy a day in the water at the beach.  So excited, he planned and packed
.  Even bringing his inflatable rowing boat.  We were ready.  He would be wet in the water soon enough.  We drove from our house all the way to downtown.  We worked so hard to find a parking spot.  It took a while.  But then looming overhead was a wrench.  A Debbie Downer of a wrench.

  It was, the cloud.  It seemed to have set a course directly over our car.  And seemed to halt its movement as soon as we found our parking spot.  You know the ones.  In the comic strips. One small but might cloud right overhead.  And then....the deluge.  A solid wall of water seemed to come down as if the sky unzipped and empty a huge bucket over our heads.  His head.  His now very wet. In the "water" head. But alas, the promise was kept.  We went to the beach. With plans to "get wet."  And well, that's exactly what happened. 

The Sun Rising by John Donne

1    Busy old fool, unruly sun,

2              Why dost thou thus,

3 Through windows, and through curtains call on us?

4 Must to thy motions lovers' seasons run?

 5              Saucy pedantic wretch, go chide

  6             Late school boys and sour prentices,

   7      Go tell court huntsmen that the king will ride,

    8     Call country ants to harvest offices,

9  Love, all alike, no season knows nor clime,

10 Nor hours, days, months, which are the rags of time.

    11           Thy beams, so reverend and strong

       12        Why shouldst thou think?

13   I could eclipse and cloud them with a wink,

14   But that I would not lose her sight so long;

    15           If her eyes have not blinded thine,

        16       Look, and tomorrow late, tell me,

 17        Whether both th' Indias of spice and mine

18         Be where thou leftst them, or lie here with me.

19    Ask for those kings whom thou saw'st yesterday,

20    And thou shalt hear, All here in one bed lay.

    21           She's all states, and all princes, I,

    22           Nothing else is.

23     Princes do but play us; compared to this,

24     All honor's mimic, all wealth alchemy.

    25           Thou, sun, art half as happy as we,

    26           In that the world's contracted thus.

    27     Thine age asks ease, and since thy duties be

    28     To warm the world, that's done in warming us.

29   Shine here to us, and thou art everywhere;

30   This bed thy center is, these walls, thy sphere.

John Donne pictured to the right was an English writer as well as an Anglican cleric.  He was born in 1572.  His work gained a following, small as it might have been but was revived nearly 400 years later with the attention gained by the likes of famous writers such as T.S. Eliot and William Butler Yeats. 

What drew me to this poem in part was Donne's intense writing ability to marry vernacular prowess with words not modernly familiar and the writing style of connotation throughout.  This particular poem would be I think in modern-day a challenge to understand.  To wrap one's head around the insinuating phrasing and imagery that the poet envokes.  This poem represents what would be called a Lyric. A poem that reveals a limited but deep feeling about some thing or event. 

Donne writes from a position of a Lyrical Narrator but active within the piece. As the first stanza of the poem illuminates the reader to experience the description of the rising sun.  I immediately sensed an emotion attributed to the writer.  One of envy.  I initially assumed the poem would be about the sun in its entirety. 

But as the lines unfolded, it becomes clear that the narrative is describing the antagonist, that being the sun itself.  He writes his contempt towards its constant motion.  It is only upon reading Line 9, "Love, all alike, no season knows nor clime,"  the reader then begins to understand that the writer, an actor within the piece itself is stating that the sun has no reverence for love.  No season or climate to consider love's importance to him at this moment. 

The lines that follow reveal where the true center of the piece's attention and adoration lies.  It is within the intimacy of a moment between two lovers.  This one begging that no place of high esteem whether before kings or nations or Rulers as princes would be as glorious as remaining in the sight of his love as well as in the place they are found together.  This being as the writer described as if it were itself own solar system. Their love is the center and the walls of the room the sphere encircling them.  And in it, the lyric bids the sun away to leave their perfect place alone. 

I found this poem to be a refreshing experience of the complexity of words much like Shakespeare's plays requires a depth of comprehension not often demanded of in modern poetry.  I found this poet to require of me to be stretched in my reading comprehension.  I think of myself as being somewhat of a skilled linguist and avid reader and this poet did not disappoint in his weaving of clever phrasing that gave a vivid yet not entirely evident picture of what this poem is actually expressing. 

Wherever You Go, I Am with You....

