the scream

there are frogs
both peepers and pippins
and the crickets in the
full moon rhythmic pulse behind
a crisp lyric dancing
with the wind in the leaves
i scatter almonds to the
flock of grouse
interrupted
on the lane-way
to this spring's firewood
elements
touching

i return to the quartz floods
and linseed, damar and turpentine
to paint the scream

this morning the blackbirds
congregated in the tree tops

"the scream" 48 x 66 in. ... as the past rushes past

forest mirage

painting in the woods

the heat of day diminishing

the sun settles toward

the distant ridge

illuminating

the translucence

of the jewel weed

against moss-covered

limestone

sweeping the straw

from the cut-stone terrace

the stems of the succulents that

succumbed to the drought

perhaps the painting

contains some of the

forest's longing

for rain

 "mirage"    66 x 48 in.

thanks to all who came to the exhibition

and after-party ... there was a suggestion

that we do it again

painting in the woods

breathing in

and reflecting

between the "now"

of this time and place

and the emerging recollections

as the old painting gathers momentum

expanding

in new directions

A painting from winter of 07 

on Martha's Vineyard

of Plein Air wooden boat work

and of painting a record to share

but not a painting entirely from

either here from memory

or there

was "opened up"

as they say

but not with what they normally mean

because rather than making

a significant change

with paint and brushes

because the painting is on plywood

the "opening" was possible with

another familiar tool at hand-

the chain saw

48 x 36 in. oil on birch ply

and then in the revisiting of an afternoon of freejazz

and painting on canvas in public

the forest seems to have added its voice

and only as the sun set on this forest hillside

from the open valley to the west

illuminating the forest edge

from beneath the canopy

with the a spectrum of red from

cadmium red light to quinacridone

did the painted premonition

reveal its source

Premonition Forest Sunset  48 x 80 in.

calculating risk assessment

painting the key signature
of flocks-violet
en plein air
of maples
while calculating the
risk assessment of
cobalt and phthaloquinine blue
cadmium red
chromium green and
quinacridone
while listening to
a chorus of
hungry baby flycatchers


PB

48 x 66 in.


deep high or deep low
in outer or inner space
reflecting energy unharnessed
it rolls into being then out again
without form, without function

simple love in motion

SD

rail flowers

i just spoke with a back-hoe operator who is working on the property north of the tracks from IMICO.

He has worked on brownfields in Guelph, and dug holes all over the place so he knows what's where in guelph.

he says the City has severed and bought? the back half of the property to put in holding tanks to deal with the open sewer where i found 2 dead skunks

.... sound like research project?

AVADA

looking into the

 shimmering moonlight

 on the evening of the
 ninth of may

 studio screaming 
 quartz-light  and 
 tortured strings ringing

 into the darkness

 of structures

 hurtling particles

 choreographed

 into a likeness

 of the elements

 of dancing

 a likeness out of

 the chaos and into

 a compound lattice

 through recognition

 without time

 but as a measure

 of the frequency

 of the vibration

 in and out of sight

 as plurality

 dissolves

 into unity

 and back

 into the

 forest

 at night

Phosphorescence

Those profound moments of discovery in which she finds herself dissolving into the mysteries of nature are the moments that Detwiler attempts to instill in her work. Previously known for her international work drawing attention to nature’s beauty and the importance of its preservation Susan Detwiler has turned the page shifting into environmental action. Following the lead of Rudolph Steiner and his proponent Joseph Beuys, Detwiler has partnered with Peter Beckett in the Arts & Science Lab Project. The Project acknowledges the social discontent expressed by the occupy movement and takes up the cause of social architecture. Woven into her current work is a comparison between the interconnectedness of natural cycles and the mechanism by which human activity might shift into sustainability.  We have harnessed the energy of falling water, wind and sun historically to power machinery, for transportation and to generate electricity. This knowledge will play a vital role in the transition back into a more harmonious relationship to the biosphere.