This blog is a very interesting one where I describe the architecture of certain places that I find interesting or that invoke emotion from me.  I considered different locations and their structure but kept coming back to two places, specifically that I find myself in doing the same thing in both.  But these two places are significantly different in their design, architecture, in their form, and function. 

The first is a picture of my home. Specifically, the front room sometimes called the "formal" room or in days gone by, the Living Room.  Funny terms as I find that the day to day activities of today have this room utilized very little.  But its use for me personally is for a time very special to me.  It is the room that I gravitate to most when I find those small moments of silence where I can get alone and read my Bible and talk to God.  Sometimes I am there and I only listen for His voice as I read His Word.  I usually come to this room when I've exhausted all other avenues of figuring out the day to day problems, stresses, and plans for me and my family.  But when I come to this quiet place, albeit not as often as I would like, it is a refuge. The architecture is traditional wood frame. The windows are framing in craftsman style moldings. The room is meant for those who visit to be a place to sit and chat with some coffee. Though its design is traditional in nature, the decor and esthetic are intended to be warm and inviting to those who enter.  It is the same for my intentions with my moments with God in this room.  That He would find the home and most of all my heart a welcoming place for Him to dwell. The feelings that I hope to convey with the room design is really the same as the way that I want my own life and heart to be.  A place or peace and of blessing, a welcoming environment for the Spirit of the Lord to dwell and for others to feel welcome to come as well.  

The next image is of another place.  One with a completely different esthetic and architectural design.  It is the interior space of the sanctuary at First Baptist Church of Naples.  It shows the platform, choir loft, baptistry, pulpit, and many instruments designed for a worship service or any other event that provides a place for people to come and meet with God.  Whether through a worship service or a school musical from First Baptist Academy,  this space has been dedicated to welcoming the Spirit of God in.  To be the guest of honor in His house.  A place meant to worship, pray, confess, and be changed.  For the better.  The amazing thing is,  I find this large perhaps intimidating to some, place just as comforting to my spirit as if I were in my own home nestled in one of those comfy chairs with a book or God's Word. 

The immense structure of this sanctuary built with steel and beams, with exposed beams in the rafters that reflect the lights and create an ambiance of excitement and joy during worship services.  The platform, also known to some as the "altar" is a place where the Word of God is spoken to 1000s each week.  It is also where music is played and worship is performed.  I also am a part of that worship team that helps usher the congregation into a spirit of worship for Our God.  This is also home to me.  Even though the high ceilings, ridged lines of the stage and platform.  The aspects of its design bring another aspect of God's nature to the forefront.  That being His Majesty.  At the time of the pictures, the stage lighting wasn't on but the room was empty, quiet but still majestic.  To the architectural mind, this room would be described as a commerical space.  Standard beam structure.  But to the Believer in Jesus Christ and as well the observant eye, one can see that the layout and design of this space has a very specific and special purpose.  It invokes reverence and awe.  Its size alone makes you take in the space as one where throngs of people raise a loud voice together in praise for the God of the Universe. The God of all Elements.  Of ore and materials that made the structure even possible.  Whether the materials are wood for a humble home or the strength of steel beams holding up rafters over a stadium,  or even more incredible a place within the flesh and heart of God's children,  these places hold the same purpose.  A purpose greater than any other in this humble Christian's opinion.  They are the same yet different.  To hold the presence of God Almighty.  The Maker and Creator of all things.  The One and Only Savior of The World.  What incredible form and function each of these holds.  

Abstract In Red, artist Unknown, The Hoffman Art collection, Naples Sculpture Walk

 Abstract In Red, from the Hoffman Art Collection, Naples, FL  5th Avenue Naples Sculpture Walk

This piece drew my attention while driving down the luxurious 5th Avenue collection of high-end restaurants and boutique shops.  This sits in front of The French where it is illuminated to highlight its vibrate red color and swirling form.  

Though the sculptor is unknown, the impact of the piece is no less significant. As you can see the abstraction by use of curved metal in swirl shapes gives imagery of movement ascending upwards.  The medium of metal, perhaps aluminum with a rich glossy red finish presents strength woven into delicate elongated forms.  Because of its 3 dimensional aspects, you experience the piece in different ways depending on the side you are observing it.  From the side where the placard sits, the form takes on almost a life-like quality with long expressed flowing pieces seeming like arms.  As if it were a moment captured of two dancers entwined.  The bending back shape of the lower form seems as if it were reaching up with the taller figure in almost a pirouette motion.  

I believe this abstract piece would represent a “form in the round” abstract art.  That takes the full piece from base to top without a background or foundational materials as a backdrop.  

The backdrop it does have is that of a classic French bistro-style restaurant call “The French”.  Its rich red color compliments the reds of the awnings shown in the background.  It is a complimenting piece for its location.  

I personally find it whimsical considering its placement in front of the french restaurant that reminds me of my time in Paris where there many sights like this.  Quaint bistros with black and white basket weaved chairs out front and the many beautiful thought-provoking art pieces just like this Abstract in Red, artist Unknown. 

Black Untitled by Willem de Kooning 1948

 

This work by the Netherland born artist Willem de Kooning was a part of a series of black and white painting that begins his career at New York's Charles Egan Gallery in 1948.  

His medium for this series was a synthetic enamel.  His choice was mainly an economic one in order that he could create a more thin layered effect that wouldn't blend together. The work of art measured 29 7/8 x 40" which was not a large display but provided enough spatial definition and transition within the work.  

One aspect of this work that drew my attention more than the others was the way the abstract allowing for the viewer to have different perceptions depending on their position and distance from the canvas.  Initially, when I saw the painting within the smaller block, the figures and shapes had a complexity that which opening the piece to a wider view, presented a more restricted visual response.  As if the painting as a whole gave window to more of a sensory experience than taking in the individual sections.  

As a sit to soak up the experience of the artist's impression and expression, I find myself having a feeling of emotional intensity. The shapes within the left side of the canvas have more light response with the white paint and to my eye shows long humanesque features that appear to be two people in an embrace.  Perhaps a dance.  A sensual one.  With the female extending an arm out and behind her as if reaching up to cup the face of her partner.  The environment I perceive is one of emotional conflict or intimacy.  Such the light and dark of the shadows within a nightclub.  The upper right corner gives a visual of more structured angles.  Perhaps chairs.  Faces. Perhaps a performance?  the embracing lovers on display.  The darker wave like strokes give a feeling that they could represent the waves of velvet fabrics in the darker parts of the space.  The white paint and shapes of the left side to my mind present a livelier aspect.  The right perhaps the areas within this space when dark contemplation would happen.  But whatever the intention of the artist, this example of abstract art truly encompasses the visual experience of mental impression.  My impression may be significantly different from the next.  There is one thing that is clear to me and that is that the way the angles, shapes and non linear forms are displayed, this definitely represents a dream like state.  And that perhaps is in itself the whole of what abstract art intends.  To allow the viewer to enter into their own dream of what the intention was for the work.  And if one is looking, they might be able to absorb the artist's efforts as they intended. 

The Cross- Inspiration to Endeavor towards Eternity

First, describe the work. 

How to express the emotion that I feel when viewing this piece of art work by the deceased artist Thomas Kinkade.  The Cross evokes a sense of awe when contemplating the immensity of the world and how the Cross is set above it all in a manner much like a pinpointing marker, or perhaps a lighthouse directional source.  It overlooks the vastness of creation all the while having the radiance of the sunshine upon it.  It's as if the Cross is giving the sun its direction to shine upon the land it is providing guiding light for.  It's as if the Cross is saying,  "this is my domain, radiant light of Life you are welcome here, I am the gateway to which light may pour into this place."  

To me, it represents the truth that what was once considered a means of torture, has now become a beacon of providential light and direction for all who dwell below it.  That as Christ was lifted up in death,  this symbol of suffering has been the emblem of Life.  Even access to the great beyond of the radiant light of God which shines upon the land.  

Specifically, the aspects that surround this imagery that present an ominous gloom.  That is the rolling clouds that seem to be gathering.  Though they appear to be pressing into the center of the focus,  they still have an appearance of being kept at bay from the central point of the light.  As if they are witness to the dominion of the Cross reach across the land. 

There is a river that runs as if towards the great light of the sun.  And the Cross seems to be the guard watching over its continued flow towards the illuminated source.  

There is one aspect that may illude the quick observation that I think gives a profound intraspection to the meaning held within the brushstrokes of the master painter.  Notice that where there is a line of cloud setting between the Cross and the sun that has a rich red hue.  In my mind's eye, I see that as representative of the rich red of the blood that was shed to cover the inpass that man's sin restricted him to reach the all-powerful source of light.  To see this crossing line painting in a rich red,  I see that as an impression of Christ's payment to cross over into the fullness of eternity through the redemption of His blood.  

This is a powerful expression by Kinkade to capture the majesty of the relationship between the Cross and the Light of Eternity. 

This The Cross by Thomas Kinkade 

Trauma Turned to Trust

For some of you, you’ve already heard of what happened this week.  But we wanted to share with you, our friends of the favor and faithfulness of our God.  As you may have heard, Monday evening, Declan fell after climbing to the back of our couch to “walk” across the back of it, like a jungle gym.  (Yes, we’ve told him many times not to. )  But alas, this time it happened,  he fell.  Straight on the back of his head.  We have concrete under wood flooring.  We rushed him to NCH North where he received a Cat Scan. To our shock, it showed a fracture and bleed on his brain.  They immediately put in for him to be med-flighted to Joe DiMaggio Children’s Hospital in Hollywood, FL. where he would have pediatric neuro surgeons to evaluate him.  He was in excruciating pain but eventually slept prior to the flight.  The helicopter arrived close to 11:30pm.  To see these medics come into his room in a very serious manner not wasting anytime placing him on their stretcher was overwhelming.  Joe had already left to head over to the hospital as we were told one of us could fly with him.  As scared as I was to be on that thing in the air, I couldn’t imagine him being alone. I had to overcome my fear.  But then the medic informed us that I would  not be able to ride due to this being a different type of aircraft coming from the keys loaded with equipment.  He would go alone.  Without either of us. 

As we stood on the helipad tarmac seeing his tiny sleeping body tightly strapped in a gurney waiting to be placed on the helicopter before us,  I wept at the thought of him waking up having no idea where he was and where we were.  Oh my heart was screaming!  But there was no place for me.  I was insufficient.  I could only resign myself to surrender. Surrender my trust to the One who truly deserves it.  To His truth,  that He would be with Declan as he flew away into the darkness alone.  There was nothing in my power I could do. But there was nothing that God couldn’t do.  Declan was not alone. My God was with Him.  Watching him lift off, the immense sound of that huge aircraft, the force of wind pushing us back, seeing it slowly disappear into the night, was no less than horrific to my  Mama’s heart.  I was desperate for God to indeed keep His promises.  “I will never leave You, I will never leave Declan, nor forsake Him”.   And He did not. 

Joe & Wyatt came back for me. My parents followed.  As we drove, let’s just say “quickly” the 1 ½ hours drive to catch up to him,  I was emotional exhausted.  Finally, the hospital called us once they landed and we were able to hear Declan’s voice on the phone.  He DID wake up.  Right away as the props wound up.  And he was awake the whole time!  We asked, “Were you scared? Was it ok?”  He said, “It was ok...Loud...I just saw black outside the windows, but not scared.”  His voice sounded as though they sedated him. Calm, slow, sleepy but definitely not scared.  No weeping, wailing, and no sedating was needed. He remained still throughout the flight. Our little boy was still.  Only God’s power and presence could be able to give calm to our very strong and expressive little boy.  Only the Peace Giver.  My heart was overwhelmed that the worst fear of not being the one to hold him, protect him was extinguished, yes that firey arrow of the enemy had no power over that moment, over my child’s heart.  I had to admit, I was humbled to my place before the Almighty God.  Declan’s ultimate and perfect Father.     

He was lethargic for the next couple of days with vomiting and an extreme headache from concussion.  They did a “Fast MRI”  which showed that the bleed did not increase.  This was great news.  The neuro surgery team felt comfortable to let him go home with the fracture and sub dermal hematoma bleed which they stated would dissipate on its own over time and the fracture would heal. We were finally discharged the afternoon of Wednesday.  The trial, the testing was over.  Our God provided. Our God saved. 

We are grateful, for the mercy and favor of our God.  For the “best case scenario” for Declan.  For the beautiful team of doctors, nurses and techs who cared for him throughout this time.  And for the many many many prayers lifted up through it all. 

Life happens.  And yes, with it comes trials. I’m not gonna lie and say “Bring it on, I look forward to it.” But through each experience this short life brings,  I will remember.  I will remember His hand holding my little son when I could not.  I will remember that God’s protection turned him in such a way that the impact could have been even worse, but it wasn’t.  And I will remember the very moment when I could feel that this trial was coming to a close and a new, better,  keen awareness of His presence was found in my heart and mind.  And for that,  I am grateful.  Yes, even for the trial.

We thank each of you who prayed for us and little Declan through this.   We are grateful especially for you.